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would like to consider how to read a Pre-Raphaelite painting by looking yet again at Ruskin's reading of the Tintoretto Scuola di San Rocco Annunciation. This passage in the second volume of Modern Painters bears importantly upon our enterprise in several ways. First of all, it provides an example of how a particularly skillful interpreter of art went about interpreting a particular picture, or, to be more precise, how he said he went about interpreting that picture. Furthermore, as I have argued elswehere, Ruskin's typological reading of this Annunciation, which he included in the second volume of Modern Painters as an instance of what he termed the Penetrative Imagination, is a crux of early Pre-Raphaelitism on several counts.
Jacopo Tintoretto. The Annunciation. c. 1582-57. Oil on canvas, 116 x 214 l/2 in. Scuola di San Rocco, Venice.
Ruskin begins his reading with the spectator's experience of the painting's realism. although the Pre-Raphaelites often wrote as if thus taking the realistic or material senses of a painting were some automatic given, in fact reading the painting as a scene composed of real objects necesarily involves acts of interpretation. Like most of those who accept realism--or in painterly terms, naturalism--as a style, Ruskin here treats it as a given and therefore he implicitly treats the style as transparent. Ruskin himself makes quite clear in an earlier volume that such naturalistic treatment entails languages of proportionate relationships, or what Gombrich has taught us to call schemata, but here he simply treats the surface reality as there, as given, and thus, despite the theoretical sophistication Ruskin displays in both his earlier volume and those that succeed this one, he treats the painting as if it were an existing scene (See Landow, "J. D. Harding" and Gombrich). Looking at the Scuola di San Rocco Annunciation, Ruskin begins his guided tour through it by pointing out that one first notices the Virgin sitting "houseless, under the shelter of a palace vestibule ruined and abandoned," surrounded by desolation (Works, 4.264). The next step Ruskin takes in leading us through this painting makes clear that he conducts such an act of interpretation as a form of narrative, for he emphasizes not simply what one sees but how one goes about seeing it. He tells us, therefore, that the spectator "turns away at first, revolted, from the central object of the picture forced painfully and coarsely foward, a mass of shattered brickwork, with the plastered mildewed away from it" (4.264). This method of presentation, we realize, places equal weight upon the perceiver and the perceived object, the ideal spectator and what that spectator sees. Then, after describing the painting's genre details and a spectator's first reaction to them, Ruskin next points out that these visual facts might strike a spectator as merely a record of the kind of scene the artist "could but too easily obtain among the ruins of his own Venice, chosen to give a coarse explanation of the calling and the condition of the husband of Mary" (4.264). Ruskin begins his presentation of this painting by dramatizing the paths the spectator's eye takes as it comprehends first major and then minor visual details. But because he believes that visible form inextricably relates to meaning, he then immediately presents us with an imagined spectator's first conclusions about the meaning of these details: they appear, it seems, to reflect both the painter's contemporary surroundings in a ruined Venice and his modern fascination with the picturesque, that aesthetic mode which delights in ruin.
At this point, Ruskin takes us deeper into the picture's meaning, and he does so by first intensifying our visual experience of it. According to him, if the spectator examines the "composition of the picture, he will find the whole symmtery of it depending on a narrow line of light, the edge of a carpenter's square, which connects these unused tools with the object at the top of the brickwork, a white stone, four square, the corner-stone of the old edifice, the base of its supporting column" (4.265). Citing Psalm 118, Ruskin explains that these details reveal that the entire painting — and all its coarsely realistic details — bear a typological meaning, for, according to standard readings of this psalm, it prefigures Christ. In Tintoretto's Annunciation, therefore, the "ruined house is the Jewish dispensation: that obscurely arising in the dawning of the sky is the Christian; but the corner-stone of the old building remains, though the builder's tools lie idle beside it, and the stone which the builders refused is become become the Headstone of the Corner" (4.265).
Ruskin's guide through Tintoretto's Annunciation provides his reader with a particular kind of lesson in perception. Using his gifts for word-painting, iconographical interpretation, and compsitional analysis, Ruskin does not simply tell us what the painting in question means. Instead, he provides us with a fable or parable of ideal perception that dramatizes the experience of a spectator who gradually perceives the meaning of a painting and thus fully experiences the work of art. Ruskin understood his role as art critic as necessarily involving an imaginative demonstration of the experience of meaning. Just as the first volume of Modern Painters teaches his readers how to perceive the worlds of nature and art, his later ones teach them how to interpret those worlds as well, and in both projects, which Ruskin clearly saw completely intertwined, he concentrates on providing the reader with models of experience.
In addition to the obvious fact that this key passage provides an e xample of what Ruskin at that point in his career took to be the highest, most imaginative art, this passage from the second volume of Modern Painters also provided a major stimulus to the formation of the Pre-Raphaelite Brotherhood: according to Hunt (Millais agreed with his account), reading this reading of a painting inspired him in at least two ways (See Landow, William Holman Hunt, 2-7, and "'Your Good Influence on Me.'"). First, this experience convinced him that the artist could be a prophet and, second, it inspired the PRB program of symbolic realism, a program based on the typological symbolism that informs many of the early works of Hunt, Millais, Rossetti, Collins, and others. The Pre-Raphaelite Brotherhood, in other words, has its genesis, its point of origin (or one of its points of origin) in a reading of another painting, and as one might expect, that relationship influenced the way the Pre-Raphaelites expected the spectator to receive their works.
Ruskin's reading of the Tintoretto Annunciation thus has the additional significance of providing an ideal representation how we should experience art created in the Pre-Raphaelite mode. This pasage from the second volume of Modern Painters served this purpose because it took the form of a characteristically Ruskinian fable or parable of experience in which the sage tested on his own nerves and pulse the experience of encountering a particular work of art. This procedure served the dual rhetorical purpose of convincing the reader of Ruskin's interpretation of a work by dramatizing his experience of it and hence making it more creditable and also teaching the reader to experience other works of art in the manner than Ruskin has demonstrated. This passage, I would argue, not only inspired Hunt and his associates to create a mid-nineteenth-century symbolical realism but also created their conceptions of how their works should be experienced.
Ruskin's exemplary reading of the Tintoretto Annunciation does not follow a logical or rhetorical organization but instead assumes the form of a narrative, and Ruskin's explanation of the painting therefore takes the form of story telling. Furthermore, it does not take the form of just any kind of narrative. Rather, it appears in the form of a conversion experience, illumination, or moment of recognition so central to Victorian autobiography (See "Pattern of Conversion" in Buckley). Such narratives of recognition make particular sense since as Ruskin presents his readings of paintings, they follow the pattern of autobiography. The interpretative narrative that one encounters in Ruskin's reading of the Tintoretto Annunciation, like that in so many of his other encounters with pictures, tells the unfolding story of growing awareness that builds towards a climactic moment of recognition and change.
Now, in an important sense this interpretive narrative must be fiction. The term fiction, we recall, resembles the word poetry in deriving from the word that means not only "made up" but also "made" or "shaped," and such shaping experience by means of narrative always requires selection, omission, smoothing out, and ordering. Autobiographers can never provide their true beginnings, their true point of origins, from first-hand knowledge, and so their tales always have something inevitably arbitrary and second-hand to begin with (see Said, 44). Moreover, because the autobiographer always finds some interpretive shape in events whose relevance keeps changing as life changes, any reading and any narrative organization (or ordering) which supports that reading also inevitably has a fictional element. Indeed, limiting the particular relations that one will follow in a life or a painting must distort or limit the resultant interpretation, because they exist within a complex field of relationships. Both interpreting phenomena, whether of life or art, and placing them within a narrative smooths over all those loose ends, those facts that stick out so unsmoothly. Interpretation and narration, in other words, fictionalize, inevitably so.
Having examined Ruskin's exemplary reading and reminded ourselves of its historical importance to the PRB, let us next see how one could construct a similar reading for a particular Pre-Raphaelite work, The Shadow of Death, a work I have chosen in part because I have discussed it at length elsewhere and will not have to cite all the documentation that supports this reading. [See Landow, "William Holman Hunt's 'The Shadow of Death'" and William Holman Hunt, 116-25.] Following the Ruskinian method, one first begins with a rough impression, a first sight of subject: looking at Hunt's painting, one first sees the picture and receives some general impression of its subject, after which, checking the title and any information provided by a catalogue or chat label, one next looks more carefully at the painting.
According to Marc Rolnik, who has written the finest study of Hunt's stylistic development, the spectator gains entrance into The Shadow of Death at two main points, both of which the artist also uses to create a three-dimension space in the lower portion of the painting:
This entrance, established by a sharply focused item or a figure cropped by the frame, remains within the introductory foreground. However, whereas the paintings of Hunt's first phase have but one entrance, those of the second phase have several. For example, Hunt presents two major entrances to The Shadow of Death, each of which leads directly to its respective focal area or emotional climax. The lower-left entrance of the painting, the quilted drapery rendered in the artist's virtuousic hyperrealist style, marks the path that moves upward through the Virgin's left arm and shoulders to the prefigurative shadow of the Crucifixion. The red fillet in the lower right establishes the entrance of the path that leads, more immediately, toward the face of Christ. although the artist does not render the fillet in sharp focus, its role as a primary entrance into the right half of The Shadow of Death is clearly expressed by its foreground position and color, which Hunt does not concentrate elsewhere in the painting. (Rolnik, 41)
Marc Rolnik, who makes these observations while arguing against the received opinion that Hunt's style remained essentially static, claims that Isabella and the Pot of Basil marks the culmination of the painters's first stylistic phase, one characterized by attempts to create the rational spaces of early Renaissance painting. The Shadow of Death tentatively introduces the next phase, in which two- and three-dimensional elements — surface and depth, decoration and space — contrast with each other. According to Rolnik, the chief stylistic issue of Hunt's second phase is therefore to find ways of unifying his paintings by means of "a dynamic dialogue of two-dimensional and three-dimensional components." This second phase, which involves a struggle to maintain "an understood Renaissance space" while simultaneously asserting a two-dimensional surface, has much in common with works of second-generation Pre-Raphaelitism, particularly those of Burne-Jones and late Rossetti. Their perhaps unexpected influence and the artistist's study of ancient Greek and Renaissance masters in 1865 and 1866 contribute to this stylistic development.
Hunt's later works, Rolnik argues, oppose "foreground depth and background flatness" by dividing the canvas into upper and lower zones, each of which further divides into subsections, bisecting "the lower one while he trisects the upper." This handling of space and composition first appears tentatively inThe Shadow of Death in which the driving force, like that in Isabella, still remains the creation of a rational space.
According to Rolnik, under the influence of the second generation of Pre-Raphaelites, Hunt unifies the pictorial surface by manipulating "three formal elements — the rendering of surface, texture, and geometric repetition" (43). Some of these means of unifying his surface appear in The Shadow of Death, which thus marks the lessening of Hunt's own commitment to Pre-Raphaelite illusionistic naturalism. By the time he comes to paint his late works he describes only two surfaces, "flesh and nonflesh, the spiritual and the decorative" (43). We can observe some of the signs of this change in this depiction of Christ as carpenter. Thus, the drapery that appears on the lower left of the painting exemplifies the old drive toward illusionistic representation, whereas the second, nonillusionist drive to unify pictorial surface appears in the arch setting, which is now summarized, unlike earlier works, and in the wood chips in full light, which Hunt paints as if they are carved from soap rather than wood; the artist similarly draws no distinction between face of wooden vice and the surface of stone wall of the carpenter's shop in which the action takes place.
Such an attempt to chart both the way the artist's style functions in this work and the particular effect it has upon the spectator represent simple extensions of Ruskinian method. Instead of looking at the way the carpenter's square in the Tintoretto Annunciation carries the eye of the spectator, we have looked with Rolnik's guidance at the way a piece of drapery and the red fillet lead our eyes to significant parts of The Shadow of Death. Using our perceptions of other aspects of Hunt's style in this painting to place it within some scheme of the artist's stylistic development, however, leads us to another, perhaps more abstract form of narrative. Whereas looking at the way the drapery and fillet lead our eyes to certain details of the painting contributes to a Ruskinian narrative of perception, looking at the way these pictorial devices relate to those in Hunt's previous and succeeding pictures contributes instead to an historical narrative, one that comes into being only in the mind of the person — Ruskin, Rolnik, or whoever — who creates a sequence from the individual works that together constitute the artist's oeuvre. Both, of course, are narratives, but that of stylistic development exists only because the scholar has narrated it for us whereas we can experience the other for ourselves.
What about Ruskin's next stage of interpretive narrative, that which places the work within iconographical and iconological tradition and draws upon them? Hunt devoted so much attention to assisting the spectator in interpreting his major works by means of appended texts, juxtaposed images on his frames, and elaborate exhibition catalogues that one concludes he expected one to construct the kind of Ruskinian narrative of interpretation that he quoted so approvingly in Pre-Raphaelitism and the Pre-raphaelite Brotherhood.
For example, in the he wrote for the painting's exhibition, Hunt explained:
Scripturally, the subject is "the Shadow of Death," — the bearing of the first burden of the Curse of Adam. Morally, it is this also: the bestowing of Life in trust for future universal good, rather than for immediate personal joy. Surely there are enough of every class who have felt the burdensomness of toil, the relief at his cessation; and also enough of those who have battled against the temptation to seek this world's glory at the expense of their peace with the silent Father, and who may be encouraged to persevere. [Mr. Holman Hunt's Picture, "The Shadow of Death" (London: Thomas Agnew: [1873]), p. 2.]
The Shadow of Death is thus meant to present a realistic image of Christ as a carpenter, and the intensely accurate description of the material reality within which the historical Christ lived and worked in turn is meant to enable us to understand certain spiritual rules or laws. Following an old artistic tradition, Hunt attempts to create a meditative image whose pictorial details prompt the spectator to experience Christian dogma more fully than otherwise possible.
If one were to tell the story of how one realized some of the meanings that the artist intended The Shadow of Death to convey, one would start in the Ruskinian manner with the way one's eye is carried by each of those entrances to a portion of the painting that turns out to bear ideological as well as visual importance. Looking, say, first at rich fabrics in the left foreground that the woman has obviously been handling and possibly examining, we realize that she is Mary, the mother of Christ, and even without Hunt's catalogue we probably realize the significance of her act. The obvious contrast between the sumptuously rich goods near the chest and the rest of the workshop interior draws attention to the objects and the person examining them, even though they clearly play a subsidiary role in the painting. Mary, we understand, has been looking at the gifts of the Magi, probably to reassure herself about the nature and fate of her son, who she has been told will be king; and in the midst of her examination, she looks up in time to perceive her son's shadow cast upon the wall in such a way as to create a frighteningly prefigurative image of her son crucified, dying the death, as Hunt tells us, of the lowest criminals. [Crucifixion, in fact, seems to have been the punishment, not as Christian commentators so long asserted, of the lowliest of malefactors but rather of those punished for political rebellion.] Looking again at the painting, we find our eyes drawn to the patch of red of a fillet (or band that holds on the headress worn in the middle east), and following that, our eyes are led to the painting's formal, iconographic, iconological, and spiritual center, the face of the praying Christ. At this point, we may sense that the two visual entrances, which contrast the illuminated face of Christ with this dark, literal fore-shadow of his fate, are iconologically significant. Upon contrasting the painting's two points of reference, one first assumes, perhaps, that since one brings the spectator to the Crucifixion and the other to Christ, these images chiefly depict the ironic contrast of the thankfully praying Christ and his horrible fate. Those who know The Scapegoat, however, will also perceive the likeness between red wool that head of the sacrificial animal bears and the fillet that Christ will replace on his head after his prayers and labor (William Holman Hunt, 120). Both entrances to the painting, we realize, serve as images that prefigure the Crucifixion, and I assume that they serve as a form of reinforcement or semantic overdetermination. In other words, these formal devices that lead us into the three-dimensional space of the painted world as well as to its meaning supplement each other, so that which ever one we take, we shall arrive at the ideas and mood Hunt intends.
From this point we may likewise take many ideational paths through The Shadow of Death, no one of which is abolutely necessary to an adequate experience of the painting. One might, for instance, look at other formal elements and consider the points to which they lead, or one might well consider why the painting so obviously emphasizes that Christ is a worker, a strong-limbed member of the lower orders. One might decide, as Hunt's pamphlet instructs, that by this emphasis the picture reveals the nature and extent of Christ's great sacrifice in assuming human nature and human labors. Similarly, one might also perceive independently that Hunt intended The Shadow of Death to praise all those who share with Christ the labors of an earthly existence and specifically those who work with their hands. As the catalogue points out, "as each new age is called on to solve new moral and social questions, so new lessons are unfolded in the teaching of the life of Christ. One of the problems of our age concerns the duty of the workman; his life, as now examined, furnishes an example of the dignity of labour" (p. 2).
Meditating on a different aspect of the picture can bring us to similar realizations. The Shadow of Death, which serves as a complex meditative image of the Crucifixion and Passion, draws upon several types to lead the spectator to religious wonder. Considered from within the network of interrelated types that the painting offers, its representation of divine descent into human flesh, we perceive, is itself a type of Christ's later sufferings, just as is the image of the Crucifixion that Mary sees. Our eyes and minds can take other paths to reach the same central realization. For example, looking at the image of the brazen serpent that the frame bears and then comparing it to the image of Crucifixion, one might recognize again how many elements in the painting bear upon the Saviour's coming fate. The artist again assists the viewer with his exhibition pamphlet, which in this case cites the brazen serpent (a type that Hunt had earlier employed in his stained-glass design for Melchizedek and on the frame of the Liverpool version of The Finding of the Saviour in the Temple). The presence of the brazen serpent suggests that the painting is also an image concerning faith when faith seems absurd because so opposed to the ways of normal human life and logic. You recall that God sent serpents to plague the Israelites after they had broken faith with Him and set up the golden calf. When Moses prayed, yet again, to God to save his people from themselves and despite themselves, he commanded Moses to have a brass image of a serpent placed on a T-shaped pole. If the people gazed on that, they would be saved from the plague of poisonous snakes. Christian interpreters had long taken this episode in the Bible to prefigure Christ on the Cross, meditating on which could save one from one's own falling away, from one's own idolatries. Looked at in the light of two images or types of blind faith, Hunt's painting seems intended to chide but also reassure all those of little faith, like Mary herself, who doubt God's plan, the kingship of Christ, and the divine importance of labor.
One may go even further and speculate that since Hunt was such a skilled interpreter of scripture, he may have intended Christ's upraised hands to recall Moses's victory over the Amelekites in Exodus 17:9-13, a particularly complex type combining victory over God's enemies with sacrifice that had a long artistic heritage (See Shapiro, 17-18). In addition, one realizes that Hunt wanted his picture to embody his own moral emphasis on following the dictates of God rather than man, at whatever the costs to oneself. Since the words of the pamphlet so closely echo Hunt's own private statements in his letters and diaries about his difficulties with The Shadow of Death, it is probable that he wanted it to bear some kind of personal or autobiographical meaning: Christ was in some sense both an image of the suffering artist himself and a comfort to him in his troubles (See Landow, "Shadow of Death," 204-12).
Narratives of perception, like all narratives, must end, hopefully with some resolution and effective closure. According to most writers on narrative beginning with Aristotle, plots require the resolution of a problem generated by a conflict or blockage. In an interpretive narrative of the kind I have been trying to create, resolution takes the form of the interpretation itself, which resolves a conflict provided by something not understood and therefore puzzling or discomforting. What provides closure for a narrative of interpretation, or, to restate the question, where does one chose to end one's narrative of interpretation? Ruskin, we recall, chose to end his with a climactic presentation of the typological significance of a central image in the Tintoretto Annunciation, a presentation that had the effect of changing our conception of the entire world of that painting, which suddenly changed from ruined material world to one suffused by divine grace and meaning. My explanation of the various types that Hunt employs in The Shadow of Death has much the same effect, but no single one offers an obvious point to close this narrative. This problem does remind one, however, that one shapes (or fictionalizes) narratives, particularly those with autobiographical components, by choosing where to end them.
Perhaps the most suitable point to end such an interpretive narrative is with the realization that a meditative image like The Shadow of Death produces no single narrative. Such a claim posits no unlimitedly subjective interpretation of the painting, though it does posit that Hunt's work permits various narratives. In other words, one person may enter the painting by means of the drapery in the lower left foreground, another by means of the fillet, a third at Christ's face, and yet another may glance briefly at the painting, study the frame, consider the title, and then focus upon the foreshadowed Crucifixion. The point is that the painting, like all paintings, offers many paths to the same set of realizations, and therefore no one narrative suffices.
Buckley, J. H. The Victorian Temper: A Study in Literary Culture . Cambridge, Mass; Harvard University Press: 1951.
Gombrich, E. H. Art and Illusion: A Study in the Psychology of Pictorial Representation, 2nd ed. New York: Pantheon: 1961.
Landow, George P. "J. D. Harding and John Ruskin on Nature's Infinite Variety." Journal of Aesthetics and Art Criticism 28 (1970), 369-80 [Full text].
Landow, George P. Victorian Types, Victorian Shadows: Biblical Typology in Victorian Literature, Art, and Culture. Boston: Routledge & Kegan Paul, 1980. [Full text.]
Landow, George P. William Holman Hunt and Typological Symbolism New Haven and London: Yale University Press, 1979 [Full text.]
Landow, George P. "William Holman Hunt's 'The Shadow of Death.'" Bulletin of the John Rylands University Library of Manchester, 55 (1972), 197-239.
Landow, George P. "'Your Good Influence on Me:' The Correspondence of John Ruskin and William Holman Hunt." Bulletin of the John Rylands University Library of Manchester 59 (1976-1977), 96-126, 367-96. Full text.
Mr. Holman Hunt's Picture, "The Shadow of Death". London: Thomas Agnew: [1873].
Rolnik, Mark. "Hunt's Pictorial Unity, 1870-1905" in the exhibition catalgue, Ladies of Shalott: A Victorian Masterpiece and Its Contexts . Providence: Rhode Island: Brown University, 1985).
Ruskin, John. Works, eds. E. T. Cook and A. Wedderburn, 39 vols. London: George Allen, 1909-1912.
Edward Said, "A Meditation on Beginnings," Salmagundi 2 (1968).
Shapiro, Meyer. Words and Pictures. On the Literal and the Symbolic in the Illustration of a Text . The Hague: 1973.
Last modified 12 June 2007


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Victoria Police have yet to hear any news of missing man Michael Daeger, the caretaker of a hotel that caught fire Monday morning.
The Victoria Fire Department reported that they don't believe anyone was in the 603 Pandora Ave. building when it caught fire two days ago. But Daeger has yet to be confirmed accounted for by officials.
VicPD are leading the search now, but so far have not heard anything.
Wayne Kainciems has known Daeger for over 20 years through work; he was a DJ at the former Monty's strip club, and continues to work as a booking agent for dancers at clubs across B.C.
In 1996 he met Daeger, who was already working at the hotel as its maintenance man.
"He's been there for many years," Kainciems said. "In hotels like that that aren't the fanciest places in the world there's always a guy there to be a handyman."
Kanciems said that after the business shut down in 2013, Daeger was retained to stay on as a live-in caretaker.
"I helped him out a couple times after it closed," Kainciems said. "There's 65 rooms in there so there was always a lot to do."
Daeger lived on the third floor, taking over a larger suite than the ones that had been reserved for dancers and guests. Outside of the hotel, Daeger sometimes lived out of the chrome Airstream trailer in the hotel's back alley.
Victoria Fire Chief Paul Bruce said that when firefighters first investigated the building, they got up to the third floor before realizing the fire was coming from the basement and had to evacuate. When asked if they'd completed a final sweep of the third floor, Bruce was uncertain as he hadn't debriefed with firefighters who were on shift Sunday night.
When Kainciems saw footage of the fire from the Broad Street angle, however, he grew concerned.
"I saw smoke billowing out of a window that could have been his," he said, "That freaked me out."
Kainciems said Daeger is close to 60 years old, and doesn't carry a cellphone or have social media accounts, making him a hard person to get a hold of at the best of times. Still, he finds it weird that he wouldn't be on site.
"He's just one of those people who's always been there."
B. Woodward, who owns the neighbouring Cherry Bomb Toys, told Black Press that he hadn't seen Draeger in a couple days.
"There was a maintenance person taking care of the building, but I think he's been away for a few days, I haven't seen him," said Woodward. "I don't know if he took off for a few days or if something happened."
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Security remains a chief inhibitor to enterprise adoption of cloud computing resources and one Gartner analyst says the biggest concern should not be that data could be compromised in the cloud, but rather that there may be a cloud outage that could lead to data loss.
There's a perception, says Gartner cloud security analyst Jay Heiser, that the most significant risk in using the cloud is that sensitive data can be leaked. But there's been little evidence of that, he says. Sony suffered a compromise of potentially tens of millions of customers in 2011 related to its cloud, and there have been a handful of other breaches of personally identifiable information being leaked from the cloud.
[ Also on InfoWorld: Evolving security standards a challenge for cloud computing. | Stay on top of the current state of the cloud with InfoWorld's special report, "Cloud computing in 2012." Download it today! | Also check out our "Private Cloud Deep Dive," our "Cloud Security Deep Dive," our "Cloud Storage Deep Dive," and our "Cloud Services Deep Dive." ]
But more common nowadays are cloud outages and data loss, and Heiser says many enterprises are ill-prepared for those incidents.
RELATED: Nine security controls to look for in your cloud contract
MORE CLOUD: 12 Free cloud storage services
MORE GARTNER: Gartner: How big trends in security, mobile, big data and cloud computing will change IT
Just look at some of the major outages from the past few years. Amazon Web Services, the market-leading cloud provider, has experienced three major outages in the past two years. After an April 2011 Elastic Compute Cloud (EC2) outage, some level of data was irrecoverable, Heisler says. Evernote lost the data of 6,000 customers in 2010 and Carbonite lost a portion of its customer's backups in 2009, he says.
Many of these events are caused by errors following upgrades of systems, he points out. Amazon, for example, credited its most recent outage on a new piece of hardware being installed in its data center.
The outage led to Reddit, Imgur and other popular sites being down, and AWS issued credits following the incident.
These issues have happened over and over, so they're likely to happen again, Hieser said during a webinar hosted by Gartner this week. Despite this being one of the biggest concerns for cloud users, Heiser says only half of companies recently surveyed by Gartner had a process to evaluate their business continuity processes. He adds that security breaches should not be ignored, but the more pressing concern is around business continuity.
The cloud industry is slowly addressing these concerns, but vendors, users and third-party bodies that are attempting to push cloud security improvements could all be doing more, he says.
Vendors have been reluctant to address security recoverability from data loss in service-level agreements (SLA), he says. "It remains a common complaint that cloud service providers are being ambiguous around what they're specifically doing to protect customers," he says. Some providers may not divulge information because doing so could represent a security threat, they say. Providers many times claim a high level of availability and confidentiality of users' data, but Heiser says they provide little evidence for customers to verify those statements.
Buyers could do more too though, he says. One of the first things users need to do is classify which data really needs to be protected. Incomplete or nonexistent data classification is a common problem. "If the buyer doesn't know what the security requirements are for a specific piece of data compared to other data, it's difficult to assess whether the provider can meet provide adequate security," he says.
Third-party organizations are working to create standards and certifications for this area, but Heiser says those are still weak at this point. The Cloud Security Alliance, for example, has undertaken broad measures to address a variety of topics, but he questions how in depth those efforts have been at drilling down into specific areas.
RELATED: Amazon opens up about its cloud security practices, joins CSA registry
FedRAMP is a program by the federal government that seeks to have a common set of security criteria for each provider the federal government uses for cloud computing, but it's in the early stages and may not be operational until 2014, he says. "We're beginning to get glimpse of what we need," Heiser says, but more work is needed to have standard controls, evaluation practices and global consensus. Buyers are in the best position to put pressure on vendors to be as transparent as possible on these issues, he adds.
So what's an enterprise cloud user supposed to do? "Choose your battles over data control," Heiser says. The macro trend is that more data is going to more end-user devices, which makes controlling the data more difficult and creating more vulnerabilities. With a data classification scheme, organizations can prioritize which data needs to be heavily secured. For most organizations that extremely sensitive data will be less than 20 percent of data, and could be as little as 5 percent or less. That data should be given "heroic efforts" to protect it -- encryption, tokenization, data loss prevention systems or keeping it on site and not in a public cloud. Anti-virus, anti-malware and other security protections and controls should be in place to ensure the rest of data is not egregiously vulnerable. Ultimately, in today's world, the reality is, Hesier says that "most data will have to protect itself."
Network World staff writer Brandon Butler covers cloud computing and social collaboration. He can be reached at email@example.com and found on Twitter at @BButlerNWW.
This story, "Cloud security: Outages are bigger risk than breaches" was originally published by Network World.


text:
The Health Resources and Services Administration, frequently known as the HRSA, is an agency operating inside the United States Department of Health and Human Services that is largely answerable for bettering the public's access to quality health care services.
The grants and initiatives of the HRSA are all particularly designed to contribute to the attainment of its main agency mission which is to "improve health and achieve health equity through access to quality services, a skilled health work force and cutting edge programs."
In accordance with this mission, the Health Resources and Services Administration has recently constituted the establishment of the Telehealth Resource Center Grant Program, also known as the TRCGP.
Essentially, the aim of the program is to be able to financially support the establishment and development of Telehealth Resource Centers (TRCs).
The Telehealth Resource Centers will be engineered to provide technical assistance to health care affiliations, health care networks, and several other groups of health care providers during the process of implementing inexpensive telehealth programs that would serve medically underserved communities and populations.
With this, the program will be able to expedite and customize the provision of telehealth technical assistance services throughout the country, while simultaneously moving towards the provision of a wide range of expertise that may not be readily available in any existing community.
The program seeks to seek applications from entities who have already manifested daunting experience in providing technical assistance regarding the development of sustainable telehealth programs.
In addition, the program also hopes to expedite the successful dissemination of health-related information, the effective collusion and communication between health care providers, and finally, the marketing of the integration of new technologies used in clinical information systems with other telehealth technologies.
The Telehealth Resource Center Grant Program intends to financially support the creation of up to five Telehealth Resource Centers by administering funds in the amount of $1,625,000.
The organizations and institutions who will be eligible to submit an application under this program are the following:
a) Non-profit setups
b) Faith-based organizations
c) Community-based organizations
d) Tribal non-profit organizations
The Department of Health and Human Services, the mother agency that is financing the Telehealth Resource Center Grant Program, is the federal government's leading agency that is responsible for defending the health of all Americans through the provision of essential human services to all, giving greatest priority to the vulnerable and to the medically uninsured.


text:
I'm in Texarkana today. Gary and Bessie Higginbotham and I went to Louisiana today to meet some of our cousins on our Higginbotham side. We had a great visit. It's always fun to meet cousins and hear stories about family that we haven't heard before.
From Left to Right: Kookie Hemperley,, Gary Higginbotham, Bessie Higginbotham, Cheri Atkins, and myself down in the front.
Thanks to Kookie for welcoming us into her home, and providing us with great snacks and a wonderful lunch. We were happy to meet Cheri and and enjoyed getting to know them today! This is the fun part of doing genealogy!


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Did I scare you? Probably not. It's pretty hard to take someone by surprise when you tell them in advance (in my case, by this blog's title) you're about to discuss horror and fright.
Or is it?
If that were true, horror legends like H. P. Lovecraft, Edgar Allen Poe, and Stephen King wouldn't be household names.
So how do writers, working with only words on a page, manage to raise heart rates and goosebumps in their readers? They can't rely on camera angles and creepy music to build suspense.
But that's what the horror genre is all about, isn't it? The buildup of suspense.
Because of Halloween, October is the month we focus on the macabre. Ghost stories, slasher movies, psychological thrillers. I've long been a student of the craft of writing, and this is the perfect time to analyze the components of a successful horror work.
The Setting
A stereotypical setting for a horror story is a dilapidated, abandoned house on a dark, rainy night. The reason this setting has become the standard is because picturing that atmosphere is frightening in and of itself, without considering the genre for fiction. Any of us would be uncomfortable stuck in a condemned structure on a stormy evening. When we work our writers' magic on that setting for a fictional character? It can be downright terrifying.
But is that the only fear-inducing setting? Not at all.
I've read terrifying stories set in amusement parks, private homes, out in nature. The most innocuous settings can become frightening with the right treatment.
Setting needs to become a character in the story. The friendly and fun amusement park by day would become scary at night if the protagonist needs to try to escape without being chased by errant clowns or lost in a house of mirrors. The safety of the protagonist's home becomes a perilous journey through darkened rooms booby-trapped to ensnare and torture. An invigorating hike through the woods can become a horrific race to civilization due to snapping twigs, stretching shadows, and the sounds (or lack thereof) of animals. Using all five senses to bring any setting to life will impart a feeling of dread in a reader.
The Protagonist
There are two elements that have to be achieved when writing a horror story protagonist—likeability and poor decision-making.
Time needs to be spent in the beginning of the story making the protagonist someone readers will root for. Establish relatable characteristics, but don't make the hero perfect. Readers need to be able to picture themselves as this person (or this person's friend), get behind him or her, and wish a good outcome for the character. That won't happen if we're dumped into the middle of the fright without getting to know the person first, or if we have a hero without flaws who we can't relate to.
Once the writer has created a bond between the reader and the character, the next step is to introduce the peril. When the character is in danger, he or she has to make terrible decisions. The reason for this is because if the character made good decisions, the story would immediately end. It's the college student running up the stairs rather than out the door that advances the plot and extends the suspense.
The Villain
This is where the story really defines itself. Is the subgenre an old-fashioned ghost story? A mindless slasher piece? A psychological thriller? The villain determines the way the story will play out.
A ghost who inhabits a dwelling or is attached to a "cursed" object will create that spooky campfire tale. A mythological creature or a demented human bent on the destruction of a group of people (or all people) will become slasher fiction. Someone who plays on the fears of the protagonist, torturing them mentally before ever attacking physically will result in a psychological thriller. (Keep in mind phobias here. Something that incites fear in the real world can be magnified into a terrifying villain in fiction.)
Yes, there can be some crossover, and yes, there are infinite permutations to those categories which will result in subgenres and fresh takes on established constructions. But ultimately, the villain (and his/her/its method of torment) will determine the type of story.
The Plot and the Pace
Some say there are five, or seven, or fifteen basic plots in the world, and no other story can ever be written. That said, there are infinite details to put in those five, seven, or fifteen plots so no two stories will ever be the same.
No matter how many stories you believe are possible to write, one fact remains true for horror stories—a reader won't be frightened if they don't first believe they are safe.
In other words, you must build suspense.
If the entire story is attack after attack after attack, the reader grows desensitized to the fear. The pacing is off because it's constantly up-tempo.
But what happens when the protagonist gets away and has (a false sense of) security? The pace slows, the tension builds, and the next fright has bigger impact. Take the reader—and the protagonist—by surprise.
Horror fiction comes in all shapes and sizes. But if a writer wants to craft a successful scary story, he or she can do so with a:
- frightening setting
- relatable protagonist who makes dreadful decisions
- villain single-mindedly focused on devastation
- suspense-driven pace
This October, if you're interested in reading a variety of horror stories, we invite you to download a free anthology of frightening tales—Macabre Sanctuary. In it you will find human, animal, and supernatural villains terrorizing relatable protagonists in various fear-inducing settings, paced to build suspense before scaring the reader. Ten stories in all, designed to raise the reader's heart rate.
It won't be long before we're singing carols and waxing poetic about snowy weather and peace on earth. Enjoy the thrill of fear before settling in for a nice winter's
Did I scare you that time? Eh, probably not. I'm no villain. But I bet you weren't expecting me to interrupt myself with an exclamation, so if nothing else, I had a better chance this time than at the beginning of the post. After all, scary stories work best when the writer takes the reader by surprise.
Don't forget to enter the Paranormal Bar and Grille giveaway!
Fabulous prizes and fun games await you there.


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A few months ago, we asked Auburn for all correspondence between the media and the football team's spokesman, Kirk Sampson, during the Tigers' 2010 season. We weren't looking for anything specific; we only wanted to get a sense of what it's like on the inside when the press descends on one story—in this case, a national championship run featuring the best player in college football—and instead finds itself covering something very different—a play-for-play scandal involving the same player.
What is it like? Here's ESPN's Joe Schad, emailing Sampson on Oct. 25, 2010 (10 days before Schad's colleagues in Bristol reported that a man allegedly representing Newton sought a six-figure payment for the player's services):
I'm so jacked for that game, man
I have been tweeting about Cam/Heisman and about how Auburn is the best environment in college football right no!
Hope you've seen that stuff at twitter.com/schadjoe
I've compared Cam to an Avatar character (beast!) and talked about Auburn's scenes
I cannot wait to come back!!!
And now here's CBSSports's Dennis Dodd, emailing Sampson on Nov. 9:
This stuff has been absolutely ridiculous. I realized it when I found myself Tuesday writing about Cam's 12 traffic tickets at Florida. Am I sick? Are we all sick?
See you soon.
A sampling of the emails are below. Follow along as we go from "so jacked" to "sick" and back again, all in a matter of months.
Sept. 17 & 25, 2010: Cam Newton, a transfer from Florida by way of a Texas junior college, is making a name for himself. But what name, exactly?
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Sept. 24: Auburn is undefeated, and everyone is happy, and Gene Chizik is spamming Jim Rome.
Sept. 27: Auburn is 4-0, having just beaten 12th-ranked South Carolina (with Newton putting up 158 yards and two touchdowns through the air and 176 yards and three touchdowns on the ground). The "laptop deal" recedes further into the generalized past. It belongs to the Cam Newton/Auburn metanarrative now—it's "the turning point," the roadblock, the Bad Thing that had to be overcome, the personal trial that turned the boy into a man.
Oct. 10: ESPN's Chris Low is full of sunshine:
(I asked Low about the "blood samples" bit. He explained in an email: "Just some inside humor between us aimed at some of the new media credential policies out there.")
Oct. 18: Auburn is now 7-0. Media requests are rolling in. ESPNU will be in town and wants to know if the players might do something "fun" for the cameras, something organic and spontaneous, something that conveys the personality of the team—"like the hotdog eating contest we did at Texas."
Oct. 18: ESPN's Chris Low is still full of sunshine:
Oct. 19: A TV producer would like to "show 'Cam's softer side'" and follow him around during one of his apparently regular visits to a local elementary school.
The scare quotes signal that the story that lies between them—"Cam's softer side"—will be as canned as anything made by Dinty Moore. I love those scare quotes. As a commentary on the TV news business, they are worth a pile of Paddy Chayefsky scripts.
That same day, Pat Forde writes in to say he's sorry about a mistake in his column. Even ESPN curtsies now and then.
Oct. 23: Auburn beats LSU by a touchdown, taking its record to 8-0. Newton racks up 217 yards on 28 carries against a very good LSU defense. Here's The Montgomery Advertiser's Jay Tate:
Oct. 25: ESPN's Joe Schad and Sampson have the following exchange in which the former pronounces himself "so jacked," pimps his own Twitter feed, and generally expresses himself in such a way that it's difficult to tell the reporter from the flack.
(Jay Jacobs is the Auburn athletic director.)
Oct. 27: Cam Newton has gone national. Lars Anderson profiles him for Sports Illustrated (last line: Cecil Newton's "boy has become the man.") Auburn is so pleased with the story it would like to purchase 100 copies of the issue.
Nov. 1: The Houston Chronicle wants a piece of Cam, too.
Nov. 2: A Birmingham TV person wants to do some "nice" interviews for a "nice" in-depth story for sweeps.
Our scare-quoting TV person is back, still determined to show Cam Newton taking his "softer side" for a spin around a local elementary school. He writes: "Possible pitch to Cam: When people see 'high-profile' folks giving back, it might encourage them to do the same...." (And thus did the flack get flacked.)
But wait! The idea has spread:
Auburn's flack has a solution:
Nov. 3: Auburn's trouble begins. The Orlando Sentinel's Mike Bianchi has two sources who say Cam Newton was caught cheating at Florida.
(Bianchi is so polite about confronting Auburn with this information that he even proposes a way to spin the story, i.e. "... perhaps explain that he has grown up since then and that's one of the reasons he wanted a fresh start.")
Nov. 4: And then the big story drops. It's written by Pat Forde, Chris Low, and Mark Schlabach: "During the height of star quarterback Cam Newton's recruitment out of junior college last year, a man who said he represented Newton allegedly was soliciting a six-figure payment to secure his signature on a national letter of intent, ESPN.com has learned."
There's a flurry of emails. Charles Bennett of the The Anniston Star:
The Houston Chronicle:
Dennis Dodd, CBSSports's national college football writer:
Nov. 8: Maybe now's a good time to show "Cam's softer side"? TV people are the best.
On the night of Nov. 8, Fox Sports breaks the very story that the Orlando Sentinel's Mike Bianchi is working on (per the Nov. 3 email above). Thayer Evans's report begins: "Auburn quarterback Cameron Newton had three different instances of academic cheating while attending the University of Florida and faced potential expulsion from the university, according to a source." (Here's how Bianchi covers it).
Nov. 9: Auburn goes on the offensive. Athletic director Jay Jacobs calls the recent stories "unfortunate and sad because they seem intent on tearing down the reputation of a young man." Chizik adds: "I'm wasting my time addressing allegations that completely, to be frank, blow my mind."
"Dear PR person: Would you happen to know of any journalists who could cover in a scrupulous and probing fashion this PR crisis you're currently managing?"
This is the one that gets me, though:
He's talking about this story. I admire mainstream journalists who cover big-time college football for a living. I really do: Their job is a professionalized cognitive dissonance, and anyone who can do it even reasonably well without going totally bughouse nuts has more steel to him than I do. College football writers have to celebrate and promote a sport whose very existence gives rise to the petty fraud that they're required by occupational custom to police, all while maintaining the Serious Journalist's pose of conscientious, Olympian remove. They are the guys playing tinkly pianos in a whorehouse anteroom, and Dodd's email is what happens when one of them looks up and realizes he's not exactly working the Royal Albert.
"Am I sick? Are we all sick? See you soon." College football, in three sentences.
The story is metastasizing. ESPN's Joe Schad emails the Auburn spokesman a fat chunk of a report that will run the following day in which Cecil Newton's involvement becomes clear:
Here's how the published version reads:
Two sources who recruit for Mississippi State said that Cecil Newton and his son, quarterback Cam Newton, said in separate phone conversations that his college choice would be part of a pay-for-play plan while Newton was being recruited late last year.
Mississippi State compliance officials relayed the alleged conversations to Southeastern Conference compliance officials in January, according to two other sources close to the football program.
Prior to Newton's commitment to Auburn, one of the recruiters said Cecil Newton told him it would take "more than a scholarship" to bring his son to Mississippi State, a request the source said the school would not meet. Cecil Newton also referred the recruiter to a third person who would provide more specifics, the source said.
After Newton committed to Auburn, another source said an emotional Cam Newton phoned another recruiter to express regret that he wouldn't be going to Mississippi State, stating that his father, Cecil, had chosen Auburn for him because "the money was too much."
The NCAA is investigating allegations surrounding the Newtons in regards to the recruiting process. Cam Newton, who is having a Heisman-caliber season for No. 2 Auburn, declined comment.
Nov. 10: Newton is suspended. This is kept so quiet that no one knows about it until November 2011.
Auburn, in the midst of everything, still wants those 100 Sports Illustrateds.
Nov. 11: Newton is quietly reinstated.
Joe Schad again:
Forget about his promise not to "grill" Chizik. Look at that parenthetical: "(I'm sure he'll say he's focused and practiced well, etc)." That's incredible—not only is he scripting the interview right in front of the flack, he's scripting a studiedly boring interview, an interview so boring that Schad gives up after a clause and sticks an "etc" at the end. So not jacked.
Other media outlets begin neutering themselves as well:
Auburn starts laying down some ground rules on interviews—the "Cam situation" is apparently off-limits. And you know what? I might disagree in principle on the worthiness of NCAA scandal reporting, but kudos to ESPN for saying, "Screw your ground rules" ...
Kudos to ESPN for saying, no, we're not putting ourselves in bubble wrap just for your protection ...
Kudos to ESPN for saying, no, our business is about the airing of uncomfortable truths ...
Nov. 14-15: The frenzy is taking a toll on Auburn's spokesman, who is fielding request after request that he can't accommodate. An email thread with USA Today's Kelly Whiteside:
Nov. 18: Seriously: The only difference between TV journalism and a Dinty Moore product is that the latter is not so full of beans.
Nov. 21: ESPN's Wendi Nix is now on the scene.
Seventeen days after one arm of ESPN breaks the pay-for-play saga, another arm begins nudging the story in a new, friendlier direction. It won't be long before the pay-for-play story gets relegated to the metanarrative—another roadblock, another Bad Thing that had to be overcome.
Nov. 22: [Generic joke about canned journalism.]
USA Today's Kelly Whiteside checks in again:
Here's the story. In it, the Newton saga is called a "roadblock."
Nov. 26: Trailing 24-0, Auburn rallies to beat Alabama at Bryant-Denny Stadium. Cam Newton, the Associated Press writes, "might have swayed any Heisman voters who had their doubts about voting for a guy hounded by unsavory allegations."
Nov. 29: Another country heard from:
A "fun feature" that's "strictly about his on-field abilities." If it wasn't clear already, ESPN has moved on from its own big scoop.
Nov. 30: ESPN "upper management" has even granted permission to "avoid anything controversial."
This is how sports scandals unfold now. ESPN creates and amplifies the controversy from which ESPN alone can provide the safe haven.
Dec. 1: A day after suspending him, the NCAA clears Cam Newton to play.
Dec. 2: More ESPN:
Note: "We can phrase that in a calculated way."
Dec. 3: ESPN is still keen on that "strictly on the field piece":
Dec. 4: Auburn routs South Carolina, 56-17, in the SEC title game. Cam Newton throws for 335 yards and four touchdowns and runs for two more scores.
Dec. 7: Hey, it's ESPN's Chris Fowler:
Dec. 11: The scandal has run its course, and now Cam Newton is free to be a celebrity.
Dec. 13:
Dec. 16: This is the sort of inquiry Kirk Sampson is fielding now:
(Answer: four parts Gatorade powder, one part water.)
Dec. 21: The Associated Press wants to know one thing:
Dec. 29: ESPN, having dispensed with the wheedling and blandishments, is back to calling the shots. Here, an editor tells Auburn where the school should seat family members and other notables. God is in his heaven, and all is right with the world.
Jan. 4, 2011: The Bad Thing has been overcome, the roadblock cleared, and the boy is now a man:


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Johnny Weir came to Sochi with the potential to be controversial. The openly gay, openly Russophile former skater was a lightning rod for Russia's LGBT critics, but now that the games are underway, he's been nothing but fabulous.
Weir has been surprisingly excellent calling figure skating for NBC (as has Tara Lipinski, and if the photos and videos below are any indication, they've become fast friends), and has avoided any political commentary. And judging from his Instagram account, he is just having the best time at these Olympics.
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text:
Welcome Guest
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text:
Your search for "Interviews." (as subject) and "Thaler, Pat Koch--Interviews."(as name) and "Zane, Sharon, interviewer."(as subject) and "Educators--Interviews."(as subject) and "New York (N.Y.). Mayor."(as subject) and "Koch, Ed, 1924-2013."(as subject) returned 2 hits
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Oral history interview with Pat Koch Thaler, 1994 [CCOH]
Oral history interview with Pat Koch Thaler [electronic resource], 1994 [CCOH]
Refine your results
Edward I. Koch Administration Oral History Project. (2)
Thaler, Pat Koch--Interviews. (2)
Zane, Sharon, interviewer. (2)
Educators--Interviews. (2)
Interviews. (2)
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text: Back Metabolic Syndrome Worksheet To help manage your condition, fill in the dates on which you had or will have the following tests or checkups. Lipid profile I had a lipid profile on __________. A lipid profile is a lab test that measures the amount of certain fats and cholesterol in your blood. High lipid levels can lead to a heart attack or cause your heart disease to worsen. You should have a lipid profile at least once a year. Generally, your LDL ("bad") cholesterol should be less than 100 mg/dL, and your triglycerides (also "bad") should be less than 150 mg/dL. Your HDL ("good") cholesterol should be greater than 40 mg/dL for men and greater than 50 mg/dL for women. Talk with your provider about helping you meet your goals. Blood pressure My blood pressure is __________. High blood pressure can lead to serious health problems. Blood pressure-lowering medications along with lifestyle changes can achieve the best results. The American Heart Association recommends a blood pressure of less than 120/80 mm Hg. The American Diabetes Association recommends a blood pressure of less than 130/80 mm Hg for people with renal disease or diabetes. Make sure that your blood pressure is checked at every time you visit your health care provider. Smoking I talked with my provider about quitting smoking on __________. If you smoke, quit. Cigarette smoking is a strong risk factor for heart disease. As soon as you quit, your blood vessels begin to return to normal. Blood sugar I had my blood sugar checked on __________. Have your blood sugar checked at regular intervals as recommended by your doctor. Early detection and treatment of high blood sugar will help prevent diabetes or delay the progression of diabetes for people with diabetes. Weight management I talked with my provider about how to manage my weight on __________. Losing just 5 to 10 percent of your weight or 2 inches from your waist can make you healthier. It's better to lose a small amount of weight and keep it off than to lose a lot of weight fast and gain it back. Medications I talked with my provider about medications to help lower my risk for heart disease on __________. Several medications can help treat or prevent heart disease in many people.


text:
Replay – Castlevania: Legacy Of Darkness
A few years back, Replay fans watched in horror as Tim Turi, Game Informer's resident Dracula enthusiast, struggled mightily to play Castlevania 64, a game he remembered fondly from his childhood. Today, we're hoping to destroy another one of Tim's memories with a deep dive into Castlevania: Legacy of Darkness, another game that he played the hell out of in his prepubescent years.
Released exclusively for Nintendo 64 on November 30, 1999, Legacy of Darkness takes place eight years before the events in Castlevania 64, and is seen through the eyes of a peculiar lead: a werewolf named Cornell. His adventure gets off to a hell of a start. We work our way through a village engulfed in flames and overrun with dreaded rooftop skeletons, and come across a familiar (giant) foe who we end up battling far too many times thanks to Tim's ability to die practically everywhere.
Our second game is deserving of its own Replay episode, but we really couldn't think of another game with a boat that doesn't sink. Enjoy the show, folks! We'll see you next Saturday for another episode.
Check out more episodes at our Replay hub.


text:
Make it end
Listen to the silence
Hear your blood running
Search for the truth
Hear the silence
Memories that made you mad
Hear, oh hear inside the fear
How different
Is this burning
Giving everything
And not finding back
Make it end
Don't force to suffer any more
No more empty promises
You go to find the truth for yourself
And accept it!
Make it end
No more degrading excuses
You go to -
Rise your weak wings
If only for a day
I've watched your purple blood running
Tasted the bitter taste of dying ambitions
Then the shadows in your eyes
How could you - loose the emotion
Of beeing alive?
Without hesitation
You stopped existing
Against your own will
Exit and escape
Gather the separated parts
Solve the puzzle and survive
Trust in yourself
You may also be weak -
Shattered emotions
When you watch behind the masks
No wasted words for the trusted ones
When they'd all let you down


text:
Floods transform Colorado's 'Gore-Tex Vortex'
Associated Press
LYONS, Colo. - The cars that normally clog Main Street in Lyons on the way to Rocky Mountain National Park have been replaced by military supply trucks. Shop owners in Estes Park hurriedly cleared their wares in fear that the Big Thompson River will rise again. A plywood sign encouraged residents mucking out their homes to "Hang in there."
Days of rain and floods have transformed the outdoorsy mountain communities in Colorado's Rocky Mountain foothills affectionately known as the "Gore-Tex Vortex" from a paradise into a disaster area with little in the way of supplies or services - and more rain falling Sunday.
The string of communities from Boulder to Estes Park, the gateway to Rocky Mountain National Park, is a base for backpackers and nature lovers where blue-collar and yuppie sensibilities exist side by side. Now, roadways have crumbled, scenic bridges are destroyed, the site of the bluegrass festival is washed out and most shops are closed.
Chris Rodes, one of Lyons' newest residents, said the change is so drastic that he is considering moving away just two weeks after settling there.
"It's not the same," Rodes said. "All these beautiful places, it's just brown mud."
Estes Park town administrator Frank Lancaster said visitors who would normally flock there during the golden September days should stay away for at least a month, but it could take a year or longer for many of the mountain roadways to be repaired.
Meanwhile, people were still trapped, the nearby hamlet of Glen Haven has been "destroyed" and the continuing rain threatened a new round of flooding, he said.
"We are all crossing our fingers and praying" he said.
The residents who remained or began trickling back - if they were allowed to do so - were left to watch out for one another. Restaurateurs and grocers in Lyons were distributing food to their neighbors as others arrived in groups carrying supplies.
Scott Martin, 25, drove the half-hour from Boulder Saturday to deliver drinking water and gasoline to a friend's parents. He fled Lyons amid a torrential downpour on Wednesday night after the mountain stream that cuts through town gushed into his basement.
Martin grew up tubing down the river and hiking the mountains, and like many residents, he still jumps in the water after work. Looking into the cottonwood and aspen trees at the outskirts of town, he wondered when he would be able to do those things again.
"Best case, it's just mud everywhere; in everyone's yard and all the streets," he said.
From the mountain communities east to the plains city of Fort Morgan, numerous pockets of individuals remained cut off by the flooding. Sunday's rain hampered the helicopter searches, and rescuers trekked by ground up dangerous canyon roads to reach some of those homes isolated since Wednesday.
The surging waters have been deadly, with four people confirmed dead and two more missing and presumed dead after their homes were swept away.
Some 1,500 homes have been destroyed and about 17,500 have been damaged, according to an initial estimate released by the Colorado Office of Emergency Management on its website.
In addition, 11,700 people left their homes, and a total of 1,253 people have not been heard from, state emergency officials said.
With phone service being restored to some of the areas over the weekend, officials hoped that number would drop as they contacted more stranded people.
As many as 1,000 people in Larimer County were awaiting rescue Sunday, but airlifts were grounded because of the rain, Type 2 Rocky Mountain Incident Management Team commander Shane Del Grosso said.
Hundreds more people are unaccounted for to the south in Boulder County and other flood-affected areas.
In Estes Park, some 20 miles from Lyons, hundreds of homes and cabins were empty. High water still covered several low-lying streets. Where the river had receded, it had left behind up to a foot of mud.
Ironically, the massive Estes Ark - a former toy store two stories high designed to look like Noah's Ark - was high and dry.
"I don't know if it's open anymore, but soon it's going to be our only way out," joked Carly Blankfein.
Supplies of gas and groceries had been running low until Route 7 was recently reopened. On Sunday, people were lined up at the one gas station where a tanker had arrived.
At the Aspen and Evergreen Gallery along the town's main street next to the Big Thompson River, owner Tamara Jarolimek was clearing out the shop Sunday in fear that the new wave of rain would cause another surge.
"We only have limited time to get out as much as we can," she said.
At the town's historic Stanley Hotel, the inspiration for Stephen King's "The Shining," clerk Renee Maher said the hotel was nearly empty. Though it sits on a hill overlooking town, the ground was so saturated that water was seeping in through the foundation, and had caused one suite's bathtub to pop out "like a keg," Maher said.
Despite the mess, some people staying in town turned out for the Stanley's nightly ghost tours.
"They said they came because they had nothing to do," Maher said.
In Boulder, often called America's fittest town, Mayor Matt Appelbaum warned people to stay out of the wide-open spaces that ring the city.
"I know that people are eager to get out there again, but it's truly unsafe." he said. "Places that I've known and loved for 30 years are gone."
Boulder remained a refuge for evacuees from the more isolated mountain towns. Meanwhile, water continued to back up in some parts of town and a water treatment plant remained down Sunday.
But the town was bouncing back. Libraries and recreation centers have reopened. Students are again spilling out of cutesy restaurants on Pearl Street, and classes at the University of Colorado are expected to resume Monday.
Deeper in the mountains, people wonder whether the rest of the state will move on without them.
"At least it's the slow season, so we have some time to rebuild," Lyons resident Kevin Cray said. "There's going to be cleanup for a long time. Folks are going to have to come together."


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Phil Luciano: For some, the Hub was the place to be
Helen Everly has been a fan of the Hub since the beginning — literally.
She was there the first night it opened, in 1938. She was 21 and went with her brother.
" I don't remember who played," says Everly, still spry at age 92. "But we had a great time."
That first performance was free, a promotion by owner Bert Potter to spark interest in the new hall. The gambit worked: soon, local bands were playing every Saturday, with patrons eagerly forking over two bits to hit the floor.
Quickly, business boomed to the point the Hub could lure the biggest of the big bands: Duke Ellington, Benny Goodman, Lawrence Welk and Guy Lombardo.
"All of 'em were there," Everly says, her voice spiking with excitement.
At first, the Hub didn't serve any of the hard stuff. Before dancing, imbibers would jam a saloon across the street.
"That little tavern bulged with people," Everly says.
Eventually, the Hub started serving cocktails. And though the crowds grew thicker, she began to notice a frequent hoofer named Drex Everly. He was good enough to once win one of the heated jitterbug contests on New Year's Eve, the biggest night of the year at the Hub.
Soon, he began dancing only with Helen, and the two wed. She and her late husband would spend decades trying to wear out the dance floor. Her favorite night was always New Year's Eve, when the Hub would pelt the crowd with ping-pong balls stuffed with money and admission tickets.
"There was a mad scramble for those balls," she says, laughing.
For Ellen Klusendorf, the dance hall allowed her a taste of celebrity. Klusendorf, now co-owner of Sky Harbor Steakhouse in West Peoria, used to date George Cisel, long the maitre d' at the Hub. He always stood out in the crowd, as much for his omnipresent tuxedo as his smooth feet. All eyes followed him as he'd glide across the floor.
"He was a great dancer," Klusendorf recalls with a giggle. "And I could follow him."
With serious dancers like Judith Rexford, the main attraction was the dance floor itself.
"The floor was known as one of the best in the country," says Rexford, who runs Rexford Dance Studio in Peoria Heights.
The Hub never stained or scrubbed its maple planks. Rather, workers sprinkled paraffin throughout and let the dancers take care of the rest, creating the perfect sheen and texture.
"The warmth of the dancing feet, the shoes, spread the paraffin," Rexford says.
The floor became a Midwest touchstone for pro dancers.
"Everyone (serious about dancing) in this part of the country always went there," she says.
Her late husband and business partner, Bill Rexford, taught swing dancing at the Hub in the 1950s. But those classes ended a decade later.
"The music changed," Rexford says. "Rock and roll came, with The Twist."
But in the 1980s, swing enjoyed a revival that lasted two decades. Both Rexfords began teaching classes at the Hub. They became such a fixture there the venue hung their picture on its wall of fame that featured photos of visiting big-band celebrities.
She feels the loss of the Hub leaves a hole in the area's collective memory.
"It was part of community life," she says.
Phil Luciano can be reached at firstname.lastname@example.com or (309) 686-3155.


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ERAFP: Winner of the 7th edition of the Responsible Investor Award for the "positive economy"
Amadeis and Natixis Asset Management, through its responsible investment division, Mirova, joined up for the seventh consecutive year, in cooperation with Les Echos and LHForum, to present the Responsible Investor Award. This prize aims to reward institutional investors who have illustrated themselves as responsible investors through their actions in the last twelve months.
The jury[1], chaired by PlaNet Finance President Jacques Attali and comprised of top names in the Socially Responsible Investment (SRI) and sustainable development fields, presented the 2014 Responsible Investor Award to ERAFP (Etablissement de Retraite Additionnelle de la Fonction Publique), the French public service additional pension scheme.
ERAFP is a mandatory pension fund for France's 4.5 million civil servants. With more than €20 billion in assets under management[2], ERAFP opted for a fully responsible investment policy from its creation in 2005:
- an SRI approach consisting notably in an SRI Charter with rating guides for each asset class in which ERAFP invests;
- guidelines on shareholder engagement, including a voting policy at general meetings.
In 2014, this approach was translated into concrete initiatives in terms of responsible investment, including:
- calculation of the equity portfolio's carbon footprint with Trucost;
- launch of the decarbonisation process, starting with a €750 million equity portfolio,
- review of the voting policy, focusing on the following points: promoting the concept of sustainable dividend, financial transparency, appointing more women to corporate boards, principles of transparency and moderation, integration of ESG criteria in remuneration policies, etc.
- reinforcing shareholder engagement practices, notably through the PRI Clearinghouse (collaborative engagement initiatives to fight corruption, improve working conditions in the agricultural supply chain, etc.),
- introduction of SRI management mandates for French small caps and large North American companies.
With this award, Amadeis and Mirova are asserting their convictions and commitment in terms of responsible investment in a French market that is still growing strongly, with a more than 14% increase in assets managed in one year, estimated at €170 billion as of 31 December 2013[3].
The other finalists, AG2R La Mondiale and Axa, who were already nominated last year, as well as Ircantec, also presented ambitious and innovative approaches concerning substantial amounts, which gave rise to extensive exchanges between the jury members.
For further information, please refer to the website: http://www.leprixinvestisseurresponsable.com/
1 Mirova and Amadeis are not jury members. Jury composition in appendix.
2 Source: ERAFP as of 30 September 2014
3 Source: French SRI market 2013 - Survey carried out by the Novethic SRI research centre - April 2014
Amadeis is an independent investment consulting firm. Amadeis helps institutional investors optimise the performance of their investments by defining, implementing and monitoring their investment strategy. With close to €15 billion in assets under advisement, Amadeis is one of the leaders in its field in France. Since its creation, Amadeis has taken a keen interest in responsible investing and contributed to its development in the French market, carrying out numerous missions on behalf of investors and producing studies. The creation of an award aiming to salute the action of institutional investors and companies is very much in keeping with this approach.
Mirova, the Responsible Investment division of Natixis Asset Management, develops an engaged approach aiming to combine value creation and sustainable development. Mirova offers a global responsible investing approach: equities, bonds, infrastructure, Impact investing(1), voting and engagement. The second-largest European manager of open-ended SRI funds(2) and the No.1 in Impact investing in France(3) and in Europe(2), Mirova has €4.3bn in equity in terms of AuM and €38.3bn in voting and engagement. Mirova gathers 46 multi-disciplinary experts, specialists in thematic investment management, engineers, financial and ESG(4) analysts, specialists and experts in socially-conscious finance and project financing. Mirova's fund range is distributed by Natixis Global Asset Management's global distribution platform and is designed for all types of investors, both professional and non-professional.
Source: Natixis Asset Management as of 30 June 2014.
(1) Impact investing: investments with a strong social and environmental impact.
(2) Source: Feri Lipper as of 11/2013.
(3) Baromètre Finansol 2012. Impact investing: of which more than €100 million invested directly in solidarity organisations. References to classifications, awards and/or ratings are not an indicator of future performances by the funds/UCITS and/or fund manager.
(4) ESG: Environmental, Social/Societal and Gouvernance.
Mirova is a wholly-owned subsidiary of Natixis Asset Management.
- Composition of 2014 Jury
- Jacques Attali, chairman of the jury, President of PlaNet Finance and founder and CEO of A&A (Attali & Associés), an international consulting firm specialised in new technologies
- Jean-Michel Severino, Manager of Investisseurs et Partenaires Conseil, a management company specialising in venture capital funds dedicated to SMEs in Sub-Saharan Africa
- Philippe Chalmin, Founder of the CyclOpe circle, Professor of economics at the Paris-Dauphine University
- Sébastien Duquet, Chief Executive Officer, ResponsAbility France
- Robin Edme, Responsible finance consultant at the Ministry for Ecology, Sustainable development and Energy, former President of the French Social Investment Forum (SIF) and Eurosif
- Christian Huglo, Lawyer and founder of law firm Huglo Lepage & Associés Conseil, specialising in environmental law
- Hélène Valade, Deputy CEO in charge of Sustainable development at Lyonnaise des Eaux, President of C3D (Directeurs du Développement Durable, Sustainable Development Directors)
2. Methodology
Universe of French institutional investors, all categories combined (pension and providence bodies, insurance companies, public institutions, companies, foundations, etc.)
3. Former prize-winners
• 2013: MAIF Group
• 2012: Humanis
• 2010: Fonds de Réserve pour les Retraites (FRR)
• 2009: AGRICA EPARGNE, with a special mention from the jury for DANONE
• 2008: ERAFP (Etablissement de Retraite Additionnelle de la Fonction Publique)


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Eastman T386 Thinline Classic Semi Hollow Guitar w case #L2002005
Eastman Guitars
|Guitar Type
Archtop Semi Hollow
|Lower Bout Width
|Body Depth
|Nut Width
|Fingerboard Scale
|Pickup Type
2 Set Humbucker
|Wood Composition
A thinline electric full semi-hollow,versatile and comfortable. All maple laminate. Feedback resistant thinline body. Lowest price guaranteed
About Eastman
In 1992, Qian Ni, who had come to the United States from China to study music, founded Eastman Strings. In the beginning, he and his two musician colleagues bought instruments from Western-trained violin makers from their home town in China, but before long, they saw that a different approach was needed.
Mr. Ni hired a group of established master violinmakers, and with their help, he established a large master violin workshop devoted to the handcrafting of instruments—one of the first the world had known since the first half of the 20th century. In the short time since this workshop was founded, the reputation of Eastman Strings' instruments for tonal quality and craftsmanship excellence has become a worldwide standard.
After establishing the instrument making workshop, Qian Ni went on to found a bow making workshop based on the same principals. In both workshops, master makers train and oversee talented woodworkers to create some of the world's finest student, step-up, and professional instruments and bows.
Today, the instrument and bow making workshops of Eastman Strings operate in precisely the same manner as late 19th century European workshops. They have virtually no power tools aside from the band saws used to cut out the necks and the outlines of the tops and backs of instruments. Chisels, knives, gouges, and scrapers, in the hands of outstandingly gifted craftspeople, are the primary tools used to create these modern instruments and bows, using methods centuries old. Thanks to Eastman Strings, string players today have advantages unknown to earlier generations: quality instruments, bows, and cases available world-wide at affordable prices.
Eastman Strings had been accepted as high quality handcrafted instruments, so Mr. Ni identified the need for hand crafted arch top guitars at an affordable price. Following the same good practices established by the violin shop, a studied approach was applied to the arch top guitar. Numerous vintage models were studied and the first guitars were built by the most gifted staff of the shop.
The results exceeded expectations and became an immediate hit among players of all levels. Rapidly Eastman was established as an extremely high quality- high value, affordable arch top guitar manufacturer. It was only logical that Eastman continued to branch out into the mandolin family of instruments, various electric guitars and flat top acoustic guitars. All products have been highly regarded by players and used everywhere from homes to major concert stages internationally.
The story of Eastman does not stop with stringed instruments. In addition to fine violins, stringed instruments, guitars and mandolins, Eastman has become a major name in the band instrument business. Eastman builds woodwind and brass instruments and has continued the tradition of high quality at a low cost.
Most recently, Eastman became the owner of Haynes flutes, one of the most regarded brands ever and continues to operate that company in the tradition of Haynes. In the future you can be sure that Eastman will continue its fine tradition of craftsmanship and exceptional value in every Eastman instrument produced.
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Window Respraying in Mere
At MZ Resprays we specialise in window resprays to make them look like new. As time goes on your windows can look a little weathered and worn out, this is where we can help.
Don't replace your windows, respray them!
The cost of replacing your windows entirely is always more than simply respraying them. In addition to this its a much bigger job and more hassle to take out the old windows, buy new and have them installed. With window respraying you get the new look that your property deserves. And as a result your windows look brand new, at a fraction of the cost.
Various finished and colours available
We can spray paint your upvc windows in any colour you choose. This is why our upvc window respraying is so popular in Mere. Whatever your taste we can match the colour perfectly. Additionally, we provide different types of finishes such as gloss, matte or satin depending on what you prefer.


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Islandia Construction Services include:Quest Construction Engineering, Inc., a Islandia Construction Company, was founded on the belief that there is a better way to provide professional construction consulting and management services beyond what the traditional market has to offer. The principals of Quest Construction Engineering are steadfast in their belief that these services can be provided while always being an advocate for the client throughout the design construction process and cost effective management.
Top 3 Reasons to choose Quest Construction Engineering for your Islandia Construction project:
Expert Consulting and Superior Customer Support Our Islandia Construction team of Engineers goes far beyond the design and construction of your project. Our consulting services entail a team of experts making sure you get a product that fits your specific needs.
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In all our Islandia Construction projects we use the latest techniques and innovations in Islandia Construction safety, telecommunications, critical systems, technology environments and construction.
Our Islandia Construction experience and constant search for the latest techniques and innovations, delivers only high quality projects at the best value. This is our promise. We make sure every project is the best in class.
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Quest's Construction Services is the one-stop solution for all your Islandia Construction needs. Whatever the size or nature of your construction project, our highly qualified team of Islandia Construction specialists will allocate the time and resources to successfully complete your project on time and within budget. We cater to your specific needs with the best quality and price in the market.
Contact Quest Construction Engineering today!
Contact Us for your next Islandia Construction project and allow us to prove to you why Quest Construction Engineering, Inc. is your preferred choice for Islandia Construction.


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Der Himmel beschütze Sie!
In his last play Der Kirschgarten (1904) Anton Tsjechov brings together all his classic themes on the country estate of Ljoebov, a large landowner who, feeling betrayed by love and life, is on the verge of going bankrupt.
Marion Breckwoldt
Oliver Masucci
Simone Henn
Franziska Henschel
Oda Thormeyer
Wolf Bachofner
Moritz Dürr
Benjamin Höppner
Peter René Lüdicke
Tim Porath
Heinz Kreitzen
Director Luk Perceval
Scenography: Katrin Brack
Costumes Ursula Renzenbrink
Related links
Der Kirschgarten symbolises what we're all pursuing: living eternally in a safe, warm and cosy environment, in a childlike memory. But that is an illusion. The play describes the transition from a harmonious community towards a completely individualised capitalist society. People have an incredible need for harmony, but they degenerate into self-destructive egocentric individuals. It is Tsjechov's credit for having already understood many years ago that people will always carry on their vain struggle against the changing of society.


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Bowie Tourism Government Office
Things to do in Bowie, MD
Bowie, Maryland is an excellent place to visit if you're looking for a way to explore the region. Bowie offers a wide range of activities and attractions. Bowie offers many activities, from outdoor activities like biking and hiking to cultural attractions like museums or art galleries.
Business Name:
Bowie Tourism Government Office
1301 McCormick Drive Largo, MD 20774Bowie Maryland 20774United States
About Bowie
Bowie () is a city in Prince George's County, Maryland, United States. Per the 2020 census, the population was 58,329. Bowie has grown from a small railroad stop to the largest municipality in Prince George's County, and the fifth most populous city and third largest city by area in the U.S. state of Maryland. In 2014, CNN Money ranked Bowie 28th in its Best Places to Live (in the United States) list. == History == === 19th century === The city of Bowie owes its existence to the railway.
Neighborhoods in Bowie, Maryland
Amberfield, Arnold Heights, Arundel View, Asheena Tucker, Samson Properties, Bel Pre Neighborhood Park, Belair Mansion, Benning Ridge, Birch Drive Neighborhood Conservation Park, Bowie High School, Bowie Police Department, Bowie State University, Burrville, Calvert Hills, Caruso Homes - Collingbrook Estates, Caruso Homes at Amber Ridge
Things to do in Bowie, Maryland
Our Newest Profiles


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If you are reading this, it's because it was written earlier today and set to future post as I will be performing at the Greek Islands Restaurant in Indianapolis when this autoposts. The group I'll be playing with is one I co-founded with vocalist and mandolinist, Robert Bruce Scott, in May of 2004, il Troubadore. Rather than give you my bad prose description of us or repost our bio from the website url I just linked, the image below, from the Indianapolis Star written by David Lindquist could just as easily condense what we're about.
We will be hosting our monthly World Music and Dance night at the Greek Islands Restaurant in Indianapolis, a business run by the Stergiopoulos family since 1987. We call the monthly event the Greek Islands Hafla. The Arabic word, hafla, means "party" but in connection with bellydance communities it has taken on a life of its own. This is a description from Shira.net website:
Hafla. (Pronounced "HAHF lah".) This basically refers to a party. A private hafla thrown by a belly dancer usually involves Middle Eastern music (sometimes live musicians jamming, sometimes just taped music), dancers taking turns performing for each other, and some open-floor dancing for everyone to get up and enjoy the music. A more public hafla may be effectively a full belly dance festival, with vendors selling their wares and a more formalized stage show.
The local bellydancers in the Central Indiana area know the Greek Islands Hafla as a bellydance night though we do occasionally have some folk dancers that pop in from time to time.
I'll probably be there until about midnight or so so won't get a chance to post today hence the autopost. And for you perusal, here's a video of us performing at a Zafira Dance Company studio hafla in Pittsburgh for a local bellydance, Unsuk. It's one of the favorite tunes of ours that we do titled, Erev Shel Shoshanim (a "Bouquet of Roses"), music by Yosef Hadar and lyrics by Moshe Dor.


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All great in one way
Who is the greatest member of your family?
What a silly question.
As if there is one family member who is totally better than everyone else.
Amazingly, this is how some Americans describe the United States of America: as the "greatest country in the world."
Politicians like to talk this way about the USA.
They do it out of an immense feeling of pride for what our young nation has achieved with its prosperity, technology and ethnic diversity. And they do it to appeal to voters.
But using the "greatest country" terminology is a pretty juvenile approach to talking about the world, really, because every country has greatness.
Often this immature approach is taken by people who haven't traveled to and immersed themselves in other countries, doing the things that locals do — as opposed to hopping off a cruise ship for a couple of hours to visit some tourist zones.
So when people say the USA is the greatest country in the world, they're sometimes also saying they have little basis of comparison to the other 200 countries that are out there.
In other words, since the rest of the world is a big question mark, they need to feel secure about the country they live in by calling it the greatest.
In contrast, experienced travelers have a more mature approach toward their home country.
This approach still invokes the word "greatest" to describe a particular dimension of a country, while leaving it open that others may legitimately disagree.
What country has the greatest record of environmentalism? That country might be Sweden.
What country has the greatest spirit out of the countries that have been conquered? That country might be Mexico.
What country has the greatest health care system? That country might be France (the World Health Organization says so).
What country has the greatest opportunities for incubating small businesses? Now that country might be the USA.
Refusing to call the USA the greatest country in the world is not being treasonous.
It is exercising an informed ability to maintain a balanced perspective when describing this gigantic and multifaceted world specifically by talking about individual countries.
You can still have pride in your country without being immature about it.
And you can still ask yourself: What is the best possible accolade to bestow on your country? That's a great question.
But it's not the greatest question, because there isn't one.
Rob McKenzie is a professor of Communication Studies at East Stroudsburg University of Pennsylvania.


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All levels of government should adopt policies ensuring that people who do not speak English or are limited in English proficiency have adequate language a
Millions of people receive access to health insurance coverage through provisions of the Affordable Care Act. However, millions still remain uninsured.
All levels of government and the private sector should adequately fund and support antifraud and anti-abuse efforts.
Congress should allocate sufficient funds to support and maintain a robust public health infrastructure and population health.
National prevention and health-promotion outreach and education campaigns should be developed and implemented by federal, state, and local governments, alo
Policymakers at all levels should encourage individuals to protect their health by taking advantage of well-funded, evidence-based health-education opportu
The public and private sectors should prioritize consumer and family caregiver engagement in health care.
Consumers should be encouraged and empowered to maintain and, where possible, improve their health.