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Curated by Steven Hull
Including work by Steven Hull, Amy Thoner, Dewey Ambrosino, Tami Demaree, April Totten and Donnie Stroud
Steven Hull, sketch for Sculpture Garden
For Las Cienegas Projects' final month of exhibitions, we are very pleased to announce Sculpture Garden, a collaborative installation conceived of by Steven Hull and including work by Steven Hull, Amy Thoner, Dewey Ambrosino, Tami Demaree, April Totten, and Donnie Stroud.
The installation will turn the main gallery into a fictional landscape that will include a moving passenger train for 2, photographic "billboards", topographical hillscapes, sculptural works, and other elements found in gardens, outdoor leisure spaces, and trainscapes.Project Space
Sunset Drone
Kaz Oshiro, detail from Orange Speaker Cabinets and Gray Scale Boxes (18 parts)
Las Cienegas Projects is pleased to present Sunset Drone, a solo exhibition by Kaz Oshiro. The exhibition includes Orange Speaker Cabinets and Gray Scale Boxes (18 parts), an installation comprised of twelve "Orange brand speaker cabinets" and six gray scale boxes, all made out of stretched canvas, acrylic paint and Bondo.
Kaz Oshiro's trompe l'oeil style works 3-dimensionally depict American subcultural artifacts and familiar objects such as brightly colored Marshall amps, sticker-laden pickup truck tailgates, public garbage containers, and kitchen appliances. Done on box-shaped stretched canvases, the works often deal with the abstract qualities of surface and other issues of painting: scuff marks, scratches, dust, finger prints and gooey marks on specific surface finishes. Yet while Oshiro insists on the primary importance of painting in his practice, there is a simultaneity with sculpture that his works fully engage, along with a conscious interplay between realism and abstraction, pop and minimalism, content and façade.
Kaz Oshiro (b.1967) has lived and worked in Los Angeles since 1986. He has held solo exhibitions at Galerie Frank Elbaz, Paris; Galerie Emannuel Perrotin, Miami; Yvon Lambert, New York; and Rosamund Felsen Gallery, Santa Monica. His work has also been exhibited at the Villa du Parc, Annemasse, France; the McNay Art Museum, San Antonio, Texas; the Asia Society and Museum, New York; the Orange County Museum, Newport Beach; Hammer Museum, Los Angeles; the Japanese American National Museum, Los Angeles; and the Museum of Contemporary Art, Los Angeles. He holds a BA and MFA from California State University, Los Angeles.
LRTT (Lunar Reflection Transmission Technique)
left- Taro Shinoda's telescopic video camera. Photo: Gulay Yigitcan; right- Taro Shinoda: Lunar Reflections (installation view, Isabella Stewart Gardener Museum), Taro Shinoda, 2009. Photo: Clements/Howcroft Photography.
Las Cienegas Projects is pleased to present Taro Shinoda's LRTT (Lunar Reflection Transmission Technique). LRTT is a continually developing, 90-minute telescopic video installation. Motivated by the desire to view and experience the moon as a mutually shared phenomenon, Shinoda crafted a rudimentary astronomical telescope out of scrap corrugated cardboard and connected it to a video camera, setting out from different parts of the world to videotape the moon's passage across the telescope's field of view, as well as images of each city he visited (including Tokyo, Istanbul, Limerick, and Boston). For the exhibition at Las Cienegas Projects, Shinoda will include cityscape and lunar footage shot in and from Los Angeles.
The project began during the artist's month-long stay at Boston's Isabella Stewart Gardner Museum in the spring of 2007, when Shinoda was inspired by the moonlight and the sense of calm found late at night in the museum courtyard. Yet its roots lie in his early childhood memories of trying to communicate with his mother over great distances, entrusting messages to the moon, which he hoped his mother would receive on the other side of the planet when the moon rose for her.
The art of Taro Shinoda engages themes of science, philosophy, and desire, and investigates both our place in the universe and within contemporary society. Shinoda was born in 1964 in Tokyo, Japan, where he continues to live and work. He has held solo exhibitions at the Isabella Stewart Gardner Museum, Boston; REDCAT, Los Angeles; GALLERY SIDE 2, Tokyo; and Hiroshima City Museum of Contemporary Art, Hiroshima, among others, and has participated widely in group exhibitions including the 2011 Asian Art Biennale, Taichung; Transparency: Art for Energy, MACRO, Rome; He'e ualu, Galerie Frank Elbaz, Paris; Sensing Nature, Mori Art Museum, Tokyo; the 10th International Istanbul Biennial, Istanbul; and Time After Time: Asia and our moment, Yerba Buena Center for the Arts, San Francisco.


text: The modern LGBT rights movement is often considered to have begun with the community's response to the police assault on LGBT patrons of the Stonewall Inn in 1969. To this day, law enforcement officials continue to target LGBT and HIV-positive people for abuse, utilizing the power of the police and criminal justice system. Lambda Legal has a proud history of standing up to such misconduct, challenging criminal laws directed at or disproportionately applied against members of our community, and seeking recourse when legal authorities violate the rights of LGBT and HIV-positive people. We also challenge government actions that fund, support or facilitate discrimination.

subset: commoncrawl


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In 2005, Hurricanes Katrina and Rita produced wide-spread flooding in Harrison County, Mississippi (County). As a result, many facilities in the County were damaged or destroyed, and extensive construction and rehabilitation of buildings and facilities are expected throughout the County over the next several years.
The United States Department of Justice (Department) initiated this matter to provide technical assistance to the County in complying with its obligations under title II of the Americans with Disabilities Act of 1990 (ADA), 42 U.S.C. §§ 12131-12134, and the Department's implementing regulation, 28 C.F.R. Part 35, with respect to (1) the construction of new facilities to replace those that were destroyed or damaged, (2) the rehabilitation of facilities that were damaged, (3) the re-introduction of programs, services, and activities to buildings and facilities closed because of damage, and (4) the development of an emergency operations plan that addresses the needs of people with disabilities. The Department initiated this matter in the spirit of federal/local government cooperation and not as a result of a complaint alleging violation of title II by the County.
- The ADA applies to the County because it is a "public entity" as defined by title II. 42 U.S.C. § 12131(1)(A).
- The Department is authorized to provide technical assistance to the County pursuant to section 506 of the ADA, 42 U.S.C. § 12206. The Department is also authorized under 28 C.F.R. Part 35, Subpart F, to determine the compliance of the County with title II of the ADA and the Department's title II implementing regulation, to issue findings, and, where appropriate, to negotiate and secure voluntary compliance agreements. The Attorney General is further authorized, under 42 U.S.C. § 12133, to bring a civil actionenforcing title II of the ADA should the Department fail to secure voluntary compliance pursuant to Subpart F.
- The parties to this Agreement are the United States of America and Harrison County, Mississippi.
- The parties enter into this Agreement in order to facilitate the County's compliance with the requirements of title II of the ADA with respect to its emergency operations plan and its efforts to address hurricane-related damage to its buildings and facilities, and to avoid the burdens and expenses of an investigation and possible litigation.
- In consideration of, and consistent with, the terms of this Agreement, the Attorney General agrees to provide the technical assistance set forth in this Agreement. The Attorney General also agrees to refrain from filing a civil suit in this matter regarding all matters contained within this Agreement, except as provided in the section entitled "Implementation and Enforcement."
- In consideration of the technical assistance provided by the United States pursuant to this Agreement, the County agrees to comply with the terms of this Agreement.
- Construction and Rehabilitation of Buildings and Facilities: The County will ensure
that all of its facilities will be constructed or rehabilitated in full compliance with the
requirements of the ADA as set forth below.
- For all County buildings and facilities constructed following the effective date of this Agreement (i.e., "new construction" pursuant to 28 C.F.R. § 35.151(a)), the County will comply with the requirements of the Department's ADA regulation, 28 C.F.R. Part 35, and the ADA Standards for Accessible Design, 28 C.F.R. Part 36, App. A ("Standards"), including the scoping provisions in effect at the time of construction.
- In its rehabilitation of all County buildings and facilities for which original construction commenced after January 26, 1992 (i.e., "new construction" pursuant to 28 C.F.R. § 35.151(a)), the County will comply with the requirements of the Department's ADA regulation, 28 C.F.R. Part 35, and the Standards in effect at the time of rehabilitation.
- In its rehabilitation of all County facilities for which original construction commenced on or before January 26, 1992 (i.e., "alterations" to "existing facilities" pursuant to 28 C.F.R. § 35.151(b) and (c)), the County will ensure that all elements are in compliance with the Standards in effect at that time, including the "path of travel" requirements if alterations are made to primary function areas.
- Program Access: As it re-introduces its programs, services, and activities into its
facilities closed due to hurricane-related damage, the County will ensure compliance with
ADA requirements.
- With respect to facilities for which original construction commenced after January 26, 1992 (i.e., "new construction"), the County will ensure that such facilities become and/or remain readily accessible to and usable by people with disabilities in compliance with the Standards. 28 C.F.R. § 35.151(a). Prior to reopening each such facility, the County will identify and remove barriers to access for persons with disabilities by applying the Standards, including the Standards' scoping requirements, to determine whether the facility is "readily accessible to and usable by" persons with disabilities. 28 C.F.R. §§ 35.149, 35.151(a).
- With respect to facilities for which original construction commenced on or before January 26, 1992 (i.e., "existing facilities"), the County will ensure that, when viewed in its entirety, each such program, service, or activity becomes and/or remains readily accessible to and usable by individuals with disabilities, 28 C.F.R. § 35.150. Prior to re-opening each such facility, the County will identify barriers to access for persons with disabilities by applying the Standards, including the Standards' scoping requirements, to determine whether the facility is "readily accessible to and usable by" persons with disabilities. Once barriers have been identified, the County will take whatever actions are needed to ensure that persons with disabilities have access to the programs, services, and activities that would otherwise be provided at that facility. Such actions may include removing the architectural barriers, reassigning services to more accessible facilities, conducting home visits, or implementing any other method that results in making the program, service, or activity readily accessible to and usable by persons with disabilities. 28 C.F.R. § 35.150. This paragraph does not require the County to take any action that it can demonstrate would result in a fundamental alteration or undue burden. 28 C.F.R. § 35.150(a)(3).
- Maintenance of Accessible Features: Throughout the life of this Agreement, consistent with 28 C.F.R. § 35.133(a), the County will maintain the accessibility of its programs, activities, services, facilities, and equipment, and will take whatever actions are necessary (such as routine testing of accessibility equipment and routine accessibility audits of its programs and facilities) to do so. This provision does not prohibit isolated or temporary interruptions in service or access due to maintenance or repairs. 28 C.F.R. § 35.133(b).
- Funding of Technical Assistance and Other Services Provided by Consultant: Both parties acknowledge that the initiatives contained in paragraphs 11 - 13 of this Agreement will be performed by a Department of Justice consultant.
- Design Reviews of Plans for New Construction and Modifications to Facilities: The
parties agree as follows:
- To assist the County with ensuring ADA compliance during its rebuilding and rehabilitation of facilities, the Department will provide an architectural consultant to review design plans for certain facilities that are being constructed or rehabilitated. The plans selected for review by the consultant will be agreed upon jointly by the County and the United States, with priority being given to those plans for facilities which members of the public will use most frequently to obtain access to the Counties' programs, activities, and services. The reviews will focus on critical accessibility features such as parking, routes to the facility, entrances, routes inside the facility, and toilet rooms, as well as the accessibility of special features such as courtrooms, assembly areas, and holding cells.
- To assist the parties in selecting the plans most appropriate for review by the consultant, the County will advise the Department in writing within 30 days after it develops and/or receives design plans for the construction or rehabilitation of any building or facility.
- The County will submit the plans selected for review to the consultant provided by the Department at least 90 days prior to the commencement of construction or rehabilitation of a facility.
- The consultant's contract with the Department will require the consultant to provide comments simultaneously to the County and to the Department within 30 days of receipt of the design plans.
- The County will re-design and construct its facilities consistent with the consultant's and the Department's ADA findings and recommendations.
- Training on ADA Architectural Requirements for Key County Personnel and for Local Architects, Engineers, and Contractors: To further assist the County during the rebuilding effort, the Department will provide live ADA training and consultation for County building inspectors, facilities personnel, and County employees involved in the rebuilding and rehabilitation process. The training and consultation will be provided by an ADA architectural consultant hired by the Department and/or by a staff architect employed by the Department. Training sessions will be open to architects, engineers, and contractors who may engage in the design or construction of public or private buildings or facilities in the County. The Department will determine the amount of training and consultation provided based upon available funding.
- "Ask the ADA Architect" Desk: The Department will provide live ADA consultation for private business owners, landlords, contractors, architects, and others who are designing or rebuilding private (non-governmental) facilities within the County. The County will provide adequate office space, equipment, and support for this initiative, and will conduct all necessary outreach to the targeted communities. This consultation will be conducted by an architectural consultant hired by the Department and/or by a staff architect employed by the Department. The Department will determine the amount of consultation provided based upon available funding.
- Within 15 days of the effective date of this Agreement, the County will provide the Department with the County's Emergency Operations Plan ("EOP"), including all supporting documents.
- Within 60 days of receipt of the County's EOP, the Department will provide comments to the County on the modifications required to ensure compliance with title II of the ADA and the Department's implementing regulation.
- Within 60 days of receipt of the Department's comments on the County's EOP, the County will incorporate the Department's comments into its EOP, ensure that its revised EOP is in full compliance with the requirements of title II of the ADA, and provide a copy of its revised EOP (including supporting documents) to the Department.
- The County will implement the EOP and supporting documents consistent with comments received from the Department relating to compliance with title II of the ADA and its implementing regulation.
- Except as otherwise specified in this Agreement, at yearly anniversaries of the effective date of this Agreement until it expires, the County will submit written reports to the Department summarizing the actions the County has taken pursuant to this Agreement. Reports will include detailed photographs showing measurements, architectural plans, work orders, notices published in the newspaper, copies of adopted policies, and proof of efforts to secure funding/assistance for structural renovations or equipment.
- If at any time the County desires to modify any portion of this Agreement because of changed conditions making performance impossible or impractical or for any other reason, it will promptly notify the Department in writing, setting forth the facts and circumstances thought to justify modification and the substance of the proposed modification. Until there is written agreement by the Department to the proposed modification, the proposed modification will not take effect. These actions must receive the prior written approval of the Department, which approval will not be unreasonably withheld or delayed.
- The Department may review compliance with this Agreement at any time. If the Department believes that the County has failed to comply in a timely manner with any requirement of this Agreement without obtaining sufficient advance written agreement with the Department for a modification of the relevant terms, the Department will so notify the County in writing and it will attempt to resolve the issue or issues in good faith. If the Department is unable to reach a satisfactory resolution of the issue or issues raised within 30 days of the date it provides notice to the County, it may institute a civil action in federal district court to enforce the terms of this Agreement, or it may initiate appropriate steps to enforce title II.
- For purposes of the immediately preceding paragraph, it is a violation of this Agreement for the County to fail to comply in a timely manner with any of its requirements without obtaining sufficient advance written agreement with the Department for an extension of the relevant time frame imposed by the Agreement.
- Failure by the Department to enforce this entire Agreement or any provision thereof with regard to any deadline or any other provision herein will not be construed as a waiver of the Department's right to enforce other deadlines and provisions of this Agreement.
- A copy of this document or any information contained in it will be made available to any person by the County or the Department on request.
- This Agreement constitutes the entire agreement between the parties on the matters raised herein, and no other statement, promise, or agreement, either written or oral, made by either party or agents of either party, that is not contained in this written Agreement, will be enforceable. This Agreement does not purport to remedy any other potential violations of the ADA or any other federal law. This Agreement does not affect the County's continuing responsibility to comply with all aspects of the ADA.
- This Agreement will remain in effect for four years from the effective date of this agreement.
- The person signing for the County represents that he or she is authorized to bind the County to this Agreement.
- The effective date of this Agreement is the date of the last signature below.
For Harrison County, Mississippi: For the United States:
Assistant Attorney General for Civil Rights
LARRY BENEFIELD, President
Harrison County Board of
1801 23rd Avenue
Gulfport, MS 39501
Attest: __________________________
JOHN MCADAMS, Board Clerk
JOHN L. WODATCH, Chief
JEANINE WORDEN, Deputy Chief
NAOMI MILTON, Supervisory Attorney
SUSAN BUCKINGHAM REILLY, Attorney
DOV LUTZKER, Attorney
AMELIA EDUARDO, Investigator
U.S. Department of Justice
Civil Rights Division
950 Pennsylvania Avenue, N.W.
Disability Rights Section - NYA
Washington, DC 20530
(202) 307-0663
Cases & Matters by ADA Title Coverage | Legal Documents by Type & Date | archive.ADA.gov Home Page
Cases & Matters by ADA Title Coverage | Legal Documents by Type & Date | archive.ADA.gov Home Page
January 14, 2008


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Endorsement Deals
If it's not already apparent, I think Daniel Walker Howe's What Hath God Wrought is incredible. It's interesting to think about Howe's book in comparison to Battle Cry of Freedom. Battle Cry makes it utterly impossible for anyone to claim the Civil War really wasn't about slavery. It is the utter destruction of The Lost Cause--and then a history of the Civil War to boot. And it's all done in one volume. Incredible.
What Hath God Wrought is, if this makes sense, almost a continuation of the attack against the Lost Cause. Walker demonstrates that slavery did not simply precipitate the Civil War, it dominated politics in the first half of the 19th century, playing a hand in matters as diverse as Clay's American System to the Trail of Tears. I got a great kick out of reading about the Nullification Crisis. Lost Causers will frequently, and always vaguely, point to "tariffs and taxes" as the actual cause of the Civil War--or rather as a complementing one. Of course Howe digs into the precise nature of what the South didn't want taxed, and what tariffs they objected to. Of course, he comes up covered in cotton. Northerners wanted to tax the daylights out of cotton picked by slaves. The planter class, particularly in South Carolina, objected. To be clear Northerners were not solely, or even especially, moved by moral reasons. But my point is this--Even the alternative explanation of Lost Causers is rooted in slavery.
Beyond that, Howe's greatest success, for me at least, is how he produces a clear and lucid multicultural history of America. So the nascent feminists are fighting for the Cherokee, the Cherokee have black slaves, the black slaves are joining the Seminoles to fight Jackson in Florida, the black freemen are fighting with Jackson against the English. And so on. It really feels like an improvement on Howard Zinn's approach in A People's History Of The United States. Much less didactic. Much more nuanced, And also a more coherent sense of what the word "People" actually means. There is no sense that the "People" are an unalloyed force for good.
I will always appreciate Zinn for giving me a broader sense of the country and its struggles. But, in my lonely estimation, as I got older, I find A People's History more and more problematic.


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Welcome To AlbumLinerNotes.com
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Laura Nyro
Angel In The Dark
Laura Nyro
Biography by Jason Ankeny
Laura Nyro was one of pop music's true originals: A brilliant and innovative composer, her songs found greater commercial success in the hands of other performers, but her own records -- intricate, haunting works highlighting her singularly powerful vocal phrasing, evocative lyrics, and alchemical fusion of gospel, soul, folk, and jazz structures -- remain her definitive artistic legacy.
The daughter of a jazz trumpeter, she was born Laura Nigro on October 18, 1947, and composed her first songs at the age of eight. After attending Manhattan's famed High School of Music and Art, she began performing in area clubs, drawing on influences as diverse as Bob Dylan and John Coltrane. In 1967, Nyro issued her first LP, More Than a New Discovery; though commercially unsuccessful, the album was a treasure trove of material for other artists -- the Fifth Dimension scored with "Wedding Bell Blues" and "Blowin' Away," Barbra Streisand covered "Stoney End," and Blood, Sweat & Tears tackled "And When I Die."
In 1967, Nyro made just her second major live appearance to date at the Monterey Pop Festival, where her idiosyncratic performance baffled the crowd. However, David Geffen -- a music agent at the time -- caught her set and was so impressed that he quit his current position to become her manager. He also won Nyro a contract with Columbia, and in 1968 she returned with the extraordinary Eli and the Thirteenth Confession. While the album earned vast critical acclaim, she again found commercial success not with her own recordings, but with covers of Eli's songs, as the Fifth Dimension reached the charts with renditions of "Stoned Soul Picnic" and "Sweet Blindness," while "Eli's Comin'" became a major hit for Three Dog Night.
New York Tendaberry, released in 1969, fared better thanks to the strong word of mouth now trailing her work; the record's "Time and Love" and "Save the Country" soon emerged as two of her most well-regarded and popular songs. With 1970's Christmas and the Beads of Sweat, she continued her exploration of soul music, enlisting Muscle Shoals staples like Barry Beckett, Roger Hawkins, and Eddie Hinton; "Beads of Sweat" also featured guitar work from Duane Allman. Gonna Take a Miracle, recorded with Labelle and the production team of Gamble & Huff, marked a dramatic left turn in 1971; Nyro's lone album of non-original material, it featured her tributes to Motown ("Jimmy Mack," "Nowhere to Run"), doo wop ("The Bells," "Spanish Harlem"), and the girl group era ("I Met Him on a Sunday").
At the age of 24, Nyro announced her retirement; she married, severed her industry connections, and moved to a small community in New England. However, the marriage ended in divorce, and in 1976 she resurfaced with Smile; a subsequent tour yielded the 1977 live set Season of Lights. However, the long layoff derailed whatever chart momentum her music had accrued, and after the dismal sales of 1978's Nested, she again retreated from the music business.
When Nyro finally returned from her self-imposed exile in 1984 with Mother's Spiritual, her music had grown more reserved and introspective; as the title indicated, her own motherhood provided considerable inspiration for her new work, as did her rustic New England lifestyle. While she did not make any overt declarations of retirement, Nyro waited another five years before issuing her next LP, Live at the Bottom Line, recorded at the legendary New York club; Walk the Dog & Light the Light, her first collection of new material in nearly a decade, followed in 1993. Four years later, Nyro died of ovarian cancer, on April 8, 1997. A posthumous album, Angel in the Dark, was issued in 2001, and several additional live recordings also surfaced.
Content provided by All Music Guide. (C) 2009 All Media Guide, LLC.


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Questions and Topics for Discussion
1. How do the small-town lawyers in Ford County compare to some of the high-powered attorneys featured in John Grisham's other works? What struggles and temptations do they all have in common?
2. When Roger, Aggie, and Calvin decided to travel to Memphis to give blood in "Blood Drive," what were they each hoping to gain? Was Calvin the only one who lost his innocence on the trip? What ultimately was your impression of Bailey—the character we only meet through hearsay?
3. In "Fetching Raymond," Inez Graney and her sons Leon and Butch don't see Raymond's situation in quite the same way. What accounts for the difference between Raymond and his brothers? What determines whether someone will end up on the wrong side of the law?
4. John Grisham's first work of nonfiction, The Innocent Man, recounted the story of Ron Williamson, who was sentenced to death for the 1982 murder of an Oklahoma waitress despite a spurious trial. In the fictional Raymond Graney's case, we're told on page 75 that he confessed to Butch, and that Butch and Leon knew their brother had ambushed Coy. Nonetheless, was it right for Raymond to receive the death penalty?
5. What drove Mack Stafford to go to such great lengths of dishonesty in his "Fish Files" escape? Was his life in Mississippi beyond salvage? Did he do any real harm in executing his brilliant plan?
6. What is Sidney Lewis's best ammunition against Bobby Carl Leach? What really ruined Sidney and Stella's marriage? Did money put it back together again at the end of "Casino," or was something else at play?
7. In "Michael's Room," was Stanley in fact facing enormous lies of his past, or had he simply presented a different version of the truth in the courtroom? Why did Jim Cranwell lose his case? Could any amount of legislation have ensured a victory for him?
8. How did your perception of Gilbert Griffin change as you read "Quiet Haven"? What were your first impressions of him? Were you hoodwinked as well? Could someone like him dodge prosecution forever?
9. What does "home" mean to Emporia and Adrian in "Funny Boy"? What does their friendship prove about the people who make Clanton's most powerful families feel threatened? What is Adrian's greatest legacy to his newfound friend?
10. How do the residents of Ford County imagine city life—Memphis, San Francisco, New York? What determines whether they fear it or crave it?
11. What does Ford County tell us about the nature of small towns? What makes them safe havens? What makes them dangerous?
12. Whose lives are changed for the better by the legal agreements and maneuvers described in Ford County? What is the most significant factor in whether the law is a force for good or evil in these stories?
13. Tort reform has received much publicity in recent years. Discuss the question of damages raised in stories such as "Fish Files," "Michael's Room," and "Quiet Haven." When should an injured person be entitled to financial compensation? What should drive the dollar amount of that compensation?
14. Adrian reads much fiction by William Faulkner, who also created a fictional southern locale (Yoknapatawpha County) as the setting for many of his works. How does Grisham's take on small-town Mississippi compare to Faulkner's? What aspects of Ford County have remained unchanged since Grisham created it for A Time to Kill?
15. What makes Grisham's approach to storytelling so appropriate for short fiction? Linked by time and place, do the stories in Ford County form a novel, in a way?


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Recent Posts
- Sounds and Smells and Sensations from Childhood
- NINE YEAR OLD SELF LIVES From directly overhead I watched two trains pass in the night, except that it was a bright and beautiful morning with a lovely cool breeze comfortably brushing across my face and bare arms. It was a cool morning, just right for a short sleeved hiking shirt, thin hiking pants and of course my new Merrill Moab hiking shoes. I got up early (for me) today. My windows declared it to be an exceedingly beautiful morning, and my weather App added that it was 58 degrees, perfect for walking. I felt drawn to the River Walk, not the market, but the paved path that extends two or three miles from the entrance 500 feet from my building to the east along the bank of the Missouri River. There have been endless days of storms, pouring buckets of rain into the River and sheets of rain on to land nearby which then drained into it. To put a boat in that river and climb in it would mean certain death as the speeding current and debris dragged it into the swirling water. There was little space between top of the murky river and the bottom of each bridge in view. On a high observation platform I met first Michael and then later Mark, men only a decade or so younger than I, who had come to watch the water. Michael had spent a year backpacking around the world almost forty years ago when he was 26. There is not enough room here to record that conversation since we both had many stories to tell. We both shared the joy of meeting people of all sorts in our respective travels. Mark and his wife have just moved here for the same reasons I have moved to this spot. My family and I walked this path a couple of years ago, but this time the solitude of an early walk with only the occasional jogger passing by gave me time to engage the sights and sounds more fully and, as I repeat endlessly, to become fully present with the surroundings. The nine year old in me caught the sound of a Red-winged Blackbird. I spent much of my childhood at the nearby swamp where the Blackbird's song became a sort of Siren's call to play. Soon I found the source, a swamp full of cattails and wild flowers and birds and frogs. It lay between the walkway, a grove of trees, and then the river. The air was filled with the sounds of the birds and the frogs. Next, the path led to a lower area with the river only inches from the top of the cement wall at the edge of the path. The foundational support of one of the bridges rose out of the water just about a foot from the edge of the path. When I looked up I saw many birds swirling around the top of that support. They were Cliff Swallows feeding hungry young whose demanding beaks were sticking out of the openings in many dozens of mud houses. As I settled into the sounds along the way, the deep and powerful bass of a train lumbering along on the tracks on the opposite side of the path provided the basso continuo for a symphony. The symphony included the sounds of cars and trucks on the bridges and highways nearby. Solo instruments included train whistles, birdsong and when near the swamp, croaking frogs who refused to be drowned out by the other performers in the symphony. When I was walking along I heard the barking of dogs from the Bar K Dog Bar, where dog owners can eat and drink while their dogs are playing in a secure area. Later there were some construction sounds as the supply of lofts and apartments here continues to grow. I looked up at the buildings of the downtown sitting on a hill not far away above the trees on that side of the path. I looked at the river side where trees, water and more trees across the river created the feeling of being in a lush, natural environment. This Symphony was live, no recording, not sound only. I couldn't help but think metaphorically about the experience. The balance between human produced and naturally occurring environments suggested to me that with a healthy, thoughtful and balanced approach both can exist in harmony. While this was hardly a pristine natural place, protecting those places is paramount to our long term survival as a species. When Human made and naturally occurring environments seem dissonant, it is worth the effort to collaborate and compose a symphony that will endure as pleasing music to the ears of our great-grandchildren and theirs. Now to the trains: While walking back to the city on the wood bridge over the tracks, through the trees I caught sight of a train in the distance that seemed to be coming my direction. I decided to go back to a spot on the bridge right over the tracks. The nine-year-old in me sprang to life. As I was walking to a better vantage point, I saw a train approaching very slowly from the other direction. I was a bit confused by how slow it was going until I looked the other direction and saw the structure over the tracks with three red lights over three of the tracks, one the track on which the slow train was approaching. It came to a stop. I decided I would wait to see if this played out as I expected. It did. The train I had originally spotted came around from behind the trees coming from the opposite direction. It was a very long train with huge containers stacked two high. When it passed the standing train, they appeared to be only inches apart. It took a long time to pass, and the standing train remained for a long time after it had passed. The light in its track was still red. Then the light changed to green. It took a while for the train to start moving, but when it did, there was one short but very loud sound of the train whistle. Now this may be a nine-year-old's wishful thinking, but I had been standing by myself on that foot bridge in full view of that train Engineer for a very long time. I couldn't see the driver so I do not have clear evidence that it is so, but nine-year-old Pete is convinced that he blew the whistle for me. I waved. It was such a lovely morning!
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Category Archives: Life after Retirement
Something Has Changed
It is a Friday night. I am alone and at home. I had four other options this evening, three of them in Kansas City. I just couldn't do it again. Tonight would have been the third day in a row … Continue reading
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Differences between NZ and the US
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Partying with Uni Kids in NZ
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The Road to Otorohanga
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Started It With Dread – Ended With Peace
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Soon To Enter Time Warp!
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145 Pounds Tries to Tell 1150 Pounds What To Do
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A Little More Done – Lessons Continue
This just seems crazy! I now have a ticket to the Passion According To St. John by Bach, to be performed by the Sydney Orchestra and Philharmonia Choir in the Sydney Opera House on Saturday, April 23rd! Not only that, but … Continue reading
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Am I Ready for a New Start?
I have not been able to listen to the CD of the funeral yet. Today, I decided that I will try to bring myself to listen to it before I leave on the big trip in eleven days. As I … Continue reading
Posted in Life after end of Career, Life after loss of Spouse, Life after Retirement Tagged Dreaming impossible dreams, Finding Purpose in Life, Grief Therapy, Grieving at Holiday time, Living with awareness, Music as Grief Therapy, Searching for life, Surviving the Holidays, Travel as Grief Therapy 2 Comments
Packing Pictures and Valentine Experiences
I tried to connect pictures of packing to this post, but so far I don't think I have succeeded. Technology can be so frustrating! I have managed to get them into this post in an awkward position, but at least they … Continue reading
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text: Protective gear, all the way down to your toes. When temperatures hit rock bottom and rain decides to join the party, keeping your feet warm and dry is not an option, it's a necessity! Like the rest of our textile range, our overshoes are made from durable, technical materials to accompany you ride after ride.


text:
Forum: Compiler
Issue: CLOS-MACRO-COMPILATION
References: CLOS chapters 1 & 2 (88-002R)
CLOS chapter 3 (89-003)
Issue COMPILE-FILE-HANDLING-OF-TOP-LEVEL-FORMS
Issue DEFINING-MACROS-NON-TOP-LEVEL
Category: CLARIFICATION
Edit History: V1, 10 Mar 1989, Sandra Loosemore
V2, 13 Mar 1989, Sandra Loosemore
V3, 21 Mar 1989, Sandra Loosemore (fix error language)
V4, 11 Jun 1989, Sandra Loosemore (Gregor's amendment)
V5, 23 Jun 1989, Sandra Loosemore (wording changes per Pitman)
Status: Proposal MINIMAL passed, June 89
Recommendation to drafting committee: clarify that the
provisions listed under DEFCLASS are intended to affect
warnings emitted by the compiler.
Problem Description:
Do the CLOS defining macros (DEFCLASS, DEFMETHOD, DEFGENERIC, and
DEFINE-METHOD-COMBINATION) have compile-time side-effects similar
to those for DEFSTRUCT or DEFMACRO?
A part of the problem is that we do not currently have a full
understanding of all the issues involved. In particular, work on
defining the CLOS meta-object protocol is still in progress. The goal
of this proposal is to say enough about the behavior of these macros
in the standard so that users can use them portably in compiled code,
but to leave as much of the behavior as possible unspecified to avoid
placing undue restrictions on the meta-object protocol.
Proposal CLOS-MACRO-COMPILATION:MINIMAL:
State that top-level calls to the CLOS defining macros have the
following compile-time side-effects. Any other compile-time behavior
is explicitly left unspecified.
* The class name may appear in subsequent type declarations.
* The class name can be used as a specializer in subsequent
DEFMETHOD forms.
* The generic function can be referenced in subsequent DEFMETHOD forms.
* DEFGENERIC does not arrange for the generic function to be callable
at compile time.
* DEFMETHOD does not arrange for the method to be callable at compile
time. If there is a generic function with the same name defined at
compile time, compiling a DEFMETHOD does not add the method to that
generic function. (That is, the method is added to the generic
function only when the DEFMETHOD is actually executed.)
The error-signalling behavior described in the specification of
DEFMETHOD in CLOS chapter 2 (if the function isn't a generic function
or if the lambda-list is not congruent) happens only when the defining
form is executed, not at compile time.
The forms in EQL specializers are evaluated when the defining form
is executed. The compiler is permitted to build in knowledge
about what the form in an EQL specializer will evaluate to in cases
where the ultimate result can be syntactically inferred without
actually evaluating it.
* The method combination can be used in subsequent DEFGENERIC forms.
The body of a DEFINE-METHOD-COMBINATION form is evaluated no earlier
than when the defining macro is executed and possibly as late as
generic function invocation time. The compiler may attempt to
evaluate these forms at compile time but must not depend on being able
to do so.
The compile-time behavior of DEFCLASS is similar to DEFSTRUCT or
DEFGENERIC and DEFMETHOD are similar to DEFUN, which doesn't add the
function definition to the compile-time environment. Since generic
functions may be freely redefined between compile and run time (just
like any other function), a method may end up "belonging" to a
different generic function at load time than at compile time. This
is why it is inappropriate to signal errors about congruency problems
(etc) until the method is actually added to the generic function at
run time.
Current Practice:
The items listed under DEFCLASS in proposal MINIMAL are fairly standard
programming style.
Flavors does not support compile-time instantiation of classes. It
does not make method combinations available at compile-time either, but
Moon considers that to be a bad design choice.
Cost to implementors:
Cost to users:
Unknown, but probably fairly small.
Wrapping an (EVAL-WHEN (EVAL COMPILE LOAD) ...) around the appropriate
definitions will make sure they are fully defined at compile-time.
Alternatively, the definitions could be placed in a separate file,
which is loaded before compiling the file that depends on those
Programmers can rely on programs that use the CLOS defining macros
being able to compile correctly in all implementations, without having
to wrap explicit EVAL-WHENs around every macro call.
This writeup is based on discussions between Moon, Gray, and
Loosemore, who are mostly in agreement on the things presented in
proposal MINIMAL. We have purposely avoided saying anything about
whether meta-objects representing the classes, methods, etc. get
created at compile-time, or whether such meta-objects are fully or
partially defined. The basic questions addressed by this issue are
what kinds of things can be defined and then used during compilation
of the same file that defines them, and what restrictions might apply.
These proposals are not completely compatible with the meta-object
protocol document (89-003). Gregor Kiczales says:
No one believes that what is written in draft 10 of the MOP is valid.
Sandra Loosemore says:
Although I admit I don't understand all of the issues involved with
the meta-object protocol, I prefer proposal MINIMAL over
NOT-SO-MINIMAL. I don't think leaving the issue of whether or not
classes can be instantiated at compile-time unspecified places an
undue burden on users, and it does leave more freedom for the
meta-object protocol to decide what the right behavior really is.
Dick Gabriel notes:
The question I have about the process going on with respect to the
CLOS-MACRO-COMPILATION issue is whether the fine-grained behavior of
CLOS under various compilation/evaluation situations is being
At this stage of the game I worry that we might go a little too far in
one direction in specification when we are actually engaged in design
work. This isn't intended to be a criticism of any committees, but I
would feel a lot more comfortable with a conservative specification
that defined well-formed programs being loaded or compiled in fresh
Common Lisps with a pretty simple eval-when model that is easier to
specify and which makes it easy for all but the hairiest
compilation-environment-frobbing programs to be written.


text:
Scary Maze Games
Remember the first Jack-in-the-Box you played with when you were a kid? Of course you do, your still traumatized, right? Remember how it was evilly dressed up in a colorful box that looked like a birthday present? How the innocent looking crank handle begged you to turn it? How the song, "Pop goes the Weasel", lured you in? We were all victims to varying degrees. Some of us laughed nervously while trying to keep composed. Some of us cried (not exactly our fondest memories). Some of us ran and refused to come back into the playroom until the thing was removed. Heck, we even knew one kid who took a Wiffle Ball Bat to one. Still, no matter what your secondary reaction was to the malevolent toy, we all shared the same first reaction; we jumped out of our skins. After the initial shock, though, we all thought it was hilarious to introduce our unsuspecting friends to this same terror. And now that technology has evolved to high speed information at your fingertips, the prank war has been declared on all fronts of the World Wide Web. So, we are here to help you round out your cache of modern prankster weapons, giving you the edge you need, by highlighting some of the scariest maze games on the internet.


text:
Welcome to the Evergreen Teaching Gardens: public spaces created to support sustainability initiatives in the South Puget Sound region. Since 1995, The Evergreen State College has been creating teaching gardens to foster environmental and cultural education. Through these gardens we have committed to:
- use no pesticides or chemical fertilizers
- use non-invasive species with an emphasis on natives
- reduce lawns and existing invasive plantings
- use post-consumer recycled materials when possible
- foster cross-cultural understanding especially with regard to First Peoples
Students at The Evergreen State College designed and installed many of the gardens. Interpretive panels and plant identification labels help support your learning in these public spaces. This site provides resources for your visit.
We invite you to explore the Teaching Gardens and learn about native garden plants, lawn reduction, socially and environmentally sustainable garden design, wildlife habitat creation, xeriscaping, edible landscaping, organic gardening, and more.


text:
ISuppli took apart the PS3, sourced all the components and found it to have some serious engineering mojo.
With the PlayStation 3, you are getting the performance of a supercomputer at the price of an entry-level PC
The premium model costs $840.35 to make (Which sells at a loss for $600.)
The Xbox 360 on the other hand, costs $323 to make, these days. So, what we're trying to get at here is that the PS3 is a good deal. A lot of bang for the buck. A Bargain. A wonderful surprise, for us, and for Sony. Good job, guys!
But I suppose we could have figured it out for ourselves if we'd considered how much the PS3 costs per pound. Fat ass.
Did you know the WiFi module is only $15 bucks? Hit the jump to see the price per component for everything else.
iSuppli guts the PS3 [isupply]


text:
documented by Lina Scheynius
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The Winter Project
documented by Lina Scheynius
The Swedish photographer captures the winter mood in this series shot in London, UK.
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text:
Stadium Australia
Sept. 25, 2000 Olympic 10,000m Final
They hit the bell, still cagey, still waiting. Two greats sparring as they had so many times before, as they had in the same event at the previous Olympic Games in Atlanta.
On the final backstraight Paul Tergat made his move, catching Haile Gebrselassie napping. As he broke free of the pack it looked like he'd finally gotten the best of his great friend and nemesis, but something stirred in "the Emperor," a force of will that edged him back toward Tergat's shoulder. What followed was perhaps the most amazing final 100m of all time.
More From Runner's World
It was all the more amazing considering that Gebrselassie had almost not made it to Sydney at all, such had been his early-season injuries. The Ethiopian had already surprised himself and those who knew the extent of his problems just by making the final. That he then rose to the occasion in such grand fashion has perhaps been obscured by the myriad victories before and since. But this was to be the greatest of his career.
In contrast, his friend Tergat would have to spend the rest of his life knowing he had made the biggest mistake of his career. The Kenyan may have shared one of the great finishes in Olympic history, beaten by an epic effort from a true legend, but he knew it could have been different.
Haile Gebrselassie lunges ahead of Paul Tergat at the finish line in Sydney 2000
The story began more than a decade earlier. Gebrselassie's introduction to big-time athletics was outrageous. In 1988, 15-year-old Gebrselassie told his father — who had forbidden him to run — that he was going to Addis Ababa to visit his older brother, Assefa. It was partly true, but the primary reason for going to the Ethiopian capital was to run in the Abebe Bikila Marathon, a memorial to the first great Ethiopian distance runner and first repeat winner of the Olympic marathon (1960 and 1964). Gebrselassie ran 2:48 around the backstreets of Addis.
It was a chastened teenager who limped back to Arsi Province, in the south of the country, the following day. "I ran in street shoes, with plastic soles," he recalls. "They were full of blood. I only finished because there were no cars; there was no other way to get back to the start. The next day, my brother put me on a bus back to Asela, but the bus stopped several kilometers from my village, and I had to walk. I don't know how I did it."
Those of us who have seen him rack up the victories, medals and world records since that novice excursion have a pretty clear idea of how he did it — with the same grit, tenacity and willpower that brought him all that success in the following two decades. And which was never more evident than on that night in Sydney, in a brutal battle of guts and desire against a man he calls his friend.
Although Tergat is, supposedly, four years older than Gebrselassie (Gebrselassie's true age has been the subject of some debate), the Kenyan's introduction to big-time athletics came two or three years after Gebrselassie's painful debut. Tergat's breakthrough races came in early 1992. Then 22, he had placed third in a high-profile military race, but no one expected him to win the Nairobi championships at the famous N'gong Racecourse. He soon proved it was no fluke, though, winning the national title on the same course two weeks later. Almost as striking was his modest whisper, close to inaudible, when interviewed after his victories. A month later, he was mortified that an injury prevented him from running the IAAF World Cross Country Championships in Boston. It's likely he would have found his compatriot, multi-champion John Ngugi, unbeatable that day (when Gebrselassie finished second in the junior race). But Tergat would eventually upstage Ngugi, and well outpace Gebrselassie, as the most successful cross country runner of the 20th century, winning five consecutive world cross country championship titles from 1995 to 1999. Gebrselassie would never hit the heights in cross country that he did on the track, twice finishing adrift of Tergat victories in the World Cross. After the 1996 edition, when he finished fifth behind Tergat's win, he never ran cross country again.
But we're talking track here, and the two East Africans were soon on a collision course on the oval. Later in 1992, Tergat posted 13:48.64 for 5,000m, not even good enough to make the top 100 in the world that year. Gebrselassie, on the other hand, was winning the world junior "double" of 5,000m/10,000m in 13:36.06/28:03.99.
Considering how well Gebrselassie would get on with Tergat later — the two friends took time to visit each other in their respective countries — his first experience of outsprinting a Kenyan, at the finish of that world junior 10,000m, was inauspicious. As Gebrselassie passed Josephat Machuka 50m from the line, the Kenyan lashed out and hit him in frustration. Machuka was disqualified, but the same scenario, without the accompanying pugilism, was to be repeated scores of times over the coming years, culminating in Sydney.
After that double win in the world junior champs, the victories, the medals, and soon, the world records, came fast and frequently for Gebrselassie. (In Ethiopia, unlike the rest of the world, he is known universally as Haile — Ethiopian second names are patronymics so Gebrselassie is his father's given name, and Haile is his.) He didn't win all his races in 1993, but he did win the biggest, the world 10,000m in Stuttgart. That it was the first world track championship gold for an Ethiopian gave the youngster the potential to build a status to rival Bikila.
And build he did. The following year he broke his first world record, the 5,000m, in Hengelo, near his European base in the Netherlands. Again, he didn't win all his races that year, but by 1995 the aura of invincibility really took hold.
Meanwhile, Tergat was making steady progress. The form that took him to 27:18.43 in 1993 would have seen him line up against Gebrselassie in that year's world championships, if he'd been running for any other nation than Kenya. A half marathon time of 60:43 was an indicator of his cross country and marathon potential. In 1994, he improved to 13:15.07 for 5,000m, and then in 1995 began his run of victories at World Cross.
Tergat finally made the Kenyan team for the world championships in Goteborg in 1995, but he was no match for Gebrselassie, who again won the 10,000m, with a resurgent Khalid Skah of Morocco, the 1992 Olympic champion, taking silver ahead of Tergat's bronze. It was the prelude to their first great Olympic duel.
Olympic Stadium, Atlanta
July 29, 1996 Olympic 10,000m Final
Gebrselassie celebrates as he crosses the finish line of men's 10,000m final
ahead of Tergat in 1996 Atlanta Games.
This was the race that raised the Gebrselassie/Tergat rivalry to something on a par with the great post-war rivals, Emil Zatopek of Czechoslovakia and Alain Mimoun of France, and the great British middle-distance runners, Sebastian Coe and Steve Ovett. And, while the last gasp in Sydney provided the great moment, many practiced long-distance runners would argue Atlanta was the greater race.
While Sydney came down to the last lap, the final 250m, and ultimately the finishing straight, Atlanta was a full 15 minutes of breathtaking drama: an extended acceleration, first by Tergat's teammates, then a scorching final 2K by Tergat himself, attempting to burn off Gebrselassie in the second half of the race.
They reached the halfway mark in Atlanta in a sedate 13:55.22, and at that point the race looked tailored for Gebrselassie's electrifying finishing sprint. Then the Kenyans got to work. Paul Koech and Machuka (his fists in reserve this time) swapped the lead through the next 3K, averaging 2:42 minutes/kilometer (4:34/mile). Then Tergat took over, with a blistering 29-second half-lap . . . and there was still 2K to run.
Of the six remaining contenders, only Gebrselassie went with him. Tergat ran the next kilometer in 2:33.9, but he couldn't drop Gebrselassie. Then Gebrselassie responded with some speed work of his own. He took over at the bell, ran the next 200m in 28.4 seconds, and the final lap in well under 60, for a final kilometer in 2:31.46. The second half had been run in 13:11.6, a time beaten only three times in Olympic history in a stand-alone 5,000m final.
Tergat dominated cross country for the rest of the century but fared no better in his next two World Champs at 10,000m. In Athens in 1997, Gebrselassie took over 500m from the finish and blew him away. Tergat got some consolation a month later when he broke Gebrselassie's 10,000m world record, but the Ethiopian regained it in 1998. Then in the world championships in Seville in 1999, it was the same old story: Gebrselassie gold, Tergat silver.
In both races, Gebrselassie had sprinted early and opened up a gap, but Tergat had run the last lap in similar times to Gebrselassie. This seems to have planted a seed in the Kenyan's mind, that if he could stay with Gebrselassie until the bell, or even later, he might be able to outsprint him. So he spent much of the early summer in 2000 honing his finishing speed in training, twice running well under 13:00 for 5,000m.
Gebrselassie, on the other hand, was battling an Achilles tendon injury that would eventually require surgery. It affected his training so seriously that he considered pulling out of Sydney. But pressure from all sides, and the internal urge to defend his title, took him to the starting line.
Stadium Australia
Sept. 25, 2000 Olympic 10,000m Final
They hit the bell, and this time the situation was different from Atlanta. Back then, the pair had been together, well ahead of the rest for the final 2K, as Tergat sought to kill off Gebrselassie's sprint. This time, Tergat was biding his time, and there were five athletes in the pack at the bell — three Kenyans and two Ethiopians. Leading was John Korir, tracked closely by Gebrselassie. A few meters earlier, Assefa Mezegebu had passed Tergat, who was now boxed on the curb behind the two Ethiopians; Patrick Ivuti was fifth.
There may have been five there at the bell, but there were only two possible winners and, despite Gebrselassie's relative lack of prime fitness, he knew Tergat was the only threat. Ever aware, the Ethiopian sensed Tergat slow, step sideways and pull out to pass Mezegebu, so Gebrselassie accelerated past Korir and into the lead. There were 300m to go. Less than 50m later, Tergat strode past and took a 2-or 3-meter lead. This was his chance, maybe his last chance, his only chance, to beat the man who had bested him in three consecutive major championships at 10,000m.
But Gebrselassie wasn't beaten, and Tergat surely knew he wouldn't be until he crossed the line ahead of the Ethiopian. With that line now in sight at the head of the straight, he was still ahead.
Then it became agonizing: for the duelists, the pain of raising a sprint at the end of 25 laps, coupled with the palpable fear of failure, and agonizing as well for their respective fans, those millions with their eyes on TV screens, and the 100,000-plus fortunates now on their feet in the stadium. They were watching one of the greatest duels in Olympic history.
With a finishing tape long since abandoned, Tergat had only an approximate idea of the line, whereas Gebrselassie had the advantage of Tergat's back as a target. And it was getting closer and closer. But then so was the line. Was the difference that both knew Tergat had never beaten Gebrselassie on the track? Maybe. Because it was happening again. Gebrselassie edged up to Tergat's shoulder and ghosted past, just as the finish line intervened. The pair had covered the last 100m in around 12 seconds, and Gebrselassie had won by a mere nine-hundredths of one of them. It was less than the margin by which Maurice Greene had beaten Ato Boldon in the 100m two days earlier.
Elation and despair. Elation and gold again for one, despair and silver, yet again for the other. Yet it might have been different. And the proof was immediately obvious. Tergat walked off to pick up a Kenyan flag, then jogged around to thank the fans. Someone thrust a flag into Gebrselassie's hand. He tried to respond, but stumbled to a stop within 20m. Utterly spent, he couldn't run another step.
Gebrselassie had done what every runner in history has wanted to: run himself into the ground to win. Which is why, despite the close to 30 world records, this was his supreme achievement. Tergat now realized that he had been wrong, terribly wrong to believe he could beat Gebrselassie in a sprint. He knew, as he admitted later, and as Gebrselassie himself admitted, that the Ethiopian could have been beaten had he employed the same tactics as Atlanta and taken up the lead at halfway, or even with 2K to go.
But he did not, and Gebrselassie, far from race fit, had yet again beaten one of the world's greatest distance runners. This was the moment that defined him as a great competitor as well as a great runner. What he achieved in that final, agonizing push for the line is what separates the magnificent from the simply great. It was a moment that defined a legend.
Gebrselassive vs. Tergat Career Highlights
Gebrselassie wins World Junior "double" 5,000/10,000m. Tergat wins National Cross Country title.
Gebrselassie wins World 10,000m title, takes silver in 5,000m.
Gebrselassie sets first world record, 5,000m, 12.56.96, and finishes 3rd at World Cross Country Championships with Tergat fourth.
Gebrselassie wins World 10,000m title, with Tergat third. Gebrselassie sets wrs for 5,000/10,000m. Tergat wins World Cross Country Championships with Gebrselassie fourth.
Gebrselassie wins Olympic 10,000m title, Tergat takes silver. Tergat wins World Cross Country Championships, with Gebrselassie fifth.
Gebrselassie breaks 5,000m WR and wins world 10,000m, with Tergat second. Tergat wins World Cross Country Championships. Tergat breaks Gebrselassie's 10,000m WR.
Gebrselassie sets indoor WRs for 2,000/3,000m. Sets WRs for 5,000/10,000m. Tergat wins World Cross Country Championships.
Gebrselassie wins Indoor World titles at 1500/3,000m, then takes fourth successive World 10,000m title, with Tergat second. Tergat wins fifth consecutive World Cross Country Championships title. Tergat wins World Half Marathon title.
Gebrselassie wins Olympic 10,000m title, by smallest margin in history (0.09 sec.) over Tergat. Tergat third in World Cross Country Championships. Tergat wins World Half Marathon title.
Gebrselassie wins World Half Marathon title, and finishes third in World 10,000m Championships.
Tergat beats Gebrselassie in London Marathon, both lose to Khalid Khannouchi.
Gebrselassie finishes second to Kenenisa Bekele in World 10,000m Championships, with second half of race run by both in under 13:00. Tergat sets marathon WR, 2:04:55 in Berlin.
Gebrselassie finishes fifth in Olympic 10,000m. Tergat finishes 10th in Olympic Marathon.
Tergat wins New York City Marathon. Gebrselassie wins Amsterdam Marathon.
Tergat finishes third in New York City Marathon. Gebrselassie wins Berlin and Fukuoka Marathons.
Gebrselassie sets marathon WR, 2:04:26 in Berlin.
Gebrselassie finishes sixth in Olympic 10,000m, then sets marathon WR, 2:03:59 in Berlin.
Gebrselassie wins Dubai and Berlin Marathons, the latter for the fourth time in succession. Tergat wins Lake Biwa Marathon, Japan; never announces retirement, but has not raced since.
Gebrselassie wins Dubai Marathon for third year in succession. Drops out of New York City Marathon and announces retirement, quickly rescinded.
Gebrselassie drops out of Berlin Marathon during duel with Patrick Makau, who goes on to break his WR.
Gebrselassie runs 1:00.52 at the Vienna Half Marathon, easily beating Paula Radcliffe in a handicapped "Emperor Versus the Queen" race.


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xXx2002 Action/Adventure | Suspense/Thriller
Xander "XXX" Cage is a notorious underground thrill seeker who, until now, has been deemed untouchable by the law. NSA Agent Gibbons forces XXX to cooperate with the government to infiltrate an underground Russian crime ring to avoid going to prison. Betting XXX can succeed where other conventional spies have failed, Gibbons sends XXX to enter this world of crime undetected, using his natural athletic prowess and a whole lot of attitude. Enlisted for a dangerous covert mission, he must combat a clever, organized and ruthless crime enemy far beyond the scope of his experience.
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xXx: xXx16:00
Thu 30 March


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Yesterday I told you all about 'The Lifeboat' a truly accomplished debut novel with wonderful prose which also gripped me like a thriller, is narrated by a wonderfully unreliable narrator and amazingly also bowled me over considering as it was a book set on a boat – and I don't normally like those at all. Well today its author, Charlotte Rogan, takes part in a Savidge Reads Grills to discuss the novel, the hidden manuscripts locked away in her drawers and her writing and reading habits. You can also quite possibly win a copy of the book yourself today, read on for more…
Firstly can you describe the story of 'The Lifeboat' in a single sentence without giving any plot spoilers?
Grace Winter survives three weeks in an overcrowded lifeboat only to be put on trial for her life, but is she telling the truth at her trial or is she merely saving herself again?
Where did the idea for 'The Lifeboat' come from?
The idea for the story came from my husband's old criminal law text. I was particularly intrigued by two 19th century cases where shipwrecked sailors were put on trial after being rescued. At the time, sailors thought they were protected by something called the Custom of the Sea, which was an unwritten code of conduct meant to govern the actions of those who found themselves far beyond the reach of any civil authority. For instance, it held that the captain should be the last one to leave a sinking ship, that the women and children should be saved first, and that the ship's crew owed a special duty to the passengers. It also held that the concept of necessity made it acceptable to kill other people in order to survive as long as the victims were chosen fairly by drawing lots. The moral issues involved in lifeboat situations are what hooked me—not only on an individual level, but on a social level, for lifeboats can be used as metaphors for all sorts of situations faced by society today. And the law is so interesting. It is a way of telling a story so we can judge it, but in order to do that, it leaves out the fraility of mind and body, the human will to surive, the nuance, and the fear. The left out bits are what I wanted my story to be about.
This year has obviously been the anniversary of the Titanic's disaster, was this something that inspired the book at all? Did you use anything from that case for 'The Lifeboat'?
I was obviously aware of the Titanic disaster, but I was not thinking about it as I started to write the book. Later on in the writing process, though, it proved to be an invaluable resource. The volume of information gathered and written about the Titanic made it easy for me to research elements that were important to my story, such as lifeboat sizes, launching mechanisms, wireless communication devices, and shipping routes, to name a few.
How much research did you have to do for the novel, obviously you couldn't blow a dingy up and just ask friends or relatives to push you out into the middle of a lake etc? Was there a particular story in history?
Besides researching technical details and reading some non-fiction accounts of survival at sea, I tapped into my own experiences growing up in a family of sailors. My father was intense and competitive, which had the effect of turning a casual family outing into a high-stakes, all-hands-on-deck game. We children would be lured onto the boat with talk of cruising to some far-off shore and cooking marshmallows on the beach, but sooner or later we would find outselves racing with the other boats we saw. My sister and I were too little to be of any help in this endeavor, and it was our job to not fall overboard and to stay out of the way. The weather sometimes turned bad, but we were not quitters! It made us seasick to go into the boat's cabin during a storm, so I know what it is to huddle in the rain for hours on end surrounded by people who are stonger than I am.
Now I am rather renowned through Savidge Reads for not being a fan of a books set on boats (though I was a fan of this one) as I instantly think that with minimal characters and nothing but ocean around this could limit a novel, this isn't the case with 'The Lifeboat' though is it? What were the pro's and con's of writing a novel primarily set on a lifeboat lost at sea?
I, too, have had the experience of not being taken with the premise of a novel and then absolutely loving the book. I think the best novels defy expectations, whether it be through unusual characters or surprising language or intricate plots. I also think closed room novels can be both challenging and liberating. Just the way having their options and horizons severly curtailed forces the characters in the lifeboat to draw on deeper parts of themselves, the novelist, too, has to reach beyond setting and plot when she limits herself in this way.
One of the advantages of fiction is that it has so many dimensions: there is the surface of the words and sentences; there is the linear dimension of plot; and there is the depth, which encompasses the myriad things that are going on in a charater at any particular moment in time: motives and memories, hopes and fears, sensations and thoughts. So there can be a wonderful freedom in limits—freedom to dig and magnify and explore more than just the who did what of a linear plot.
Now Grace, our protagonist, is a very interesting character and we never know if she is reliable or not as a narrator. Did you have fun with this element?
I did. My characters take on a life of their own, and I remember the first time I realized: "Grace isn't telling the truth!" But my very next thought was: "Well, who does?" I love how Grace is by turns calculating and honest and how we catch her in a truth the way we might catch other people in a lie. I also liked the chance to explore how a woman might use her innate talents in order to survive just the way a stong man would use his. Grace is a keen observer and highly attuned to social cues and nuance. Those are traits that help her in the lifeboat, and at her trial, they help her again.
There is a certain amount of mystery to the book, hence why we have to be rather cloak and dagger, how hard was it to come up with twists in order to leave the reader wondering and wanting to know more throughout the novel?
Plot for me is difficult—and, frankly, it is not the first thing I read for. More important for me are the language and the characters and an author's attempt to hit on something universal. But I eventually realized that most readers read for plot and that if I was going to increase my chances of finding a publisher, I was going to have to pay attention to it.
The key to most aspects of writing is revision, which includes something I call layering—going back over and adding and refining and intentionally making more of whatever I find in the pages I have written. The first draft is little more that hints and impulses, with the twists and complications accruing over time.
'The Lifeboat' has been chosen as one of the Waterstones 11 and been praised all over the book world, how has this been for you?
I spent the first six weeks after publication in a state of heightened anxiety. I was being asked to do a lot of things I had never done before and wasn't particularly good at, like giving interviews and speaking in front of groups. My publishing team had shown such faith in me that I didn't want to let them down.
Another scary thing about sending a novel out into the world is that a lot of very smart and knowledgable literary people will not only see it, but will publicly comment on it. I have fairly ambitious ideas about what a novel can be, so I am happy and grateful that some of the people who know about these things have understood what I was trying to do.
An unexpected and wonderful aspect to being published has been the opportunity to connect with a lot of people who are just as passionate about books and writing as I am. I didn't know a lot of book people before, and meeting them has been both eye-opening and fun.
I have heard that while 'The Lifeboat' is officially your debut novel, you actually had/have several novels locked away in your drawers. Why is 'The Lifeboat' the first one that got published? Did you know it had something special about it? Do you think any of those other novels will be published in the future?
As I said, I got better at plotting over the years, which I think is one of the things that made The Lifeboat appealing to the publishers. But it was also the manuscript I was working on when I was introduced to my literary agent. I actually sent him two manuscripts, and while he liked the other one, he thought The Lifeboat would be easier to sell.
Once I finish a project, I tend to move on. While I could imagine going back to one of my old manuscripts, I don't spend a lot of time looking back or worrying about all those pages in the drawer.
Before we discuss books further, let us discuss writing! When did you first know you wanted to be a writer? How long have you been writing for?
At this point, I have been writing for 25 years. I did not always want to be a writer—I wanted to be an architect. When I was in my mid-thirties, I took a leave of absence from my job at a construction company, and it seemed an opportune time to try something new. I decided I would write a novel, and I was lucky enough to take an inspirational creative writing workshop with Harold Brodkey. He is the person who opened my eyes to the layered and multi-faceted thing that writing can be.
When I started writing, I started reading differently. I read and re-read with the aim of figuring out how my literary heroes did it. I was not content to write something that didn't work on several levels at once, and I think that is why I didn't really care if I got published early on. What I wanted was to get good at the writing itself—for a long time, getting published seemed very secondary to that.
Describe your typical writing routine, do you have any writers quirks or any writing rituals?
The key to fitting writing into life as a parent is to take advantage of the corners of time, wherever you might find them. I used to have a beautiful fountain pen, and I would sometimes spend a good bit of my writing time tracking it down or racing off to buy cartridges when I was out of ink. I got used to the weight of it, which made other pens seem to lack substance. When the pen broke, I went through a period of withdrawal, but I realized I was better off without it. I became very happy to write in waiting rooms and carpool lines, on the backs of envelopes and receipts—whenever and with whatever I had at hand in those precious bits of time. My first writing space was in a basement, where I sat at a workbench amid the tools, and my second space was a funny room off the garage. Now I have the luxury of time and a pretty desk, but I am trying not to get too used to it.
Back to reading now… What is your favourite 'guilty pleasure' read?
I recently read a Michael Connelly mystery and enjoyed it. While that is not the type of book I usually go for, I didn't feel guilty about it. I like literary fiction, but some of the books I am drawn to can only be read in small chunks, like A Book of Memories by Peter Nádas, which I am reading now. I am also reading everything by Albert Camus and A Land More Kind Than Home by Wiley Cash.
Which book, apart from your own, would you demand Savidge Reads and readers run out and buy right this instant, a book you would call your favourite?
Reading choices are so personal, and I don't have a favorite. How about if I suggest four books I read in the last year and found worthy of my Life List? They are Remainder by Tom McCarthy (a novel as remarkable for what the author leaves out—expostition and explanation—as for what he puts in), The Rehearsal by Eleanor Catton (a strange and compelling novel of performers and voyeurs), Zone One by Colson Whitehead (astonishing language and powers of observation, no plot), and The Unlikely Pilgrimmage of Harold Fry by Rachel Joyce (another Waterstones 11 pick; gorgeous language and story that touches the heart). I can never describe what I look for in a book, because the books that knock my socks off do so by being completely unpredictable, which is one of the things I love about them.
What is next for Charlotte Rogan?
My biggest challenge now is to juggle my new responsibilities so I can get back to the novel I am working on. I am superstitious when it comes to talking about unfinished work, so the only thing I will say is that it is set in South Africa. My husband and I spent almost a year in Johannesburg and fell in love with the country and the people.
Huge thanks to Charlotte for taking time to answer all my questions. 'The Lifeboat' is a truly wonderful book, you really need to give it a read. Oh… as if by magic you might just be able to win one of five copies, for more details pop here. Don't say I don't always think of you all.


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The Rock-afire Explosion
Remember Showbiz Pizza Place? In the 80's, Showbiz franchise restaurants competed with Chuck E. Cheese's, offering animatronic robot rock, an arcade, and (perhaps only incidentally) pizza. The most memorable aspect of the entertainment experience was the Rock-afire Explosion, a full animatronic band that played in sync to hits of the day, employing surprisingly detailed movements and choreography. Although Showbiz Pizza was ultimately taken over by rival Chuck E. Cheese's, some complete Rock-afire Explosion bands still remain in private hands, and a subculture has grown up around their continued use. Rock-afire choreographers are still programming the bands, with amazing results.
Now, filmmaker Brett Whitcomb is producing a documentary on the Rock-afire Explosion's history and current reinvigoration. The film is set for release this fall, and the newly released trailer is below. Featuring Rock-afire Explosion choreographers like Chris Thrash, this promises to be an awesome experience for kids of all ages.
See also: Showbiz Pizza fan site, more on Chuck E. Cheese, more Rock-afire choreographed songs, and the Rock-afire movie's homepage (be sure to befriend/become a fan of the movie on Myspace or Facebook!).
(Via Pop Candy.)


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CHICAGO -- Junior Cody Caldwell slammed 20 kills and top-seeded Loyola hit .452 as a team for the match, dropping Stanford 3-1 (25-17, 19-25, 25-19, 25-15) to claim its first NCAA championship in front of a partisan crowd of 4,485 inside Gentile Arena. It marks the school's second overall NCAA title (1963 men's basketball) and closes out a special season that sees the Ramblers finish with a 29-1 record. Stanford finishes the year with a 24-9 ledger.
The opening set was close early on with the teams tied seven different times to get to 8-all. Kills from Joe Smalzer and Caldwell gave Loyola a little bit of breathing room and the Ramblers took a 15-13 lead into the media timeout after an Owen McAndrews kill. That set Thomas Jaeschke up at the service line and he rattled off four consecutive points, capped by another Caldwell kill, to give Loyola a 19-13 advantage. The teams traded points to 21-15 before the Ramblers put the set away, with two Caldwell kills and one from Nick Olson extending the lead to nine, 24-15. Kills from Conrad Kaminski and Eric Mochalski kept the Cardinal alive before a service error closed out the opening set 25-17. Loyola hit a sizzling .696 (16-0-23) in the set, with Caldwell ripping nine kills on 13 swings to lead the way.The second set followed a similar script early, as the teams were tied on eight occasions en route to a 9-9 score. This time it was Stanford that made a run, using two aces from James Shaw in a 5-0 spurt that pushed the Cardinal out to a 14-9 lead. Loyola was only able to temporarily stop the bleeding before Stanford opened up an 18-11 lead on a Steven Irvin kill. Despite Loyola being able to stave off two set points, a Mochalski kill gave Stanford a 25-19 victory that evened the match.
Loyola moved in front early in the pivotal third set, using back-to-back kills from Jaeschke to grab an early 8-4 lead. Two Brian Cook kills helped Stanford regain its feet, with his second kill getting the Cardinal within a point, 10-9. However, Loyola was able to keep its composure and the home team extended to a 16-11 advantage on another Jaeschke kill. Stanford was able to hang around and was still down just three (20-17) after another Cook put-away but a Smalzer kill put him on the service line and he followed up the kill with an ace to help the Ramblers to a 23-17 lead before he put the set away moments later, sealing a 25-19 lead that gave LU a 2-1 lead. Loyola's balance was on full display in the set as Jaeschke led the way with six kills and Smalzer and Caldwell pitching in with four apiece.
A triple block from Peter Hutz, Olson and Caldwell helped stake Loyola to an early, fourth-set lead and a Caldwell kill put Jaeschke back to serve with an 8-5 lead. An ace prompted a Stanford timeout and two Cardinal errors forced a second timeout as the Ramblers opened an 11-5 bulge. However, the breaks did not break Jaeschke's concentration, as McAndrews and Smalzer each came up with huge solo stuffs to make it a 13-5 game before Stanford was finally able to side-out. Loyola's offensive efficiency made it tough for Stanford to string together points and a 4-0 run, capped by a Smalzer/McAndrews block, made it a 22-12 lead as the crowd roared its approval. Kills from McAndrews and Caldwell made it 24-13 and, after kills from Irvin and Cook, a service error closed out the match, sending the Gentile Arena crowd into raptures.
Caldwell, a California native, was terrific all night, posting a double-double of 20 kills and 10 digs en route to earning the tournament's most outstanding player award. He was joined in double figures by Jaeschke and Smalzer, who posted identical stat lines of 12 kills and eight digs. McAndrews finished with seven kills while Olson racked up five put-aways and four blocks.
Hutz was outstanding in coordinating the attack, dishing out 47 assists while guiding the team to its .452 hitting percentage, while libero Peter Jasaitis was the team's anchor in the back row, digging six balls in addition to his sterling passing.


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The San Diego Chargers basically got complacent last season. That's what led to their 7-9 record, according to Chargers running back Ryan Mathews.
"I think we were just complacent," Mathews said Friday on NFL Network's "NFL AM." "The time that we spent there -- we spent a lot of time there -- it was the same thing over and over again. There wasn't anything new.
"I think he (Norv Turner) did everything he could to try to make us win, no doubt about it. I just think we really got complacent to where we were and what we were doing and thought we were owed to win games."
Turner was the Chargers' coach for six seasons, and he made the playoffs for the first three but not the last three. Players won't respond to hearing the same message the same way for a long period of time. That's the challenge for coaching staffs. In the end, sometimes there's a need for a new voice in the room.
"We all had the talent," Mathews said. "I think it was just going through the same routine, doing the same thing over and over again. You go there and you do what you gotta do to get ready for practice, go to practice, get out of practice.
"It was kind of just a routine thing, it wasn't something new. I think the new coaches being in here is going to be good for us."
Turner might have lost the team, but there also has to be a level of accountability from the players. You can't go through the motions, even if the message is stale. And it's not like Mathews is a 10-year veteran who has heard it all. Last season was his third in the NFL.
Mathews said there was a lack of intensity. It sounds like everyone was guilty of that.


text: November 3, 2010 Arts & Culture New York Photographs 1968–1978 By Paul McDonough What turned me away from painting was a realization that the streets and parks of Boston provided me with subject matter that I could not conjure up in my studio. At that point, a blank canvas drew nothing but a blank stare. So, with a newly purchased 35mm Leica loaded with tri-x film, I began my forays into downtown Boston to photograph. The kind of photographs I took then related to my art school days, when I would amble around the city making quick pencil sketches of people on park benches and subways. After roaming around Vermont in the summer of 1964, I decided to move to Cambridge, MA where I took a full-time job in a commercial art studio. I was by this time married to my first wife and our plan was to save up enough to live for a year in Europe. Instead we wound up in New York, arriving by U-Haul in the summer of 1967. Rents were cheap, and we could now get by on my part-time work in advertising studios. I had abundant free time, and I took full advantage of it. Read More