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In a special meeting, the Executive Committee of the UNC Pembroke Board of Trustees voted unanimously Thursday morning to name the University Honors College (UHC) for the late Esther Graham Maynor.
Jesse Peters
Maynor, who lived in Mount Airy, N.C., and died October 4, 2005, contributed approximately $1.2 million to UNCP from her estate, Chancellor Allen C. Meadors told the committee.
"She left no directions for us in her Will (concerning how she would be honored), but we believe this is an appropriate thing to do," he said. "This is by far the largest gift we have seen."
Trustee Dick Taylor agreed, calling it, "very appropriate." Chancellor Meadors said the University would hold a formal ceremony to honor Maynor in the fall.
The money will be placed into a perpetual endowment fund, entitled the Esther G. Maynor Scholarship. It will benefit students at the University Honors College.
Established in 2000 by Chancellor Meadors, the University Honors College seeks to attract outstanding students to UNCP and the scholarship will help the program, said UHC Dean Jesse Peters.
"This is wonderful news for the college," Dr. Peters said. "This gift will change the lives of many of our students and provide opportunities for them that were out of reach."
The endowment will help a growing college, Dr. Peters said.
"We're projecting an enrollment of 94 students, which would be our largest ever," he said. "We had 72 honors students last year."
Born and raised in Robeson County, Maynor was the daughter of Duncan and Dovie Lowry Graham. She married Therod "Horse" Maynor.
During World War II, Therod Maynor became friends with Floyd Pike. They became business partners in Pike Electric of Mount Airy, one of the largest electrical contractors in the southeast.
In 1946, Floyd Pike invited Therod to become a key part of Pike Electric of Mount Airy. Today, Pike Electric is the largest electrical contractor in the southeast.
Therod Maynor died in 1967, and Esther lived her remaining years in Mount Airy. Maynor's Will instructed University trustees to use her money for scholarships with consideration for students with financial need.
For more information about the Esther G. Maynor University Honors College, please phone 910.521.6195 or email email@example.com.
For information about giving at UNCP, please contact the Office for Advancement at 910.521.6252 or email email@example.com.


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subset: commoncrawl


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OAKLAND, Calif. (AP) David Lee had 19 points and 14 rebounds, Brandon Rush added 14 points and the Golden State Warriors held off a late charge to beat the Utah Jazz 83-80 on Monday night in an exhibition game.
Stephen Curry had two points and six assists in his first game since March 11 while Klay Thompson scored 11 points for the Warriors (2-0).
Curry had surgery in April to repair his injured right ankle.
Golden State led 69-58 in the fourth quarter before Utah made a late run behind center Enes Kanter. Kanter had 12 points and 11 rebounds and made a layup with 1:01 remaining that pulled the Jazz within 83-80.
Paul Millsap and Marvin Williams had 13 points apiece for Utah (0-1).
Curry played only 12 minutes and didn't score until making an 18-foot turnaround jumper late in the second quarter. He was clearly fatigued and stayed in the locker room after halftime icing his ankle.


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The Osage Indians baseball team finished out their last home game on Tuesday night, hosting the Blair Oaks Falcons.
The visiting Falcons knocked off both the Indians and the California Pintos in a doubleheader at Osage, scoring a total of 27 runs on the night.
Osage proved to be little trouble for the strong Falcons, scoring in every inning for a 14-4 win in just under five innings. Osage scored two runs in the second and third innings, with Taylor Margetts hitting a home run.
The Indians will play once more in the regular season, a Thursday night match at Southern Boone, before heading to districts on Saturday.
The Camdenton Lakers have struggled in their last two matches against two Ozark Conference rivals, losing their last two consecutive matches by just two runs each.
The Lakers hosted the Hillcrest Hornets on Thursday, May 2, and despite leading through the first four innings, the team couldn't hold on, giving up three runs in the fifth inning and another one in the top of the sixth, losing 4-2.
Dylan Hymes had the only RBI, while Tyler Cunningham had a double in the match. Jake Decker had three strikeouts on the night, while Cory Simpson finished the night with one strikeout.
In their Monday night road match against Parkview, the Lakers faced off against the Vikings. Evenly matched throughout the first three innings, Parkview took the lead in the bottom of the fourth inning, scoring six runs.
Camdenton retaliated in the top of the fifth, scoring two runs, but Parkview added one more two their total for a 7-2 lead going into the sixth. With neither side able to score through the sixth, Camdenton's only chance of a comeback lay on the line in the top of the seventh inning. The Lakers mustered up three runs, falling short of tying the game by a margin of two runs.
John McRoberts led the Lakers with two RBI's, while senior Dylan Hymes finished the night with one.
The Lakers are now 8-10 on the season, and now prepare for their first district matchup at Jefferson City, taking on the Jays on Saturday, May 11 at 3:30 p.m.
The Camdenton Lady Lakers will enter the post-season tournament with either a 14-7 or 15-6 win after Thursday night.
Coming off of a 6-1 win at Lebanon earlier in the week, the Lady Lakers will finish up their regular season play at home Thursday night, hosting Bolivar.
The Lady Lakers end Ozark Conference play with a 7-2 record, and will enter in to the Class 3 District 10 tournament as the number two seed. Camdenton will begin their play on Monday, May 13 at Lebanon, where they will take on the number three seeded Waynesville Tigers.
Prep Roundup: Osage falls to Blair Oaks 14-4


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Please let us know if you are willing to read on by leaving a thoughtful comment for this contributing author. At the close of this first page you will find a reveal of last weeks nonfiction contributor.
The following page is in the Sci Fi genre.
It has been awhile since I have read sci-fi. But this story has elements that I like in a story and I want to know why Kita was sent home and why she needs help.
Yes I would read on.
I would read on.
Oh, gracious, yes, I'd read on. She had me on the opening line, then so much info in the opening without being an info dump. Very well written and what the heck does Kita have to come home for?
I feel like the author is throwing everything at me at once. There's the transportation station, the missionary pilgrimage six-hundred light year away, the gabardine information kiosk, the personal com link, suspended hibernation, the law enforcer, and the fertility missionary. My worry would be that the author is too hung upon the technology and the story will suffer. We don't need to know about every piece of technology on the first page.
I love, love, love the first line. I would read on for sure.
I'd keep reading, but I was a little disoriented at first. I thought Kita was going to be the POV character. I also thought there was too much backstory in the second paragraph--telling readers things we didn't need to know yet. In addition, those lines didn't match Molly's voice. They didn't seem consistent with something the character would be telling herself.
One last thing. Italicized internal monologue is distracting to me. I mean, if this is in Molly's POV, then presumably all the internal thoughts are hers so why are certain ones singled out and put in italics?
Apart from those issues, I thought the story problem was interesting. Molly's not knowing why her sister (twin?) was coming home made me want to read more to find out. And now the mysterious message that she can't figure out where to go to pick up. The fact that she seems a little peeved that Kita went on the missionary trip in the first place adds conflict.
I think this story has promise.
I'm a fan of some sci-fi, especially the kind that takes the everyday situations I'm used to and twists them a little. I was very interested in her opening line and most of the next paragraph. I was immediately drawn to the idea of the Abraham Project/long journey picture with cross-galaxy missions work! But, I had a hard time visualizing the rest. That pulled me away from the story. But, yes, I think I would read on, to see if I could understand the technology being used and to find out a little more about these interesting sisters.
I would
I liked it a lot, but the first two paragraphs threw me.
What if you did something like this:
Molly rushed through the crowded transportation station, gooseflesh rippling across her arms. Kita, her sister, wasn't supposed to ever come home. So what had gone wrong?
Kita had left seven years earlier on an Abraham Project—a missionary pilgrimage--six-hundred light years away. It had been a life-time commitment, supposedly. But Molly's morning telecom message said Kita needed help getting home.
I suggest those changes for the following reasons:
1) we know right away that Molly is the POV character.
2) if she's ignoring the goose-flesh then why would she, the narrator, be telling us about it--she's obviously aware of it, not ignoring it.
3) added back in the line to tell the reader that kita wasn't supposed to come home, since I took that line away from the beginning of the story
4) changed "ago" to "ealier" because we aren't reading in present tense so it wasn't seven years ago to us, it was seven years earlier than the time Molly was in when the story took place.
5) added "had" to "Kita had left" and "it had been a lifetime commitment" and added "Molly's morning telecom message" to differentiate between the backstory info and the present day info.
Take or leave my suggestions. I simply think that when you start in a strange world, the more clearly you write, the easier you make it for your reader to stay with you.
I would definitely read on to find out why Kita is coming home and I love the hint of conflict between the twins and their ideas about how to serve God and others.


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Kingwin DM-2535U3 Dock Master Review
Portable hard drives have always been a popular concept among computer power-users and casual users alike. For a while the only viable means to achieve portability with a hard drive was to either buy a pre-built external hard drive or throw an existing hard drive in a special enclosure. Hard drive docks however are a fairly new phenomenon. Taking a bare hard drive and sliding it into a simple dock for quick hot-swap connections is a very desirable concept. Recent docks have used USB 2.0, eSATA, or a combination of the two for convenience.
Kingwin, who is best known for their power supplies, and general case & computer accessories, have been producing hard drive docks since the beginning of the trend. Today with the release of the higher-bandwidth USB 3.0, Kingwin has updated their docking station line with the Dockmaster DM-2535U3. The advantage to USB 3.0 is its backwards compatibility with any previous USB standard along with its new, higher bandwidth connection. The Kingwin Dockmaster DM-2535U3 is attributed with having high data transfer rates and a simple plug and play experience, let's see if it lives up to its hype.
Closer Look:
The Kingwin Dockmaster comes in a fairly hefty cardboard box that should protect it from any shipping and handling damage. On the front you get a basic list of features and a clear picture of the dock itself. Around the back you get more views of the dock, and a detailed list of features and specifications.
Opened up, the box is divided into two sections; the dock and the accessories box. The dock itself is wrapped in plastic to keep it scratch and scuff free until you open it. Inside the accessories box you'll find a USB 3.0 cable, manual and AC Adapter.
With the packaging and accessories out of the way we'll move on to the dock itself.


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Pure Cleansing Gel
Pure Cleansing Gel
A super soap-free foaming gel which balances oil without causing dryness.
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Product Details
key features
Papain enzyme frees pores of oil, dead cells, make-up and pollution, clearing to way to refined healthier skin. Extracts of lemon, geranium and fennel help balance oil. Sage, marigold and elder flower purifies the skin. Chamomile and cornflower extracts delivers soothing and calming effects.
Use morning and night. Gently lather over moistened face and neck. Rinse thoroughly.
Aqua, Ammonium Laureth Sulfate, Glycerin, Lauryl Betaine, Sodium Lauroyl Sarcosinate, PEG-120 Methyl Glucose Dioleate, Papain, Citrus Limon Fruit Extract, Foeniculum Vulgare Fruit Extract, Anthemis Nobilis Flower Extract, Calendula Officinalis Flower Extract, Centaurea Cyanus Flower Extract, Chamomilla Recutita Flower Extract, Geranium Maculatum Extract, Hypericum Perforatum Extract, Salvia Officinalis Leaf Extract, Sambucus Nigra Flower Extract, Tilia Cordata Flower Extract, Carbomer, Butylene Glycol, PVP, Sodium Chloride, Tetrasodium EDTA, Disodium EDTA, Laureth-4, Ammonium Chloride, Ammonium Sulfate, Magnesium Nitrate, Sodium Carbomer, Magnesium Chloride, Parfum, Phenoxyethanol, Chlorphenesin, Benzoic Acid, Methylparaben, Ethylparaben, Methylchloroisothiazolinone, Methylisothiazolinone, Hexyl Cinnamal, Benzyl Benzoate, Butylphenyl Methylpropional, Linalool, Citronellol.


text: CAROL WAI SUE SETO Carol Wai Sue Seto died peacefully on January 18, 2013, at home surrounded by her family. She was born in Honolulu on Christmas Day, 1933, to Alice and Hung Yu Ching and was raised in Makiki and Kaimuki with her sister and brother. Carol was in the first graduating class of University High School, and received her recreational therapy degree from the University of Hawaii. She moved to Ann Arbor, Michigan, where her new husband, Dudley, started medical school. Carol was the first recreational therapist hired by the University of Michigan's Department of Psychiatry and created its first recreational therapy program. She set aside her career to become a supportive wife, nurturing mother, and community volunteer. Her children and grandchildren were her life's work and joy. Carol gave her gift of friendship to everyone she met during her full life. And she will be remembered for her selfless generosity, kindness to others, devotion to family and friends, and effervescent sense of humor. Besides her beloved Dudley, and siblings Eric (Laura) Ching and Loretta Abe, she leaves behind her children: Cindy (Jay) Hartwell, Keith (Debbie) Seto, Cheryl Seto, and Cathy (Reid) Silva; grandchildren Chloe and Thomas Hartwell; Hannah Silva; Sarah, Stephanie, and Matthew Seto; brothers and sisters-in-law, cousins, nephews and nieces. Visitation will be at 9:30 a.m., this Friday, January 25, at Nuuanu Memorial Park and Mortuary, East Chapel. Service will begin at 11:00 a.m. Private burial. Her family respectfully suggests Aloha Attire and in lieu of flowers or monetary offerings, donations in Carol's name may be made to: Hawaii Children's Cancer Foundation (HCCF) (808) 528-5161 1814 Liliha Street Honolulu, HI 96817 http://hccf.org/help-hccf/donation/


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Tufa 5XL$201.00Ergonomic ridges give setters a massive variety of options of how to use each hold in this, ranging from hand-size pinches to enormous tufa pinches that climbers can make three moves on and still be on the same hold. The Tufas are a moderate to advanced series, good for routes of all grades on the vertical wall and more difficult routes and problems on steeper terrain. Learn More


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saving the lost world
When word came in that Jurassic World would effectively ignore the previous two installments in the Jurassic Park franchise and act as a direct sequel to the 1993 original, fans rejoiced. Like the Terminator and Alien franchises, which have and are currently employing similar strategies, the Jurassic Park franchise is in the paradoxical position of being a beloved property of which fans generally disapprove. The selective sequelling strategy is opportune then, as it takes all the best qualities of the reboot approach (a clean slate for storytelling, free from years of convoluted back-story and narrative detours) while circumventing its drawbacks (telling the origin all over again). The James Bond series has been doing this since its inception, and only ever to its benefit, but it can create its own form of convolution – certain movies being "less canon" than others and all the headaches that qualified absolute phrase inspires – and it runs the risk of measuring a movie's worth solely on its narrative relevance to a larger franchise, instead of on its own artistic and historical merits.
1997's The Lost World: Jurassic Park, Steven Spielberg's follow-up to his 1993 blockbuster, is not in dire need of defense or resurrection. It was a major Hollywood studio production that turned into a major box-office hit, it spawned a galaxy of merchandise, it fared decently with critics, and it was nominated for an Academy Award. But as evidenced by its reputation amongst the people currently in charge of the Jurassic Park property, it's a movie held in much lower esteem than its predecessor, generally regarded as an inferior and forgettable sequel to an all-time classic. The shadow of Jurassic Park is not an easy one to thrive under, its landmark achievement in computer-generated effects, coupled with its iconic suspense sequences, will forever make it the essential entry into the franchise. But when divorced from its (not-insignificant) technical accomplishments and setpieces, Jurassic Park has little to say for itself, the initial criticisms about its flat characterizations and underdeveloped story all the more glaring upon contemporary viewings. There's nothing resembling Spielberg's restraint in Jaws, which held off on revealing its shark for a good hour, not only building suspense but also a solid, character-based foundation for its scares. Jurassic Park has significantly more interest in its dinosaurs than it does its humans, and while The Lost World also wastes no time in getting to the dinosaurs, and at times too bluntly attempts to recall or upstage its predecessor, its strongest elements are those that set it apart entirely – not only from the original, but from Spielberg's prior filmography. Where the first Jurassic Park is entirely of a piece with Spielberg's earlier work – Jaws, Close Encounters of the Third Kind, the Indiana Jones movies, etc. – The Lost World is the first of its kind for the director, a rough draft of the form of filmmaking he'd perfect come the new millennium.
The Lost World was Spielberg's first movie to begin production after what was by far his most somber work to date, 1993's holocaust drama Schindler's List. Schindler's List had hung around Spielberg for nearly a decade, as he tried to pass the project along to other directors, unsure of his ability to handle the weight and scope of the story. Production didn't begin until MCA-Universal president Sid Sheinberg agreed to finance the project, on the condition that Spielberg film Jurassic Park first. "He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park," Spielberg said, and thanks to The Lost World, we don't have to imagine how the reverse would have played out.
The Lost World marked Spielberg's second collaboration with cinematographer Janusz Kaminski, with whom he worked first on Schindler's List and every release up to and including the forthcoming Bridge of Spies and The BFG. Kaminski's trademark shadows and sunlight set the film apart from its colorful and broadly-lit predecessor, the theme-park-artifice and majestic framing of the dinosaurs in Jurassic Park traded out for a murkier and more organic palette, and compositions that often obscure the total grandeur of the dinosaurs, opting to make them more a part of the scene rather than the focus of it. Likewise, production designer Rick Carter and the costume department follow suit, using dirt, grime, and rust in place of shiny metallic surfaces, the khaki and camouflage disappearing (as it should) into the environment. Even composer John Williams, who has sometimes been known to wield his baton like a bludgeon, is relatively restrained here, holding off the original's iconic theme until the last moments of the film.
Spielberg and company no longer bore the burden of making the dinosaur movie as they did with Jurassic Park, and as such could afford to tone down the roller-coaster bombast, though this may have hurt the film in the long run. Though it made a very respectable $618 million at the worldwide box office, its middling critical reception and diminishing reputation since is likely rooted it being perceived as a mere "monster movie," as Roger Ebert noted. "Where is the awe?" he asked, and save for a few trademark Spielberg gazes and a killer shot of the T.Rex roaring in front of the San Diego skyline, there is indeed little awe to be found.
Yet what weakens the film more now are its callbacks to the original material and its reticence to fully conform to its aesthetic darkness. There was prescience in Sheinberg's belief that Spielberg wouldn't be able to do Jurassic Park after Schindler's List, but Spielberg was less willing to admit it, even after the four-year hiatus between Schindler and The Lost World (the longest break of his career). "I wanted to step in the shallow end and get used to the water. I wanted to do something familiar," he told Peter Biskind, though this didn't quite work to his liking, as later on he would say he found himself asking, "Is that all there is? It's not enough for me," during the shoot.
Spielberg is his most restless in the film's familiar moments, either in the sequel-typical "one more time" opening scenes, or in sequences that have direct equivalents in Jurassic Park. Having all of its expositional heavy-lifting done in the first installment, The Lost World cuts right to the chase. Park founder and former InGen CEO John Hammond (Richad Attenborough) hires Jeff Goldblum's Dr. Ian Malcolm to go Isla Sorna, the so-called "Site B" where the park's dinosaurs were bred and continue to thrive without human interference. Malcolm is incredulous at the proposal, sarcastically batting down Hammond's enthusiasm and abrupt shift in character – "So you went from capitalist to naturalist in just four years. That's – that's something." (He stops just short of turning to the camera and rolling his eyes. See Ray Winstone-as-Spielberg facing down the camera and shrugging "I'm a capitalist, and they pay," in Indiana Jones in the Kingdom of the Crystal Skull.) Malcolm – publically humiliated after his account of the park got him laughed out the scientific community – only agrees to the mission when he learns that his zoologist girlfriend Dr. Sarah Harding (Julianne Moore) is already on the island and thus susceptible to danger. It's not an accident that Jurassic Park's least enchanted character has taken the lead here. Not only was Malcolm's ironic commentary the original film its best means of making its absurdities palatable, Goldblum is especially gifted at turning the blandest dialog into the most inventive line readings this side of Christopher Walken, and David Koepp's script has no shortage of clunkers.
The film's first major suspense sequence is a conscious evocation of Jurassic Park's T-Rex attack. Our heroes – Malcolm, Sarah, Malcolm's stowaway daughter Kelly (Vanessa Lee Chester), along with engineer Eddie Carr and documentarian/environmental activist Nick Van Owen (Richard Schiff and Vince Vaughn, respectively) – realize that they are not the lone expedition on the island. Peter Ludlow (Arliss Howard), current InGen CEO and Hammond's nephew, has brought along a team of big game hunters and scientists in order to track and bag a Tyrannosaurus Rex for display in San Diego. Under the advisement of international game hunter Roland Tembo (the late, great Pete Postlethwaite), they have captured a baby T-Rex as bait. When Sarah and Nick free it and return it to their RV for medical attention, they attract the vengeful ire of not just one, but both Tyrannosaur parents. The scene directly evokes its counterpart sequence in Jurassic Park – rippling water set to distant booms, dinosaur eyes peering right into windows, shattering glass, toppling vehicles, a thunderstorm – and it delivers the goods, especially when the RV is sent dangling over the edge of cliff and Sarah is stuck on the slowly cracking rear window. It's Hollywood's premiere action filmmaker shooting a literal cliffhanger, but it also smacks of the self-conscious, uninspired, one-upping endemic to sequels – two T-Rexes instead of one, Eddie ripped in half by the dinosaurs in a long take while Jurassic Park merely plucked a man off a toilet – and the shoehorned comic relief – angry Spanish-speaking radio dispatchers, the dangling heroes requesting cheeseburgers along with the rope – doesn't help any.
The jokes are duds and delivered with fleeting commitment, and they pervade the rest of the film, including the cringeworthy moment in which Kelly employs middle-school gymnastics to kick a velociraptor out of a window. But what darkness there is The Lost World is rooted and potent, and all the more so for how jarringly it stands next to the perfunctory light moments. What's unique about the attack scene is what puts it in motion. The rexes and raptors in Jurassic Park were solely motivated by their predatorial instincts, no different from the shark in Jaws. Here the Tyrannosaurs have a personal stake in matters, and a distinctly Spielbergian one at that. The core objective of nearly every Spielberg plot from ET to Empire of the Sun to Indiana Jones and the Last Crusade has been to protect and/or reunite the family unit, more often than not in the form of a rescue mission. While Malcolm only agrees to travel to Isla Sorna when he learns that Sarah is there, and the stakes are raised when he discovers that his teenage daughter has snuck along for the ride, these threats to the family unit are a false lead. Malcolm finds Sarah mere moments after setting foot on the island's shores, and Kelly is rarely out of the protective reach of her guardians. The real family under threat in The Lost World is that of island's nuclear T-Rex unit, and when the injured baby squeals in pain the audience is meant to empathize. The conflict of the attack is thus considerably less clear-cut than its counterpart in Jurassic Park, as two families try to protect themselves, their mutual provocateur absent from the showdown. These murkier stakes don't readily endear the movie to viewers the way the first film did, but the attack sequence is hardly a lesser effort in scares and suspense, and it packs a more provocative punch. When the Rex parents nab Eddie, his death is more unsettling than any in the first film, not so much because Eddie is an innocent, but because the brutality has an emotional and righteous motive.
Their equipment sent over a cliff and their engineer ripped to shreds, the heroes have no choice but to join Ludlow and the mercenaries in their search for a way off the island. While the stakes in this stretch are at times more conventional (raptors don't need an excuse to kill), the invitation to root for the humans isn't so plain as it was before. Where Jurassic Park could not imagine a human menace greater than its carnivorous creatures, The Lost World does – as per this exchange between Tembo and Malcolm: "My point is, predators don't hunt when they're not hungry." "Yeah, only humans do."
In adapting Jurassic Park to the screen, Spielberg and Koepp made numerous changes to Michael Crichton's novel, one of the more crucial being in the characterization of John Hammond. Crichton, ever skeptical of the influence profit-chasing suits had over science and medicine, painted Hammond in the manner he did most executives – arrogant, miserly, and near-Machiavellian in his pursuit of capital. Nevertheless, Hammond is a shameless dreamer and a benevolent family man, something that no doubt resonated with Spielberg. The film's Hammond is thus written more as foil than antagonist, somewhere between Francois Truffaut's Claude Lacombe in Close Encounters of the Third Kind (an authority figure whose nominal opposition to the hero is trumped by a mutual sense of idealism) and Jaws's Mayor Vaughn (whose penny-pinching is cast aside once his family is threatened). Consequently, Jurassic Park on film has no major human antagonist. Wayne Knight's computer professional/bumbling idiot Dennis Nedry comes the closest, but he's merely a figure to set the main conflict in motion – once he's disabled the park's security systems, his function is fulfilled and he is promptly killed off.
The Lost World differs even more dramatically from its source material, but in a sense remains more faithful to Crichton's Jurassic Park by grafting the negative qualities of the novel's Hammond onto Ludlow. Ludlow stinks of villainy the moment he walks on-screen, all faux-aristocratic body language and condescending dialog ("This suit costs more than your education."). His money-grubbing arrogance, coupled with his willful ignorance of the catastrophic events of the last film (and the last act of King Kong, for that matter) pits him as the film's unambiguous villain. On the second tier stands Postlethwaite's Tembo, less enchanted by money, forgoing payment for an opportunity to hunt a T-Rex. Together they personify the twin failures Spielberg considered The Lost World's themes: "the failure of people to find restraints in themselves and the failure of morality to protect these animals." Bold words for a fast-tracked sequel to a movie about a dinosaur island, perhaps, but words nevertheless confirmed within the film.
Human and moral failures abound in The Lost World, inciting Spielberg's passions more than any other element of the film, and informing its grimmest sequences. Crichton afforded Hammond a cruel but karmic death in the Jurassic Park novel, having him eaten alive by compsognathi after attempting to flee the site. Spielberg eased up, seeing it as punishment enough for Hammond to have a few dead souls on his conscience and witness the collapse of his dream. No longer so intent on forgiveness, Spielberg employs poetic justice with a vengeance The Lost World. After observing a harmless compy of which he is told has "no reason…to fear man" Dieter Stark, Tembo's cruel and drunk right-hand man (Peter Stormare) coldly torments it with his cattle prod, slurring "Now it does." Later, when relieving himself in a river, Stark again encounters the compys, now traveling in a large pack. Though the scene initially casts them as more of a slapstick-inspiring nuisance, the longer the scene goes on (and it is long), the tone shifts. Stark is lost, helpless, and sauced, and the compys are hungry and aware of his vulnerability. Pathetic as Stark is, Spielberg has no sympathy for him and lets him die a protracted and audibly gruesome death, the director's allegiances wholly with the dinosaurs. When the heroes discover the caged and wounded dinosaurs in Ludlow's camp, there's real empathy in how Spielberg shoots them, scarcely different from the unjustly contained and hospitalized titular alien in E.T. The difference here is that these creatures have an appetite for humans, and Spielberg provides them with a full buffet.
When the transported T-Rex is running amok in San Diego in the film's climax, Ludlow is shocked and remorseful to the point of near-catatonia, and Malcolm-as-narrator drives the point home by bluntly telling him "Now you're John Hammond." (Even he, it seems, was conscious of the re-casting.) Though T-Rex is deadly and destructive in its rampage, Spielberg inflects the entire sequence with comedy. Japanese tourists run and scream a-la Godzilla, a Phillips-76 gas station globe rolls down the street in a quick nod to Raiders of the Lost Ark, and a family screams in terror as the T-Rex devours the family dog in their backyard, a micro dino-edition of Poltergeist. Spielberg doesn't grieve the losses of any civilians, even those who haven't transgressed against the dinosaurs. The conflict of this sequence is again the separation of the family, and it finds its resolution not in the defeat of the T-Rex, but in the dino's reunion with its kidnapped child. Moreover, the guilt-wrecked Ludlow isn't let off the hook post-reunion. The parental Rex corners Ludlow in the cargo hold, briefly eases off, and lets the child finish the job in what is presumably its first kill.
Cosmic justice was no stranger to the Spielberg canon prior to The Lost World – the villains in the Indiana Jones films all get their just desserts in exceptionally graphic fashion – but rarely had he characterized villains with such cynicism. The Nazis and cultists of the Jones movies are oddball maniacs, the government agents of E.T. faceless and ultimately harmless, and Hook a literal mustache-twirler – always in the minority, never the majority. The shift in characterization for Spielberg's antagonists found its ferment four years earlier in Schindler's List. Though the film drew some criticism for making its central Nazi (Ralph Fiennes' Amon Goeth) a temperamental sociopath instead of a compliant soldier or rationalizing bureaucrat, the film is nevertheless cognizant of the more insidious strains in society that perhaps better typified Nazism and allowed it to thrive. Schindler himself is initially an opportunistic capitalist intent on exploiting Jews for cheap labor, and the pervasiveness of Nazi ideology is harrowingly exemplified in a pre-teen blonde girl who taunts "Goodbye Jews!" to the citizens rounded up in the Krakow ghetto. Spielberg later referred to the shooting as "unbearable," the cast and crew facing anti-Semitic graffiti and off-camera abuse from unrepentant locals (all whilst living among recreations of Plaszow and Auschwitz of their own making, no less).
This is not to say that Spielberg inflected every subsequent film with Holocaust metaphor, or that The Lost World's hubristic scientists and businessmen should be read as Nazi analogues. Rather Ludlow, Stark, and the mercenaries demonstrate a shift away from the abnormal madmen of Spielberg prior, enabled now by capitalism and emblematic of the imperial tendencies once equally associated with his protagonists. The heroic crew of the Orca in Jaws has no reservations about hunting the shark in its natural habitat, Indiana Jones and the Temple of Doom comes off as a paean to white colonialism, and the central failing of the titular Jurassic Park isn't so much that the dinosaurs are caged, but that cages are inadequate. In and of themselves the aforementioned movies and their brethren don't engage with these issues directly, much of their success derived from their narrow focus and consequent immediacy of their stakes. Post-Schindler, global and historical implications could no longer be ignored in Spielberg's work, thus muddying the once clear-cut morality that defined his filmmaking. The shift is clear in the films that flank Schindler's List – in Jurassic Park and The Lost World, Hammond and Ludlow have near-identical occupations and goals, but one is a hero while the other is a villain.
In the films that followed, the once unambiguous villains of his work were supplanted by characters with sinister motives inexorable from their social authority, morally grey counteractors, and faceless forces of destruction. Minority Report's Lamar Burgess is the corrupt inventor of the system by which the hero lives, the family is threatened equally by aliens as they are humans in War of the Worlds, and the line between terrorism and counter-terrorism is blurred beyond distinction in Munich. Moreover, the heroic Spielberg surrogates once exemplified by dreamers like Close Encounters' Roy Neary and Hook's Peter Banning become harder to find, and less romanticized once identified, as when Frank Abignale Jr.'s twin pursuit of family and adventure in Catch Me If You Can ultimately leads him to neither. It all begins with Ian Malcolm in The Lost World, disenchanted and impervious to awe, and Tembo and his trophy-collecting mercenaries, whose reverence for their quarry and irreverence for international law is only steps removed from that of globetrotting pillager Indiana Jones.
The central thesis of Schindler's List, communicated by Ben Kingsley's Stern in its final moments, as well as by one of its taglines, is a phrase from the Talmud: "Whoever saves one life, saves the world entire." Before Schindler, Spielberg seemed to believe this without question, but as it has been mentioned, the state of the "world entire" never took precedence over the "life of one." E.T.'s presence is scarcely felt outside of the suburbs, the collapse of Imperial Japan after the bombings of Nagasaki and Hiroshima in Empire of the Sun is primarily an instigator for Jim's family reunion, and Indiana Jones and friends stop the Nazis from acquiring powerful ancient relics, but prevent little else. In The Lost World and what follows, the weight of the world entire grows heavier and heavier, the victories harder won and their voids more nakedly exposed. Cinque and his attorneys win him his freedom from slavery in Amistad but he returns to Africa to find his family gone and presumably sold off, and while Saving Private Ryan might be the "one decent thing" the men do in that "whole god-awful shitty mess," it warrants numerous casualties that haunt Ryan into old age. The family reunions that were once the hero's great reward turned into mere consolation prizes amidst the endemic corruption, violence, destruction, and extinction respectively found in Minority Report, Munich, War of the Worlds, and AI.
Depending on one's perspective, The Lost World is either a light movie with dark moments or a dark movie with light moments. While its status as a PG-13 dinosaur blockbuster with gymnastics jokes would suggest the former, Spielberg's subsequent directorial work confirms the latter. The story concludes with the Tyrannosaur family safely reunited on Isla Sorna, which Hammond and the Costa Rican government have officially declared a nature preserve. Hammond offers the film's thesis in the closing moments: "These creatures require our absence to survive, not our help. And if we could only step aside and trust in nature, life will find a way." He's directly quoting one of Malcolm's lines from in the first film, but there's a small but crucial difference. The "if" that precedes it casts the phrase less as a logical truth as it did coming from Malcolm and something closer to "life might find a way" – an apt summary of the nagging problem at the heart of Spielberg's later films, most of which could neatly bear The Lost World as a subtitle. More so than its predecessor, whose name can be rattled off next to its thrill-ride siblings without a pause, The Lost World at times appears lost in the filmography of Steven Spielberg. But at this vantage, as it marks the near halfway-point of his career, it's a portrait of both who the director was and who he has become – an uneven but compelling work by a confident director atypically unsure of his standing, one foot hoping to stay in the shallow end, the other ready to jump into deep, dark waters. While on its surface a folly, the experiment was both noble and necessary – it may have come at a cost, but life found a way.


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Rinth Island Review
Every now and then a game will come along that will make us take a step back and leave us marveling at the sheer amount of creativity on display, all in a little $1 app. Rinth Island is one such game. It combines platforming and puzzle elements in clever ways, with easy-to-learn but tough-to-master mechanics, all wrapped up in a gorgeous package. Rinth Island is a unique, joyful, and challenging experience that everyone should try.
In Rinth Island, you play as either Gimble or Libby, inhabitants of the island who find themselves stranded after a devastating storm rips through the area. The adorable duo must find their way back home, and along the way they'll help out other hapless island dwellers or take a detour to examine some interesting ruins that the storm has unearthed.
There are 60 levels divided between two worlds for our heroes to traipse through. During your travels you'll push crates or other objects (like coconuts), traverse over treacherous bridges, pull levers, fire cannons, use explosives you gather to blow your way through, and climb up or down the massive, vertigo inducing stages. Each stage can be played through four different times with different objectives, like only taking a certain number of steps, gathering crystals, time trials, or completing the adventure/story mode.
Coming 'round the bend.
You control your characters with either a virtual D-pad, or by touching the screen and having Gimble or Libby moving to where you touched. We preferred the D-pad method, as the "touch" method seemed less precise and not quick enough for certain stages. Learning the mechanics may be easy, but the game is anything but.
There's a lot of trial and error here, with you constantly trying to figure out the right order to pull a lever, move a crate, or blow up a rock. This can get a little annoying at times, as the simplest omission can stop you dead in your tracks. Sometimes you'll be going merrily on your way through a stage, only to discover that you didn't do something earlier and now you can't go any farther. Expect restarting more than a few times.
Also, the circular, 3D stages can occasionally make it difficult to see exactly where you're supposed to go and where trapdoors or other obstacles lie. There is a "rewind" function that allows you to undo mistakes, but you have to pay for this function via an in-app purchase.
Perfecting the Sam Fisher shimmy.
The graphics are simply gorgeous. Your characters are cute, well drawn and well animated. The stages themselves are lush and beautiful with stunning island vistas, magical fantasy lands, and dark and creepy underground lairs. They are also massive in scale, and you'll sometimes find yourself in awe as you stand atop a platform overlooking the mountains, with birds flying by you and the waves crashing beneath you. The music is also great, with a fun and peppy, almost Celtic-sounding tunes.
Rinth Island is an amazingly fun game to play. With its challenging (though sometimes annoying) puzzles and gameplay, wonderful graphics and music, and massive amount of content, this is a game you'll be coming back to time and again. There's even a nifty level editor which allows you to annoy, we mean share, your own custom stages with others. Rinth Island is a game that every puzzle and adventure fan should be playing.


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CIU Students Involved in Local Community
Columbia International University students rolled up their sleeves for a blood drive and hosted a picnic in the park as they demonstrated the love of Christ by getting involved in the Columbia area community.
Blood drives have been a regular occurrence through the years and the South Carolina chapter of the American Red Cross has taken notice. The chapter honored CIU with the "Most Improved" award at a banquet and ceremony in September.
Red Cross officials noted that in CIU's last three blood drives (November 2012, April 2013, and September 2013) CIU averaged 42 units per drive.
"I'm really pleased with the way our students have supported our blood drives," said Dr. Bryan Beyer, CIU dean of the College of Arts & Sciences. "Each unit of blood donated can potentially save three lives, and our students have really stepped up."
Beyer noted that only 38 percent of the U.S. population is eligible to give blood, and of that number, only about four percent actually give blood.
"That's what makes every blood drive important," Beyer said.
Meanwhile, CIU students hosted an outreach to residents in the Hyatt Park area of Columbia, just a few miles from campus. The students cooked hot dogs for the people in the neighborhood, played football with children and painted their faces, and some students brought Bibles and shared the gospel.


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Style # 211744
A beautiful mix of sequins and beadwork make this bebe cocktail dress an effortless endeavor with little to no need for jewelry. Simply slip into a pair of party shoes and embrace a glossy minaudiere.
- 82% triacetate, 18% polyester
- Center back to hem: 32" (81 cm)
- Polyester charmeuse lining
- Invisible zipper
- Dry clean
- Imported
- Model is 5'9" and is wearing a US size S
Embellished Neck Shift Dress is rated out of 5 by 1.
Rated 4 out of 5 by Tara1 from Classy and Sexy I wore this for my birthday and it was a hit. The only thing I don't like is the lining on the inside. It should be sewn to the dress but instead it's like a slip. It constantly would rise up and I had to constantly pull it down to keep a smooth look. Other than that I loved it!
Date published: 2013-05-08


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Simpol - Policy Development
Processes for developing Simpol's policy content will only be launched once sufficient support in principle for Simpol is first forthcoming from politicians around the world. Simpol's policy content will, when that time comes, be developed by citizens via processes hosted by each national Simpol organisation, and overseen by the International Simultaneous Policy Organisation.
At that point citizen-supporters will be invited to design, propose, refine, negotiate and ultimately approve Simpol's policies themselves. In this process, they may take advantage of policies already developed by politicians, by non-governmental organisations, or they may choose to take advantage of independent policy experts.
The policies would remain strictly provisional until sufficient international consensus for their implementation had been achieved. In that way Simpol's policy content would remain
- Flexible: The policies, once developed, can be changed at all times until the point of implementation to ensure they are fully appropriate for then-prevailing world conditions
- Democratic: Supporters who may join the campaign at any time prior to implementation still have the opportunity to contribute to the process
Simpol is also globally inclusive. Not only does it allow citizens in democratic countries to participate in developing policy, at a later stage in the campaign, the governments of non-democratic nations would also be invited to participate in any international negotiations to determine a final set of policy measures.
Both supporting citizens and supporting politicians would be invited, prior to implementation, to re-confirm their agreement.
To ensure Simpol only includes policies that genuinely require simultaneous implementation, the process incorporates a unique criterion for screening out national policies. In this way it achieves a healthy subsidiarity between the global level and the national level. This criterion is expressed in the following question:
Would the unilateral implementation of the policy by a single nation (or by a restricted group of nations) be likely to cause it a significant competitive disadvantage?
If the answer is:
- No: the policy does not qualify for inclusion in Simpol because it could be implemented by any nation (or restricted group of nations) alone.
- Yes: the policy qualifies for inclusion in Simpol.
In this way, only appropriate policies are included while the national sovereignty of all nations is maintained.
Multi-policy framework
One of the unique features of Simpol is that it can include more than one policy. By combining two or more complementary policies, nations that may lose out on one policy can gain on another, so vastly enhancing the chances of securing global co-operation.
To give one example, the following two global policies could be combined and negotiated together, so forming a single Simultaneous Policy:
- Currency Transactions (Tobin) tax: This tax, if applied globally and simultaneously, would be risk-free for any nation and could raise very substantial sums from financial markets. These funds could then be used to compensate any nations that might lose out on:
- A carbon emissions reduction agreement: Dramatic reductions in CO2 emissions across the planet by all nations, with dramatic reductions by the most highly-polluting nations, such as the USA and China. Nations suffering disproportionate costs in reducing their emissions could thus be compensated, under an agreed formula, from revenues raised by the Currency Transactions Tax.
Two-stage Process
Simpol's policy development process, when launched, will incorporate two stages; the first to include the differing perspectives and priorities of supporters in each nation; the second, the need for a final set of policies which supporters and all governments can agree to and implement.
Stage 1 will be launched only once sufficient support in principle for Simpol is forthcoming from politicians around the world. Stage 2 would only commence once international support for Simpol was already widespread and the possibility of implementation was approaching.
- Stage 1: Supporters engage in their own independent national processes for developing Simpol's policy content. In this way, national perspectives and priorities can be taken into account;
- Stage 2: Representatives from each national Simpol organisation and their governments, as well as the representatives of non-democratic governments would meet to negotiate a final set of measures.
Participating in Policy Development
According to the two-stage process outlined, Stage 1 of policy development is undertaken by each national Simpol organisation independently. Only at a much later stage when the time for implementation was approaching, would the second, global stage of harmonising a final set of policy measures commence.
National policy development processes are occuring in those nations where a Simpol campaign is operating. To participate in it, you must be registered as a Simpol supporter.
For more details on how supporters in Luxembourg can participate, please contact us.


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Nichole Moore and Brock Loesch, Coldwater, are the parents of a baby girl, Harper Ann, born at 2:46 p.m. Aug. 1, 2013, at Pratt Regional Medical Center. She weighed 7 pounds, 4 ounces and was 20 1/4 inches long.
Hailey, 12, and Hunter, 6, welcome their sister.
Grandparents are Cathy and Tony Uhl, Al and Pearl Ellis, all of Coldwater, and Roger Loesch, Hays.
Great-grandparents are Chuck Uhl, Wilmore, Lee and Eugene Baker, Branson, Mo., Milo and Marjorie Cook and Jack Loesch, all of Protection, and Betty Pfannenstiel, Hays.


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Take full advantage of our IoT portfolio, SAP Leonardo, and Industry 4.0 – with our IoT consulting services
Create and execute a successful Internet of Things or machine-to-machine (M2M) strategy – with SAP's IoT consulting services. Our team can help you develop an IoT road map, implement the right IoT applications and architecture for your business, ensure interoperability, and more. Get support at any stage of your digital transformation – whether you're just getting started or have existing IoT challenges to overcome.
- Find out how SAP solutions can add value to your IoT strategy
- Speed time to value and lower TCO for your IoT systems and investments
- Fully leverage the SAP IoT platform and design a scalable architecture
- Rely on an end-to-end IoT service offering tailored to your business needs


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Steve Carell Will Crush Your Box Office Dreams
Former television star Steve Carell will not be happy until every movie in the cineplex is his and they are all making money. He is one seriously greedy bastard. Leonardo DiCaprio better watch out.
Because if Inception keeps dreaming its box office dream in the top spot, then Steve Carell might fire a missile launcher at his head or some shit. Really, the man looks all nice and mild-mannered, but deep down inside he's an animal. Did you hear what he did to Will Farrell that one time? Amazing! Though he didn't claim the top spot, Carell did have two movies in the top five at the box office this weekend.
1. Inception—$27.5 million: Damn, yo, that's a whole lot of coin! After three weeks of everyone in the world fawning over it, Christopher Nolan's latest has raked in $193 million. Sadly, the production is still in the hole. After all, Ellen Page's neckerchief budget on the movie was $212 million, and between paying for the surgery for Leo's TMJ as a result of all that jaw-clenching and shelling out for all Tom Hardy's male hookers while on location, they need to make at least another $374 million to break even. Damn, movie financing is so crazy.
2. Dinner for Schmucks—$23.3 million: Not too shabby for an opening weekend. The first of Steve Carell's offerings made a respectable amount of money, even though the reviews were middling and word of mouth hasn't been great (I just overheard someone calling it "possibly the worst movie ever"). Know what would have improved this movie both creatively and financially? If Paul Rudd were shirtless. I'm telling you, if there was guaranteed Rudd partial nudity this thing would have done at least $10 million more. If he had showed up at some Gay Pride celebrations to flog the movie, it probably would have done $15 million more. It's shocking no one has exploited the homo love for Paul Rudd yet, but whoever does is going to be raking it in. (Psst, Paul. I finished a screenplay about a gay super agent avenging his partner's murder called Out for Revenge. You'd be great in it.)
3. Salt—19.3 million: The Angelina Jolie movie fell to the third spot this week even though it was in more theaters than either of the other two movies. That means if you really want to go to the movie and not have annoying people chewing their popcorn in your ear, go see this. Also, if you don't go, Angelina is going to show up at your house and steal your husband.
4. Despicable Me—15.5 million: This is the second Steve Carell movie that's doing well. Actually, I kind of think that it's unfair that Hollywood stars get credit when they give their voice to a cartoon character and then the movie does well. Kids don't know who Steve Carell is, they just know that he makes silly sounds for some crazy dude named Gru. You could get some no-name to do the voice and the rug rats wouldn't even know the difference. We think Mike Myers started this trend after taking credit for Shrek, because if he didn't he hasn't had a hit movie since Fat Boy Slim was popular. But anyway, thanks to the Myers Corallary, Carell now gets to bask in this flick's computer-generated glory. His agent must be thrilled.
5. Cats & Dogs: The Revenge of Kitty Galore—$12.5 million: This movie makes me sick. First of all, it's about talking feline and canine super spies, which is way stupider than a gay super spy played by Paul Rudd who is avenging his partner's death (Out for Revenge—coming next summer!). Secondly, there is a pussy joke in the title of a kids movie. Yes, yes, it says "Kitty Galore," but that joke isn't for kids, because kids don't get jokes. They get sick and they get annoying and they get "time outs" but they don't get jokes. No, that is a joke for parents who go, "Oh, they changed it from 'Pussy Galore' to 'Kitty Galore.' Damn, that is funny. I love pussy jokes. I'm gonna take the kids." I bet the entire audience was made up of divorced dads dragging their kids out to the movies on a Saturday afternoon and waiting for a pussy joke that never came. So, it made all this money. Ugh. But at least it made more than Zac Efron's My Dead Brother Named Charlie. That movie looks, really horrible.


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24 April 2013, Geneva, Switzerland - In the framework of their collaboration aiming to jointly develop a series of learning programmes in the field of knowledge management, UNITAR and the Food and Agriculture Organization of the United Nations (FAO) have developed the course Innovative Collaboration for Development (ICfD), an e-learning course on Web 2.0 tools for development.
The overall goal of the course is to empower development professionals to recognize the potential of social media and to make innovative use of these tools to improve the efficiency, effectiveness, and reach of their work. The course, therefore, gives participants the opportunity to use and analyze social media tools in light of their adaptability to specific workplace contexts.
UNITAR is pleased to announce the opening of registrations of the eight session of the ICfD course from 10 June to 9 August 2013.
Applications can be submitted online: http://www.unitar.org/event/innovative-collaboration-development. The deadline is 1 June 2013.
The course fee is USD 850. No fee reductions apply as there are no scholarships available for this session.
Class will be opened with a minimum of 20 participants, on a first come first served basis.


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Social Activities
Social Activities include:
- A retreat in the Adirondack the first weekend of the program.
- A two-day sustainability field trip across Lake Champlain to Burlington to tour facilities such as the McNail wood gasification plant, the Intervale Composting regional composting facility, Ben & Jerry's Ice Cream Factory (and wastewater facilities), the University of Vermont Davis Center (LEED Gold Certified building), Shelburne Farms, and Noble Ellenburg Windpark.
- Canoe trips on the Raquette River right from Clarkson's on campus boathouse.
- Volleyball intramural competition with other summer research programs.
- Movie nights in the comfortable Adirondack style Outdoor Lodge.
- Whatever else you cook up!


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Ke$ha Hits Fashion Week with Erin Wasson
Ke$ha flaunts her spiky ball purse while sitting front row at the Erin Wasson + RVCA Fall 2010 presentation during Mercedes-Benz NY Fashion Week at ABC Carpet & Home on Thursday (February 11) in New York City.
This was Wasson's third time showing during New York Fashion Week; the band Yeasayer performed live during the show.
K$ attended the show with Elle's creative director Joe Zee, who tweeted, "Spent the funnest afternoon with Ke$ha and now just left Erin Wasson's show where Ke$ha wore no pants and Erin showed long dresses. Irony!"
FYI: K$'s studded and patched vintage motorcycle jacket is made byWhat Goes Around Comes Around.


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30 photo filters mimic real Polaroid and various vintage effects as closely as you can get.
A number of user adjustable options for each filter.
Add handwriting-style text anywhere you want on the Polaroid photo.
Looks like a Polariod. Sounds like a Polaroid. Works like a Polaroid.
Save your Polaroid photos in high-resolution with print quality.
Share photos via Email, Facebook, Twitter, Flicker, Tumblr, Instagram & Sina Weibo.


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The 10 Weirdest Celebrity Funerals
It's coming up on the one-year anniversary of that three-ring circus that was Michael Jackson's funeral — we hope you kept your rhinestone-encrusted gloves at the ready — and though 2010 hasn't seen anything quite that spectacular, we've already had our share of bizarre celebrity memorials. There's Corey Haim's family's fight with the city of Toronto over who should pay for his funeral, and Gary Coleman's request to have his ashes scattered over train tracks. But these pale in comparison to some of the, um, death-styles of the rich and famous. From having your mourners smoke your ashes to being buried in piano-shaped tomb, we present the craziest celebrity funerals of all time.
1. Jimmy Dean
When the country music legend — and inventor of the pancake-wrapped breakfast corndog — died earlier this month, he left very specific instructions for his burial. To wit: that he would be entombed in a $350,000 piano-shaped mausoleum that he purchased several years before his death. And the inscription on the piano? "Here lies one hell of a man." Indeed he was.


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Brave: The Video Game, inspired by the Disney/Pixar movie Brave, is now available for PlayStation3, Xbox 360, Wii, Nintendo DS, and Windows PC/Mac. The game is a third-person, action adventure where players can challenge destiny and change their fate as Merida, voiced by the film's actress Kelly Macdonald. Brave: The Video Game, which is rated E, offers a variety of gameplay options, including single-player as Merida, co-op mode with a will-o'-the-wisp, and a special Bear mode. With Kinect for Xbox 360 and the PlayStationMove motion controller for PS3, gamers can feel as if they are using a bow and arrow.
This post was originally written by Ali Mierzejewski and published by ToyBook.com. For more news, visit www.toybook.com, follow The Toy Book on Twitter, and like The Toy Book on Facebook. The Toy Book is a bimonthly trade magazine covering the toy industry, published by Adventure Publishing Group.


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Custom made to order. Minimum order quantity is 12 uniform sets. Allow four to five weeks for delivery. Call to order.
Custom dye sublimated field lacrosse uniform Design 1005 made to your specifications in any color combination. Price includes jersey and matching shorts. 150 denier AK Knit (airknit) fabric with two-ply shoulders, 4" sewn-in side inserts, self-fabric v-neck and hemmed sleeves. Other fabrics available, call for pricing.
Can also be made in box lacrosse style (long sleeves) for additional cost.
One flat price includes all decoration for numbers, letters, team name, logos, sponsors, any number of colors (Individual player names add $7.00 per uniform). NO SET-UP CHARGES.
You choose the uniform colors in any combination. All decoration for numbers, lettering, logos, sponsors and any other artwork you want is dyed directly into the fabric.
Sizes: Youth S-XL (-$2.00), Adult S-6XL (over XXL adds $4.00/size).Custom made to order. Minimum order quantity is 12 uniforms, allow four to five weeks for production plus delivery time.


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Step Inside the Library: Color Your World in January
January 24, ALL MONTHCross Lanes Branch Library, Main Library, Nitro Public Library, Riverside Public Library, St. Albans Branch Library
Type: Arts & Crafts
Age: Adult
Topic: Art & Design
Let the library help you chase away those winter blues by adding some reds, greens, purples and all of the other colors in the rainbow! Stop by and spend some time relaxing while you color to your heart's content. Coloring pages and pencils will be provided.
Location Details: Materials for the Main Library will be available on the first floor.


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Proline Promass I 100
Coriolis flowmeter
Combines in-line viscosity and flow measurement with an ultra-compact transmitter
- Toevoegen aan winkelwagen
- Selecteren & dimensioneren
- Configureren
Prijzen na login en configuratie
The straight single-tube design of the Promass I 100, provides the regular Coriolis flowmeter outputs of mass flow, density and temperature, additionally it provides in-line viscosity measurement as an optional output.
Combined with the smallest transmitter housing available today it delivers full performance on the smallest footprint. Promass I 100 will be the preferred choice for system integrators, skid builders and equipment manufacturers.
Energy-saving – full bore design enables minimal pressure loss
Fewer process measuring points – multivariable measurement (flow, density, temperature)
Space-saving installation – no in/outlet run needs
Space-saving transmitter – full functionality on smallest footprint
Time-saving local operation without additional software and hardware – integrated web server
Integrated verification – Heartbeat Technology
Measuring principle operates independently of physical fluid properties such as viscosity or density
Measuring liquids and gases in applications requiring low pressure loss and gentle fluid treatment.
Device properties
Straight, easy cleanable single-tube system
TMB® technology
Measuring tube made of Titanium
Robust, ultra-compact transmitter housing
High ingress protection: IP69K
Local display available
Kenmerken en specificaties
Documenten / handleidingen / software
Accessoires / Spare parts
Voorganger / Opvolger
Voorganger: Promass 80I, Promass 83I


text: Hi guys. Many customers are using forwarding in our ISPConfig server to receive their email on mailboxes not belonging to our mailserver. The problem is that if spam arrives in our mailserver, this spam is forwarded to onother mailserver and, after a while, our mailserver is classified as spammy by various blacklists. This happends because the spammy forwarded email seems, in fact, originated by our mailserver. How can we configure postfix (or ISPConfig) to drop emails forwarded to external domains? Does anyone already messed up with this problem? Thanks g


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Vidal on homophobia
"Look, homophobia is fed into every child in the United States at birth. It is unrelenting, it never lets up. They asked a whole raft of high school boys across the country a couple years ago, one of those polls about what they would most like to be in life, and what they would hate to be, and so forth, and what they would most hate to be was homosexual. There wasn't anyone, not one, who just skipped the question. They all said, 'Oh no, that's the worst thing you could be.'"
Genaro Molina / Los Angeles Times
Copyright © 2018, Sun Sentinel


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Based on the "grounds" alone — a lushly landscaped one-plus acre lot that includes a tiered yard with shady and sunny spaces, a beautiful lagoon pool with a waterfall surrounded by an extra-wide custom stone deck and a lighted tennis court — this property is a contender for estate status. Add an extensively and newly renovated Contemporary Colonial (as in this year) and its estate worthiness becomes a given.
ADDRESS: 21 Prince St., Beverly
BATHROOMS: 5 full; 1 half
LIVING SPACE: 5,701 sq. ft.
Based on the "grounds" alone — a lushly landscaped one-plus acre lot that includes a tiered yard with shady and sunny spaces, a beautiful lagoon pool with a waterfall surrounded by an extra-wide custom stone deck and a lighted tennis court — this property is a contender for estate status. Add an extensively and newly renovated Contemporary Colonial (as in this year) and its estate worthiness becomes a given.
The reasons are many
Beyond the broad stone steps, a large covered stoop and through double doors with leaded glass inserts, is the main entry way — a two-and-a-half story open foyer where stunning dark-stained, wide plank bamboo flooring begins and continues throughout the entire house. A striking cohesive element, this also reflects the design philosophy of this gem.
Beside the extensive use of such sustainable products as bamboo, low- and/or no-maintenance materials are the norm. For example, the exterior is Hardi plank siding and composite materials are used on all decks. Also the roof, every window (Pella), every door and every piece of molding are brand new, too.
But let us continue.
The entry transitions into an elegant galley that is an integral aspect of the traffic flow: the house pivots around this large, light-filled artery.
Large windows with Palladian toppers are only one highlight in the huge living room just two steps down from the gallery. The fireplace with a marble surround in a herringbone pattern and marble hearth is another beautiful focal point. Full pane glass sliders flanked by matching windows open to the deck and yard.
Shadowbox paneling is a classic accent in the spacious elegant dining room (on the other side of the gallery) overlooking the tennis court via a three-window "wall." In this room that easily accommodates eight-plus many more for dinner, full glass pane sliders lead to the deck and then to the tennis court.
That the kitchen is gorgeous is a delightful fact. But this big room with a view of the pool and yard works hard, too. In addition to acres of counter space and beautiful cabinetry, this chef's dream has Jenn-Air double ovens (one is convection), a refrigerator with French doors, a microwave drawer and an induction cooktop.
OK, OK. This room does "pretty" very well, too. Consider that the base of the huge step-down island with seating for four or five has shiplap and that this same wood is used in the "framed" tray ceiling over the island.
The scene stealer, however, is a free-standing double sided fireplace shared with a family room. For added drama this room has a cathedral ceiling and exposed (and lighted) ceiling beams. By the way, this is a huge room with great yard views.
About the second floor
A soaring vaulted ceiling with extraordinary angles over the second floor landing is the first hint (but certainly not the last) that this level has many unique features.
Big, as in king-bed size big, is an appropriate description for the sleeping chamber of the master suite. A lovely view of the pool and yard is appealing and so is the large private deck, but the oversized and very deep storage closet may change your definition of practical. Oh, the bedroom also has a very, very large walk-in closet with a pocket door.
A vaulted ceiling is one outstanding feature in the luxurious en suite bathroom but the six-foot-long, step-in shower with a surround of subway tile with a beveled edge does commands immediate attention. This grand-sized space also has a rain shower head, hand-held body spray and a long built-in niche for bathing products. The same tile is used for the wainscoting in this room that also has a vanity with two vessel sinks and a privacy wall for the commode.
Another bedroom — this has a custom closet with five built-in drawers along with access to a crawl space — is also generously sized. So is the shared bathroom that has a tub/shower combination as well as a deep linen closet. The vaulted ceiling in this room adds a feeling of grandeur.
A Jack 'n' Jill bathroom with two sinks and a soaking tub with a tile surround adjoins two large bedrooms. One, with two double closets and a 10-foot-high ceiling, easily handles a king-size bed. The other bedroom has an incredibly high vaulted ceiling and overlooks the tennis court. This, too, has a double closet.
Down we go
Ready to be re-imagined, the lower level, which is approximately the footprint of the house, is an exceptionally versatile area.
In addition to a massive laundry room, this level has access to the yard, tennis court and the pool. For added convenience, a shower and a commode room with a sink are nearby. The fact is that family and guests tromping through the house in wet bathing suits will never happen.
Two massive rooms (one with a brick-front fireplace) can be transformed into guest quarters, in-law/au pair suite, an office, yoga/exercise studio or entertainment space (complete with wet bar) guaranteed to generate envy. A combination of uses is also an option — yes, the level is that big. A full bathroom with a tub/shower combination ratchet up the flexibility factor.
Contact Francine Cecieta of J Barrett & Company at 978-808-0704 or 978-922-2700 or by email: firstname.lastname@example.com.


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Explore Gdansk
Gdansk is a beautiful seaside town, located on Poland's northern Baltic coast, with a lovingly restored Old Town at its heart. Despite being the victim of devastating bombing during WWII, Gdansk's restored Old Town feels completely authentic. Gdansk is revered in much of Poland, for it is here where Lech Walesa led the shipyard's workers in their victorious revolt against the communist regime.


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The Hill-Side Tie - Multi Flannel
Brother-owners Emil and Sandy Corsillo of Hickoree's Hardgoods in Brooklyn, NY created a small U.S. made textile company called The Hill-Side. They scour the world for beautiful, uncommon textiles that they source in places like Guatemala, South Africa, the U.S. and Japan. They use those textiles to make neckties, bandanas, and scarves with narrow and streamlined designs. These neckties are totally unique and look great to make a regular suit more interesting, or dress up a pair of jeans. Each piece is handmade, cut and sewn at a small factory in New York City. Sold Individually. 4-Color Gingham Double Faced Flannel, 100% cotton from Japan, red/blue.
57"x2" at wide end


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Description On Ppa002.site
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|Ppa002.site Removal Instructions
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Important Note :- For the safety of your PC, before you start the Ppa002.site manual removal, kindly confirm the following things:
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1. click "Windows key + R key" together to open Run window:
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3. Press Uninstall a program:
4. Right-click Ppa002.site or other unwanted programs and press Uninstall:
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Remove Ppa002.site On Google Chrome: Launch up Google Chrome> press your Chrome menu > press Tools> press Extension> choose Ppa002.site and unwanted extensions> click on trash bin
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On Internet Explorer: Open IE >press Tools > press Manager Add-on Tools and Extensions> choose Ppa002.site and unwanted extensions and add-ons > press on Remove or Disable button.
On Microsoft Edge: (Reset default homepage and search engine to delete Ppa002.site associated hijacker)
Reset MS Edge homepage: Press More (…) > press Settings > choose A specific page or pages under "Open with" > choose Custom to enter your favorite website.
Reset Edge homepage: Press More (…) > press Settings > press View advanced settings > press <Add new> under "Search in the address bar with"> enter your favorite search engine >press Add as default.
Step 3 – Uninstall noxious files of Ppa002.site from Registry.
1. click "Windows key + R key" together to open Run window, then input "regedit" in Run window and press Enter button to open Registry:
2. Locate and uninstall registry files generated by Ppa002.site and other threats as below:
HKEY_CURRENT_USER\software\Microsoft\Internet Explorer\Main\Start Page Redirect="http://<random>.com"
HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\virus name
HKEY_CURRENT_USER\Software\Microsoft\Windows NT\CurrentVersion\Winlogon "Shell" = "%AppData%\<Ppa002.site>.exe"
HKEY_CURRENT_USER\Software\Microsoft\Windows\CurrentVersion\Run 'Random' HKEY_LOCAL_MACHINE\Software\Microsoft\Windows NT\CurrentVersion\Random
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2. Run SpyHunter-Installer.exe to install SpyHunter via its installer:
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Mackeeper is a complete package of 16 software, you can get almost all necessary tools for your Mac system and everything will become simple and convenient on your Mac System. Here are some most powerful tools packed in MacKeeper:
Internet Security – It will Protect your Mac machine from identity theft fraud (phishing), malwares, spyware, adware, viruses, and identity theft while using the Internet.
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Important Note To Ignore Viruses :– Something You Should Know After Removing Ppa002.site
To avoid Ppa002.site coming back and prevent attacks from other infections, follow these basic rules while using your computer:
- You must be always select Custom Installation no matter what application you are going to install;
- Uncheck hidden options which attempt to install additional programs you never need;
- Scan all your downloaded files and applications or attachments of email before you open them;
- you should Never open any attachments of unknown or spam emails;
- never try to update any app from nonofficial websites.


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The NHL reduced its suspension of New York Rangers forward Daniel Carcillo from 10 games to six for Carcillo's actions toward an on-ice official May 23. Carcillo has sat out three playoff games and will be eligible to return in Game 4 of the Stanley Cup Final.
The league reclassified his offense to a violation of Rule 40.4, for deliberately applying "physical force to an official for the sole purpose of getting free of such official during or immediately following an altercation." He had been sanctioned under the harsher Rule 40.3, for deliberately applying physical force to an official.
Carcillo began this season with the Kings before being traded to New York in January for a conditional seventh-round pick in the 2014 entry draft. The Rangers needed toughness when Derek Dorsett was forced out of the lineup by an injury.
"Looks like I would have been in the Cup Final, anyway," Carcillo said. "I was very surprised about the trade. ... When Derek went down they seemed to need someone who played the same game as him. I stepped in and the team went on a pretty good run, and obviously we're on a great run here. Hopefully, we can finish the job."
Carcillo goes back with Kings forwards Mike Richards and Jeff Carter, all the way to their days in Philadelphia. So did he shut down communications with Richards and Carter for the Final?
"I still have their number. I didn't block their numbers or anything," Carcillo said, looking amused. "They can text me if they want."
Glen Sather praises Marian Gaborik
Rangers General Manager Glen Sather had nothing but praise for Kings winger Marian Gaborik, who leads all playoff scorers with 12 goals.
"I like Marian a lot. I think he's a great guy and a great player," said Sather, who signed Gaborik to a five-year, $37.5-million contract as a free agent in the summer of 2009 and got two 40-goal seasons from the Slovakian winger.
That didn't stop Sather from trading Gaborik to Columbus in 2013 for forwards Derick Brassard and Derek Dorsett and defenseman John Moore.
"To get the kind of quality players that we were able to get, we needed depth on our team, and it certainly did it for us," Sather said. "I'm happy for Marian. He's a terrific guy. It was like every trade. It's complicated and difficult."
The Blue Jackets traded Gaborik to the Kings in March for Matt Frattin, a second-round draft pick and a conditional third-round pick.
Kenny Albert takes over
Kenny Albert will replace Mike Emrick as the play-by-play announcer for NBC's telecast of Game 1. Emrick will be absent because of a death in his family. Coverage of the game will start at 5 p.m. PDT, with pregame coverage scheduled to start at 4 p.m. on NBCSN.
Just passing through
Rangers forward Brian Boyle's stay with the Kings was not a lengthy one — 36 games spread over parts of two seasons — and he said Tuesday at media day that he was in Los Angeles for "like five minutes."
Still, he had some warm memories. Boyle scored four goals in his first seven NHL games with the Kings and experienced the novelty of a West Coast lifestyle before getting traded to New York in 2009.
"There were fun times just being the first pro team, first NHL team I got to play with," said Boyle, who was a first-round Kings draft pick in 2003. "I learned a lot here but it was a while ago. I think I really became an NHLer in New York. Maybe yesterday and today, you look around the building and you remember things, but after that I think it will probably subside when we get to playing the games.
"It was a good group of guys. It was a younger team ... it was certainly different being 3,000 miles from home, come to practice and driving home to the beach. That was different. It was a great experience, and I think, in a lot of ways for maturing and growing up."
He remembered Kings defenseman Matt Greene taking him under his wing as well as former Kings defenseman and now broadcaster Sean O'Donnell. Defenseman Peter Harrold, now with the New Jersey Devils, was a one-man car service.
"I was up and down so much one year, that's when I got called up [from Manchester] he would just pick me up," Boyle said. "He was a newlywed at the time and I'd have the extra bedroom."
Generally managing
QUESTION: Glen, having been through this before, what is the Final like for
a GM? What do you do during this time?
Sather: It's really complicated. Today it took us about three hours to figure out which golf course we were going to play on this afternoon, then later on this evening we have the question about dinner, what are you going to watch on TV tonight (laughter)? Is "Game of Thrones" on? Its tough.
Staff writer Lisa Dillman contributed to this report


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Alligator (US - DVD R1)
Gabe reviews the the best damn giant killer Crocodilia movie ever damn made
The Kendal family returns from their Florida vacation with a new baby alligator in tow. Soon after, daddy Kendal decides to flush the new pet down the toilet. Meanwhile, Slade Laboratories is conducting secret hormonal experiments with stray dogs. The dogs that don't survive the testing are dumped in the Chicago city sewer. The baby alligator feeds on the dogs, and in twelve short years it mutates into a monster. Now good cop David Madison (Robert Forster) has a whole pile of dead bodies on his hands.
It's not often that you find yourself in the presence of such an obvious subgenre frontrunner, but I can say without an ounce of doubt that Alligator is the Alpha and Omega of killer Crocodilia movies. The subgenre shows no sign of slowing down (this year we saw Primeval, next year we'll see Rogue), but I find it very hard to believe that anyone will ever reach the dizzying heights of Cretaceous born mayhem that is Alligator.
The alligator's share of credit rests on the able and strong shoulders of writer John Sayles (who shares a co-story credit with Frank Ray Perilli), the scripting mastermind behind other funny/scary monster movies like Piranha and The Howling, both directed by Joe Dante (elements of his original E.T. treatment also found their way into Gremlins), and director of genuine works of cinematic art like The Brother from Another Planet and Lone Star. Sayles is a master of duelling tones, second in my book only to Larry Cohen (and maybe Stuart Gordon) in the realms of this particular brand of comedic horror. Sayles' script fulfils the expectations of every member of the audience, offering up environmental allegory, flippant sarcasm, classic dialogue exchanges, and zany monster movie moments. Above all he never forgets to provide an entertaining story that borrows from Jaws without ripping it off completely.
Director Lewis Teague is no auteur, but his set pieces are effective, and his use of the film's paltry estimated budget of about one million dollars is impressive. The special effects are a little wonky, but considering the budget and time the film was made (1980) they're pretty impressive. The scene where the title creature breaks out of the sewer to take a stroll is actually pretty convincing use of animatronics and miniatures. Teague handles the duelling comedic and horrific tones well by treating the monster material seriously. It's his job to make the scary stuff work; it's the actors' job to make the funny stuff work. In praise of the man, the swimming pool scene is still one of the most chilling in monster movie history, and got Stephen King's attention. The writer later hired Teague to direct Cujo, one of King's best film adaptations.
The actors are great; all treat the ridiculous material with the respect needed to make it work. They're led by the incomparably cool (medium-cool, that is, ba-dum-dum) Robert Forster. I recently caught Forster once again battling giant reptiles in Dragon Wars, where he was woefully misused as a wise man rather than a heroic straight man. Few B-stars play 'heroic straight man dealing with absurdity' better than Forster, and few actors exude as much manly medium-coolness with their voice alone (many people forget that his work in Jackie Brown was Oscar nominated). According to the audio commentary he had quite a bit of input into this well rounded character. Manchurian Candidate co-star and voice of Bane on Batman: The Animated Series, Henry Silva also makes an impression and chews the scenery as the Great White Hunter, Col. Brock. His appearance gives the film a nice second act boost.
This marks the first release of Alligator in North America. Previous to this moment giant man-eater fans had to go to the UK to get a decent DVD release. Anchor Bay UK's release was a decent looking disc, though a bit on the dirty and blocky side. This new release is almost identical, but less blocky, and with better contrast. The problem is that this transfer is pretty obviously interlaced. It doesn't look too bad on the TV, but it was a bitch to get a good screen cap.
The Anchor Bay UK release features a Dolby Digital 5.1 and a DTS 5.1 track. This disc doesn't feature a DTS track, but it isn't much of a loss. The R2 DTS track is basically identical to the Dolby Digital track, plus a little extra echo, but more importantly a B-horror flick from 1980 really doesn't require such an impressive track.
The 5.1 track here isn't very impressive in the sense of surround and fidelity, but it's clean and clear, and thick enough to back up a good scare. The sound is a bit flat and perhaps a little tinny, but there isn't any noticeable distortion on high ends. Dialogue is a bit overbearing on the track, and the electronic/symphonic score could do with a boost, but I'm happy with the lack of artificial surround channel additions. The original Mono track, which is almost identical to the 5.1 track, minus a few stereo effects and bass, is also available for traditionalists.
So long as there's an Anchor Bay UK disc, LionsGate might as well grab the director/star commentary track, right? The track is good enough that a new one wasn't required, unless of course it could've also featured John Sayles, but getting Sayles, Teague, and Forster together for another commentary track would've been quite the headache I'm sure. The commentary, which is also featured on a German release, and is kept on track by a mediator, is brisk and filled with amusing anecdotes aplenty.
The UK disc has a few extras not found here, all small stuff like additional trailers and biographies, but this disc features an interview with Sayles, which is a bit more impressive. It's not quite an additional commentary track I wanted, but Sayles fills in the blanks and covers probably all the same bases he would've covered on a commentary track. His recollections of his inspirations are sharp, and the insight into his creative process is pretty sweet. The interview runs about seventeen minutes, and is followed by the original theatrical trailer, along with some trailers for newer LionsGate monster movie releases, all of which look freakin' awful.
See it, see it now. Go to the store and celebrate the fact that we in the United States no longer need to special order this B-classic from Europe. Alligator is smart, funny, scary, and purely awesome. It's well made without an iota of pretension, and has more on its gigantic alligator mind than simply slathering the screen with blood, though there's plenty of that too.
Review by Gabriel Powers
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 18th September 2007
Discs: 1
Disc Type: Single side, dual layer
RCE: No
Video: NTSC
Aspect: 1.78:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 5.1 English, Dolby Digital Mono English
Subtitles: English, Spanish
Extras: Director/Actor Commentary, John Sayles Interview
Easter Egg: No
Feature Details
Director: Lewis Teague
Cast: Robert Forster, Dean Jagger, Henry Silva
Genre: Comedy and Horror
Length: 90 minutes
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We drive south to Ohio's Hocking Hills often, not only for the challenging byways but also for the roadside amusements. You'll find Martha Hitler Park and the Pumpkin Festival in Circleville, which is also home to the Ted Lewis Museum. Lewis was the vaudevillian who called himself "the high-hatted tragedian of song" and whose signature line was, "Is everybody happy?" In Laurelville, there's the world's best cider from Bob Bowers. There's the Washboard Music Festival in Logan. And on the way down, we can stop in homely Waldo to dine at the G&R Tavern, famous for its bologna sandwiches ($3.50), bologna salad ($2.50), and braunschweiger sandwiches ($2.25). On a good day, the G&R serves 180 fried-bologna sandwiches, each featuring a half-inch slab of ground, smoked sausage hidden beneath a crush of pickles, tomato wedges, lettuce, and a hunk of onion large enough to choke a longshoreman. Everything is served on paper plates, including the half-pound slices of cream pie. And yes, they pronounce it baloney.
As it turned out, the baloney theme was appropriate, because we were evaluating salt-of-the-earth Everyman family sedans, a segment that accounts annually for two million U.S. sales. Each of our competitors was fitted with a DOHC 16-valve four-cylinder engine and an automatic transmission. We aimed for base prices in the $22,000 vicinity, although we wound up with a $4300 variance—a sum sufficient to purchase 1228 bologna sandwiches.
We conducted a similar comparo as recently as February 2007. Since then, however, new players have alighted, notably the Chevrolet Malibu, the eighth-generation Honda Accord, and a freshened Hyundai Sonata. The Chrysler Sebring that we included in the last outing was this time replaced by its Dodge Avenger sibling.
During a photo shoot, we were ominously scrutinized by at least 100 turkey vultures perching in nearby trees and atop a state-park lodge, all glaring with either curiosity or evil intent. Many had spread their wings. With a wingspan of six feet, they were a little threatening. Shifting from foot to foot, the vultures appeared to be evaluating the most tender portions of our anatomies.
Our purpose in the hills was to determine whether seven ubiquitous Wonder-bread family sedans featured any meat in the middle. It seemed like the vultures' purpose was to determine whether we were full of baloney.


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hello, yes i did get tired of it for a few reasons. thanks for noticing i left though. i will reactivate it soon, its become a distraction and right now, im working on something that i need to finish soon and i don't want to be distracted by facebook. i was also getting annoyed on there. i also live in a very small place and i am tired of people asking me about the stuff i comment on (such as middle eastern things). keep in touch on here until then or email.
It is suppose to be a volleyball.
It's the real deal:
thanks guto, do you know who the handsome devil is? it's khaled sheikh mohammad.
thank u .. feel free to invite anyone u want
hello there
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