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- Parts to Reinforce Accelerator Pedals Delivered to All U.S. Toyota Dealerships
- Mailing of Notification Letters to Affected Owners Begins Today
- Many Toyota Dealers Extending Hours, Hiring Additional Technicians to Complete Repairs for Customers Quickly and Conveniently
TORRANCE, Calif., February 5, 2010 – Toyota Motor Sales (TMS) U.S.A., Inc., today announced that Toyota dealers nationwide have received the parts, information and training they need to fix accelerator pedals in recalled Toyota Division vehicles, and that repairs on involved vehicles have begun. The actual repair requires about 30 minutes of work.
The company also announced that it has begun mailing letters to owners of recalled vehicles to let them know when to bring their vehicles into a dealership. Owners will only receive a letter if their vehicle is involved in the recall. Upon receipt of a notification letter, owners will be asked to contact a local Toyota dealership to schedule an appointment to have their vehicle fixed.
"Nothing is more important to us than the safety and reliability of the vehicles our customers drive, and we are determined to live up to the high standards people have come to expect from Toyota over the past 50 years," said Jim Lentz, president and Chief Operating Officer, TMS. "Everyone at Toyota is focused on making this recall simple and trouble-free for our customers," he said.
"We're working hard to ensure that our dealers have the resources and support they need to make sure our customers get their cars fixed quickly," Lentz added. "The parts have been shipped, the dealers are trained, and they are already making the repairs. Many of our dealers are working extended hours – some 24/7– and adding service technicians and other staff to complete the recall campaign as conveniently as possible. I appreciate the efforts that our dealers are making to take care of Toyota owners."
Toyota's engineers developed and rigorously tested a solution to address the potential for sticking accelerator pedals that is both effective and simple. A precision-cut steel reinforcement bar will be installed into the accelerator pedal assembly on affected vehicles, thereby eliminating the excess friction that has caused pedals to stick in rare instances.
Toyota Dealers Going Above and Beyond to Take Care of Customers, Rebuild Confidence and Trust
Toyota dealers across the country are taking extra steps to support customers during this recall.
Many Toyota dealers will offer extended service hours, and some are planning to stay open 24 hours a day until all customer vehicles have been fixed. Others are adding greeters to their service drives, dedicating body shop capacity to expedite repairs, providing free car washes and oil changes, increasing owner communication and providing complimentary maintenance service, among other customer-focused activities.
To support these efforts, Toyota is sending checks of between $7,500 and $75,000 to its dealers in acknowledgment of the additional costs they are assuming to make it easier for customers to have the necessary repairs done quickly and conveniently.
About the Recall to Address Sticking Accelerator Pedals
On January 21, Toyota announced its intention to recall approximately 2.3 million select Toyota Division vehicles equipped with certain accelerator pedal mechanisms that may, in rare instances, mechanically stick in a partially depressed position or return slowly to the idle position. Toyota vehicles affected by the recall include:
• Certain 2009-2010 RAV4
• Certain 2009-2010 Corolla
• 2009-2010 Matrix
• 2005-2010 Avalon
• Certain 2007-2010 Camry
• Certain 2010 Highlander
• 2007-2010 Tundra
• 2008-2010 Sequoia
No Lexus Division or Scion vehicles are involved in these actions. Also not involved are Toyota Prius, Tacoma, Sienna, Venza, Solara, Yaris, 4Runner, FJ Cruiser, Land Cruiser, Highlander hybrids and certain Camry models, including Camry hybrids, all of which remain for sale.
Further, Camry, RAV4, Corolla and Highlander vehicles with Vehicle Identification Numbers (VIN) that begin with "J" are not affected by the accelerator pedal recall.
In the event that a driver experiences an accelerator pedal that sticks in a partial open throttle position or returns slowly to idle position, the vehicle can be controlled with firm and steady application of the brakes. The brakes should not be pumped repeatedly because it could deplete vacuum assist, requiring stronger brake pedal pressure. The vehicle should be driven to the nearest safe location, the engine shut off and a Toyota dealer contacted for assistance.
Separately from the recall for sticking accelerator pedals, Toyota is in the process of recalling vehicles to address rare instances in which floor mats have trapped the accelerator pedal in certain Toyota and Lexus models (announced November 25, 2009), and is already notifying customers about how it will fix this issue. In the case of vehicles covered by both recalls, it is Toyota's intention to remedy both at the same time.
Detailed information and answers to questions about issues related to these recalls are available to customers at www.toyota.com/recall and at the Toyota Customer Experience Center at 1-800-331-4331.


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Knitcircus Spring Issue Plus a Giveaway
Hi Everyone,
The spring issue of the online magazine Knitcircus went up recently, and it's definitely worth more than a once-over!
In this issue, you'll find gorgeous shawls, beautiful garments for adults and kids, and great accessories. There are also a couple crochet patterns – a lovely shawl and a baby blanket and hat set. Here's just a sampling of what you'll find.
I'm particularly drawn to the socks that are pictured above. Since the beginning of the year, I've been knitting socks, pretty much exclusively to try and catch up on a sock club I'm part of, and I think these would be great to have in my sock pattern collection. They look simple enough to knit up fast, but with enough interest so I actually want to knit them.
Gerberada is a pretty shawlette that is knit in Valley Yarns Franklin. I love the touch of lace on the edge with the addition of a few beads for a hint of sparkle!
The issue is also packed with interesting, informative articles you can read for free, including one on Aran design and another on armholes. There is also a recipe for hazlenut macarons that is quite tempting. To download all of the patterns, it is $7.99, or you can get a 5 issue subscription for $23.50.
We're giving away two spring issues and one subscription. To win, head on over to Knitcircus and take a look. Come back here and leave a comment with which pattern you want to cast on for right away. Winners will be selected randomly and announced Friday. Please leave your comment by Thursday, February 10th at 11:59pm EST.
Happy Browsing,
- Ready, Set, Knit! Show 548: Kathy Talks With Amy Greeman About The WEBS Spring Retreat - December 8, 2018
- Ready, Set, Knit Show 506! Kathy talks with Isabel from Lander Grinspoon Academy about their scarf project - October 28, 2017
- Ready, Set, Knit! 476: Kathy talks with Patty Lyons - February 11, 2017

subset: commoncrawl


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As the pace began to quicken in her final NCAA race, Gabriele Anderson sneaked a glance at the scoreboard video screen. The time for the 1,500 meters had been leisurely, with most of the 12 runners poised to make a final kick. That meant last Saturday's NCAA championship would be decided in a mad sprint to the finish line at Oregon's Hayward Field.
Anderson felt a momentary shiver of panic race through her body. But the Gophers runner had been thinking of this day for more than a year, through cancer surgery and radiation therapy and the endless hours of work it took to become an athlete again.
"It was so important to me,'' she said. "I wanted my career to end like I knew it could. So I just started grinding.''
Over the final 75 meters, Anderson stormed from fifth place to finish second, tying the best finish ever by a Gophers athlete at the NCAA outdoor track championships. Her goal a year ago was simply to run again. On Saturday, fueled by the willpower that made her faster and stronger than ever, she could hardly believe how far she had come.
"People have said to me, 'She's running so well. Why?''' said Gophers coach Gary Wilson, who has guided Anderson for six seasons on the track and cross-country teams. "If you have cancer, you know why. Everything has been put into perspective.
"She willed herself to do this. And the way she fought, and what she's done, that's going to be a story around here forever.''
Anderson's 2009 outdoor season ended abruptly after she was diagnosed with adenoid cystic carcinoma, a rare cancer. She had surgery to remove a tumor from her neck; a month later, she began several weeks of radiation therapy.
Already a fifth-year senior, Anderson thought her college athletic career probably was over. In December, the NCAA granted her an extra year of eligibility for outdoor track, and she found her greatest success this season. The Perham, Minn., native reached two of her three goals: setting a Gophers record in the 1,500 (4 minutes, 13.45 seconds) and earning all-America status by finishing in the top eight at the NCAA championships. She missed the third -- winning the Big Ten title -- when she finished second by 1/100th of a second.
Anderson couldn't have imagined that kind of ending last summer, when her doctors prohibited her from running so her body could direct all its energy toward healing. The radiation treatments burned her skin and caused some of her hair to fall out. She was told she might need to have a feeding tube inserted if the dryness and sensitivity in her mouth prevented her from getting enough nutrition.
But Anderson loved running too much to give it up, and she recognized how important it would be to her recovery. After nearly four months off, she was allowed to resume training last August.
"It was a rough time for me, because I was so out of shape,'' Anderson said. "It took a real leap of faith. I wanted to come back, but I was feeling insecure about whether I could be successful.
"I was trying to do something I'd never done before, and I had a lot of emotions wrapped up in running that I hadn't experienced before. I tried to believe it was OK to start slowly, that I had time. I wasn't so sure, but coach Wilson never had a doubt I would come back and do well.''
Once her fitness returned, Anderson had to fight the temptation to be satisfied with just competing again. Wilson pushed her out of her comfort zone, believing her toughness would take over.
When it carried her over the finish line Saturday, head coach Matt Bingle wept, and Wilson raced to the track to embrace her. Anderson plans to wear the Gophers uniform one more time, in next week's U.S. outdoor championships in Des Moines. After that, she intends to finish a master's degree in public policy and continue competing.
Her type of cancer has a high survival rate at the five-year mark, but it tends to recur later. Anderson will have to have MRI and CT scans to see whether the cancer has returned or spread.
Still, the past several months have taught her how strong she is -- and how far that can take her. "Anyone remotely involved in my life the past year has sensed this drive that I've had,'' she said. "Things like this can be devastating, but they can also put things in perspective and help you focus on what's really important.
"To have another year to try and accomplish things athletically that I hadn't been able to do, it's been overwhelming. I just feel so blessed. It's been a dream season.''
Rachel Blount • email@example.com


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Acquia Co-Founder Dries Buytaert Recognized as a 2012 CIO of the Year
BURLINGTON, Mass. – May 3, 2012 – Acquia, the enterprise guide to Drupal, today announced that Dries Buytaert has been recognized by the Boston Business Journal and Mass High Tech as a 2012 CIO of the Year in the Emerging Technology category. Winners of the prestigious award will be honored during an awards presentation on Tuesday, June 12, from 7:30 A.M. to 10:30 A.M. EST at the Renaissance Boston Waterfront Hotel.
Recipients of the second annual award were chosen by a team of editors from the two publications. Winners were selected for exemplifying how innovation in the use of information technology and in IT strategy can bring success to an organization in driving profits or providing improved services to customers, end users or the public.
Dries Buytaert is the original creator and project lead for the Drupal open source web publishing and collaboration platform. Originally built from Buytaert's Ghent University dorm room as a message board for his friends, Drupal has dramatically changed the pace of innovation and economics of web development by allowing site builders to assemble sites rather than code them. It has attracted a huge community of nearly 800,000 individuals in 228 countries, and today is the platform for more than 1.5 million websites worldwide. A leading figure in open source, Buytaert also serves as president of the Drupal Association, a non-profit organization formed to help Drupal flourish.
Buytaert is also co-founder and CTO of Acquia, a venture-backed software company offering products and services that enable organizations, such as Verizon, NPR, the World Economic Forum, Mercedes Benz and Twitter to leverage the power, technical innovation and economic value of Drupal. In 2011, Acquia was named to Forbes' list of 100 Most Promising Companies.
A native of Belgium, Buytaert holds a Ph.D. in computer science and engineering from Ghent University and a Licentiate Computer Science (MSc) from the University of Antwerp. He has been selected as one of BusinessWeek's Young Entrepreneurs of Tech and recognized as one of the Technology Review's 35 top innovators under 35.
"It is truly an honor to be recognized as a top innovator in the IT ecosystem by the Boston Business Journal and Mass High Tech," said Buytaert. "I share this recognition with the Drupal community and the entire Acquia team. Together we're focused on optimizing the channels of content on today's web, from Facebook to YouTube to Pinterest, with a platform capable of unifying the disparate systems inside of an enterprise today."
The 2012 CIO of the Year honor comes on the heels of Acquia's recognition last month as one of Boston Business Journal's Best Places to Work in Massachusetts.
About Acquia™, the enterprise guide to Drupal
Acquia empowers enterprises with the open source social publishing system Drupal. Co-founded by Drupal's creator in 2007, Acquia helps customers manage their growth and scale their online properties with confidence. Acquia's products, cloud infrastructure, and support enable companies to realize the full power of Drupal while minimizing risk, as it has done for nearly 2,000 enterprise customers including Twitter, Warner Music Group, Turner Sports, Intuit, World Economic Forum, Stanford University, Mercedes-Benz and NPR. See who's using Drupal at http://www.drupalshowcase.com, and for more information please visit www.acquia.com or call 888-9-ACQUIA.


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Red Butte Garden Summer Concert Series Lineup 2013
Once again, Utah's best summer concert venue has a stellar, diverse lineup, and this year it includes a whopping 28 shows.
When I look at the lineup, I'm immediately drawn to a three-night season-closing blast that includes The Black Crowes, Neko Case and Earth, Wind & Fire–three of the most consistently great live acts I've ever seen. Among the other highlights? The previously announced David Byrne and St. Vincent show, a rare Salt Lake City appearance for Steely Dan, and return engagements by the likes of Trombone Shorty, Michael Franti and Brandi Carlile. Country fans will be pleased with the inclusion of Dwight Yoakam, Old Crow Medicine Show and Merle Haggard, while John Prine and Tony Bennett lend a considerable bit of class to the proceedings.
Tickets go on sale for Red Butte Garden members on April 29, and for the general public on May 6, and are available via the Red Butte Garden Website.
The 2013 Red Butte Summer Concert Series complete lineup:
Vampire Weekend and HAIM, May 21, $40 for Red Butte members, $45 for the public
Edward Sharpe & the Magnetic Zeros, May 3o, $34/$39
Trombone Shorty & Orleans Avenue and Big Head Todd & the Monsters, June 9, $38/$43
Grace Potter & the Nocturnals, June 16, $37/$42
Jackson Browne and Sarah Watkins, June 19, $55/$60
Tony Bennett, June 20, $67/$72
Tedeschi Trucks Band, June 24, $44/$49
She & Him and Tilly and the Wall, June 25, $45/$50
Old Crow Medicine Show, July 5, $35/$40
Pink Martini, July 9, $37/$42
Rodrigo y Gabriela, July 12, $40/$45
Brandi Carlile and The Lone Bellow, July 14, $37/$42
David Byrne & St. Vincent, July 15, $50/$55
Garrison Keillor's A Prairie Home Companion Radio Romance Tour w/Aoife O'Donovan, July 17, $52/$57
Kenny Loggins with Blue Sky Riders, July 23, $42/$47
Dwight Yoakam, July 25, $42/$47
Merle Haggard, July 30, $45/$50
Medeski Martin & Wood and John Scofield's Überjam Band, August 4, $35/$40
Steve Miller Band, August 7, $65/$70
Steely Dan, August 10, $70/$75
John Butler Trio, August 14, $33/$38
Michael Franti & Spearhead, August 18, $43/$48
John Prine, August 20, $45/$50
George Thorogood and the Destroyers and Buddy Guy, August 27, $48/$53
Wayne Shorter 80th Birthday Celebration, August 29, $45/$50
The Black Crowes, September 15, $42/$47
Neko Case, September 16, $35/$40
Earth, Wind & Fire, September 17, $58/$63
Comments are closed.


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Watson, Tom
Watson, Tom (Thomas Sturges Watson), 1949–, American golfer, b. Kansas City, Mo. Considered the successor to Jack Nicklaus as the game's foremost player in the late 1970s and early 1980s, Watson won the British Open in 1975, 1977, 1980, 1982, and 1987, the Masters in 1977 and 1981, the U.S. Open in 1982, and the Senior Tour Championship in 2000.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2023, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: Sports: Biographies


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make is great if everything works—you type gmake install and lo! the right things get compiled and installed in the right places. Our goal is to make this happen often, but somehow it often doesn't; instead some weird error message eventually emerges from the bowels of a directory you didn't know existed.
The purpose of this section is to give you a road-map to help you figure out what is going right and what is going wrong.
To get started, let us look at the Makefile for an imaginary small fptools project, small. Each project in fptools has its own directory in FPTOOLS_TOP, so the small project will have its own directory FPOOLS_TOP/small/. Inside the small/ directory there will be a Makefile, looking something like this:
# Makefile for fptools project "small" TOP = .. include $(TOP)/mk/boilerplate.mk SRCS = $(wildcard *.lhs) $(wildcard *.c) HS_PROG = small include $(TOP)/target.mk
This Makefile has three sections:
The first section includes [1] a file of ``boilerplate'' code from the level above (which in this case will be FPTOOLS_TOP/mk/boilerplate.mk). As its name suggests, boilerplate.mk consists of a large quantity of standard Makefile code. We discuss this boilerplate in more detail in Section 6.4. Before the include statement, you must define the make variable TOP to be the directory containing the mk directory in which the boilerplate.mk file is. It is not OK to simply say
include ../mk/boilerplate.mk # NO NO NO
The second section defines the following standard make variables: SRCS (the source files from which is to be built), and HS_PROG (the executable binary to be built). We will discuss in more detail what the ``standard variables'' are, and how they affect what happens, in Section 6.6. The definition for SRCS uses the useful GNU make construct $(wildcardĀ$pat$), which expands to a list of all the files matching the pattern pat in the current directory. In this example, SRCS is set to the list of all the .lhs and .c files in the directory. (Let's suppose there is one of each, Foo.lhs and Baz.c.)
The last section includes a second file of standard code, called target.mk. It contains the rules that tell gmake how to make the standard targets (Section 5.6). Why, you ask, can't this standard code be part of boilerplate.mk? Good question. We discuss the reason later, in Section 6.3. You do not have to include the target.mk file. Instead, you can write rules of your own for all the standard targets. Usually, though, you will find quite a big payoff from using the canned rules in target.mk; the price tag is that you have to understand what canned rules get enabled, and what they do (Section 6.6).
In our example Makefile, most of the work is done by the two included files. When you say gmake all, the following things happen:
gmake figures out that the object files are Foo.o and Baz.o.
It uses a boilerplate pattern rule to compile Foo.lhs to Foo.o using a Haskell compiler. (Which one? That is set in the build configuration.)
It uses another standard pattern rule to compile Baz.c to Baz.o, using a C compiler. (Ditto.)
It links the resulting .o files together to make small, using the Haskell compiler to do the link step. (Why not use ld? Because the Haskell compiler knows what standard libraries to link in. How did gmake know to use the Haskell compiler to do the link, rather than the C compiler? Because we set the variable HS_PROG rather than C_PROG.)
All Makefiles should follow the above three-section format.
Larger projects are usually structured into a number of sub-directories, each of which has its own Makefile. (In very large projects, this sub-structure might be iterated recursively, though that is rare.) To give you the idea, here's part of the directory structure for the (rather large) GHC project:
$(FPTOOLS_TOP)/ghc/ Makefile mk/ boilerplate.mk rules.mk docs/ Makefile ...source files for documentation... driver/ Makefile ...source files for driver... compiler/ Makefile parser/...source files for parser... renamer/...source files for renamer... ...etc...
The sub-directories docs, driver, compiler, and so on, each contains a sub-component of GHC, and each has its own Makefile. There must also be a Makefile in $(FPTOOLS_TOP)/ghc. It does most of its work by recursively invoking gmake on the Makefiles in the sub-directories. We say that ghc/Makefile is a non-leaf Makefile, because it does little except organise its children, while the Makefiles in the sub-directories are all leaf Makefiles. (In principle the sub-directories might themselves contain a non-leaf Makefile and several sub-sub-directories, but that does not happen in GHC.)
The Makefile in ghc/compiler is considered a leaf Makefile even though the ghc/compiler has sub-directories, because these sub-directories do not themselves have Makefiles in them. They are just used to structure the collection of modules that make up GHC, but all are managed by the single Makefile in ghc/compiler.
You will notice that ghc/ also contains a directory ghc/mk/. It contains GHC-specific Makefile boilerplate code. More precisely:
ghc/mk/boilerplate.mk is included at the top of ghc/Makefile, and of all the leaf Makefiles in the sub-directories. It in turn includes the main boilerplate file mk/boilerplate.mk.
ghc/mk/target.mk is included at the bottom of ghc/Makefile, and of all the leaf Makefiles in the sub-directories. It in turn includes the file mk/target.mk.
So these two files are the place to look for GHC-wide customisation of the standard boilerplate.
Every Makefile includes a boilerplate.mk file at the top, and target.mk file at the bottom. In this section we discuss what is in these files, and why there have to be two of them. In general:
boilerplate.mk consists of:
Definitions of millions of make variables that collectively specify the build configuration. Examples: HC_OPTS, the options to feed to the Haskell compiler; NoFibSubDirs, the sub-directories to enable within the nofib project; GhcWithHc, the name of the Haskell compiler to use when compiling GHC in the ghc project.
Standard pattern rules that tell gmake how to construct one file from another.
target.mk contains make rules for the standard targets described in Section 5.6. These rules are selectively included, depending on the setting of certain make variables. These variables are usually set in the middle section of the Makefile between the two includes. target.mk must be included at the end (rather than being part of boilerplate.mk) for several tiresome reasons:
gmake commits target and dependency lists earlier than it should. For example, target.mk has a rule that looks like this:
$(HS_PROG) : $(OBJS) $(HC) $(LD_OPTS) $< -o $@
Unlike pattern rules, ordinary rules cannot be overriden or replaced by subsequent rules for the same target (at least, not without an error message). Including ordinary rules in boilerplate.mk would prevent the user from writing rules for specific targets in specific cases.
There are a couple of other reasons I've forgotten, but it doesn't matter too much.
If you look at $(FPTOOLS_TOP)/mk/boilerplate.mk you will find that it consists of the following sections, each held in a separate file:
is the build configuration file we discussed at length in Section 5.3.
defines make variables for pathnames and file lists. In particular, it gives definitions for:
all source files in the current directory.
all Haskell source files in the current directory. It is derived from $(SRCS), so if you override SRCS with a new value HS_SRCS will follow suit.
similarly for C source files.
the .o files derived from $(HS_SRCS).
similarly for $(C_SRCS).
the concatenation of $(HS_OBJS) and $(C_OBJS).
Any or all of these definitions can easily be overriden by giving new definitions in your Makefile. For example, if there are things in the current directory that look like source files but aren't, then you'll need to set SRCS manually in your Makefile. The other definitions will then work from this new definition.
What, exactly, does paths.mk consider a ``source file'' to be? It's based on the file's suffix (e.g. .hs, .lhs, .c, .lc, etc), but this is the kind of detail that changes, so rather than enumerate the source suffices here the best thing to do is to look in paths.mk.
defines make variables for option strings to pass to each program. For example, it defines HC_OPTS, the option strings to pass to the Haskell compiler. See Section 6.5.
defines standard pattern rules—see Section 6.5.
Any of the variables and pattern rules defined by the boilerplate file can easily be overridden in any particular Makefile, because the boilerplate include comes first. Definitions after this include directive simply override the default ones in boilerplate.mk.
The file suffix.mk defines standard pattern rules that say how to build one kind of file from another, for example, how to build a .o file from a .c file. (GNU make's pattern rules are more powerful and easier to use than Unix make's suffix rules.)
Almost all the rules look something like this:
%.o : %.c $(RM) $@ $(CC) $(CC_OPTS) -c $< -o $@
Here's how to understand the rule. It says that something.o (say Foo.o) can be built from something.c (Foo.c), by invoking the C compiler (path name held in $(CC)), passing to it the options $(CC_OPTS) and the rule's dependent file of the rule $< (Foo.c in this case), and putting the result in the rule's target $@ (Foo.o in this case).
Every program is held in a make variable defined in mk/config.mk—look in mk/config.mk for the complete list. One important one is the Haskell compiler, which is called $(HC).
Every program's options are are held in a make variables called <prog>_OPTS. the <prog>_OPTS variables are defined in mk/opts.mk. Almost all of them are defined like this:
CC_OPTS = $(SRC_CC_OPTS) $(WAY$(_way)_CC_OPTS) $($*_CC_OPTS) $(EXTRA_CC_OPTS)
The four variables from which CC_OPTS is built have the following meaning:
options passed to all C compilations.
options passed to C compilations for way <way>. For example, WAY_mp_CC_OPTS gives options to pass to the C compiler when compiling way mp. The variable WAY_CC_OPTS holds options to pass to the C compiler when compiling the standard way. (Section 6.8 dicusses multi-way compilation.)
options to pass to the C compiler that are specific to module <module>. For example, SMap_CC_OPTS gives the specific options to pass to the C compiler when compiling SMap.c.
extra options to pass to all C compilations. This is intended for command line use, thus:
gmake libHS.a EXTRA_CC_OPTS="-v"
target.mk contains canned rules for all the standard targets described in Section 5.6. It is complicated by the fact that you don't want all of these rules to be active in every Makefile. Rather than have a plethora of tiny files which you can include selectively, there is a single file, target.mk, which selectively includes rules based on whether you have defined certain variables in your Makefile. This section explains what rules you get, what variables control them, and what the rules do. Hopefully, you will also get enough of an idea of what is supposed to happen that you can read and understand any weird special cases yourself.
If HS_PROG is defined, you get rules with the following targets:
itself. This rule links $(OBJS) with the Haskell runtime system to get an executable called $(HS_PROG).
installs $(HS_PROG) in $(bindir).
is similar to HS_PROG, except that the link step links $(C_OBJS) with the C runtime system.
is similar to HS_PROG, except that it links $(LIB_OBJS) to make the library archive $(LIBRARY), and install installs it in $(libdir).
If HS_SRCS is defined and non-empty, a rule for the target depend is included, which generates dependency information for Haskell programs. Similarly for C_SRCS.
All of these rules are ``double-colon'' rules, thus
install :: $(HS_PROG) ...how to install it...
GNU make treats double-colon rules as separate entities. If there are several double-colon rules for the same target it takes each in turn and fires it if its dependencies say to do so. This means that you can, for example, define both HS_PROG and LIBRARY, which will generate two rules for install. When you type gmake install both rules will be fired, and both the program and the library will be installed, just as you wanted.
In leaf Makefiles the variable SUBDIRS is undefined. In non-leaf Makefiles, SUBDIRS is set to the list of sub-directories that contain subordinate Makefiles. It is up to you to set SUBDIRS in the Makefile. There is no automation here—SUBDIRS is too important to automate.
When SUBDIRS is defined, target.mk includes a rather neat rule for the standard targets (Section 5.6 that simply invokes make recursively in each of the sub-directories.
These recursive invocations are guaranteed to occur in the order in which the list of directories is specified in SUBDIRS. This guarantee can be important. For example, when you say gmake boot it can be important that the recursive invocation of make boot is done in one sub-directory (the include files, say) before another (the source files). Generally, put the most independent sub-directory first, and the most dependent last.
We sometimes want to build essentially the same system in several different ``ways''. For example, we want to build GHC's Prelude libraries with and without profiling, with and without concurrency, and so on, so that there is an appropriately-built library archive to link with when the user compiles his program. It would be possible to have a completely separate build tree for each such ``way'', but it would be horribly bureaucratic, especially since often only parts of the build tree need to be constructed in multiple ways.
Instead, the target.mk contains some clever magic to allow you to build several versions of a system; and to control locally how many versions are built and how they differ. This section explains the magic.
The files for a particular way are distinguished by munging the suffix. The ``normal way'' is always built, and its files have the standard suffices .o, .hi, and so on. In addition, you can build one or more extra ways, each distinguished by a way tag. The object files and interface files for one of these extra ways are distinguished by their suffix. For example, way mp has files .mp_o and .mp_hi. Library archives have their way tag the other side of the dot, for boring reasons; thus, libHS_mp.a.
A make variable called way holds the current way tag. way is only ever set on the command line of a recursive invocation of gmake. It is never set inside a Makefile. So it is a global constant for any one invocation of gmake. Two other make variables, way_ and _way are immediately derived from $(way) and never altered. If way is not set, then neither are way_ and _way, and the invocation of make will build the ``normal way''. If way is set, then the other two variables are set in sympathy. For example, if $(way) is ``mp'', then way_ is set to ``mp_'' and _way is set to ``_mp''. These three variables are then used when constructing file names.
So how does make ever get recursively invoked with way set? There are two ways in which this happens:
For some (but not all) of the standard targets, when in a leaf sub-directory, make is recursively invoked for each way tag in $(WAYS). You set WAYS to the list of way tags you want these targets built for. The mechanism here is very much like the recursive invocation of make in sub-directories (Section 6.7). It is up to you to set WAYS in your Makefile; this is how you control what ways will get built.
For a useful collection of targets (such as libHS_mp.a, Foo.mp_o) there is a rule which recursively invokes make to make the specified target, setting the way variable. So if you say gmake Foo.mp_o you should see a recursive invocation gmake Foo.mp_o way=mp, and in this recursive invocation the pattern rule for compiling a Haskell file into a .o file will match. The key pattern rules (in suffix.mk) look like this:
%.$(way_)o : %.lhs $(HC) $(HC_OPTS) $< -o $@
Sometimes the canned rule just doesn't do the right thing. For example, in the nofib suite we want the link step to print out timing information. The thing to do here is not to define HS_PROG or C_PROG, and instead define a special purpose rule in your own Makefile. By using different variable names you will avoid the canned rules being included, and conflicting with yours.
One of the most important features of GNU make that we use is the ability for a Makefile to include another named file, very like cpp's #include directive.


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My ten year anniversary has come and gone, along with the opportunity to get a professional portrait done.
I've had photos on the brain lately, largely due to cleaning out my "memories" closet. (Anybody with a good eye for decorating, please leave me a comment and help me out with this.)
Like those boxes of photographs, movie tickets and random childhood trinkets, I'm being flooded with reminders of past events that will never be again. There's the photo of my prom date and me, each in emerald green, standing under a ridiculous balloon gazebo.
More From Good Housekeeping
There's the shots of my first dog, my grade school principal and my mom and dad's living room walls. (Oh yeah, nothing says "hip" like plaid wallpaper covering 15 foot ceilings.) But there are no professional portraits of Rex and me.
You might be saying, "Who gives a turd? You have tons of digital photos. That's enough."
And I'd agree with you.
Except that some of my favorite pictures in my home were taken by a professional photographer seven years ago. The kids were both babies. The black and white stillness of those photos capture a slice-of-life that will forever stand out as some of the most magical times I've experienced.
But is that true? Were those really the most serene times of my life? Don't I have equally enchanting moments now? Sure, there's more worries currently than I had back then. (Shocking how doe eyed baby dolls turn into real live children who scream, argue and don't do everything the exact way you want them to. Same thing goes for husbands.)
There's the constant fear of "What if something happens to my kids while they're walking down the street to a friend's house?" There's the very real possibility of "What if one of us loses a job?" or "What if something happens to my mom?"
But even with these worries, isn't that even more of a reason to celebrate the true joy of the present? Isn't it even more crucial to capture the enchantment that happens despite the dishes, the economy, the jam packed karate/dance/homework/playmate/doctor appointments/extra job assignments/making time for family/mad dash existence I live in?
While I certainly don't want photos like the one in this blog hanging over my fireplace (or maybe I do... I'd laugh every single time I walked through the front door) I wouldn't mind a few nice shots of Rex and I. Maybe a family portrait? I'll have to think about that one.
With a little debt to pay off, it seems like a waste of money to spend hard earned cash on pictures. But when I think about how much pleasure I get seeing portraits of my own mom and dad, along with some cheesy shots of my brother and me taken at the park when we were wee kids, I am reminded about how priceless good photographs are.
Do you and your hubby ever take professional portraits? What about family shots? If not, why not? What are the things about your marriage that you would most like to treasure in a picture?
* Photo from The Galactica.com
Drop me a line and say hello! firstname.lastname@example.com


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On the Zend Developer Zone, Cal Evans has had some fun with salaries - specifically the salary information recently posted by Dice.com.
Every year dice.com puts together a salary survey for those of us working in tech. It's a chance to look at what other developers say they are making and either snicker or sigh wishfully. This week they released "2010-11 Tech Salary Survey Results". [...] To me, page 5 was the most interesting. Page 5 is a table of salaries by metro area.
He's created a table to lay out the data in a bit more readable (and normalized) format with Charlotte, North Carolina being the baseline and other cities diverging up and down (in salary range) from there. It helps you compare both the salary range and the normalized version of it that includes some of the cost of living that comes along with the location.


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Earlier this week, the Washingtonian published a haunting story about Austin Trenum, a high school football player who killed himself just days after suffering a concussion during one of his games. Here's a sampling:
A nurse asked if he wanted Tylenol.
"The last time you got a concussion, you got a headache," Michelle said. "Are you sure you don't want it?"
"Mom, I'm fine," Austin said. "I don't have a headache. Except for my normal football headache. I get them after every game."
There are plenty of other chilling moments within the article, which deserves your attention.
Did Football Kill Austin Trenum? [Washingtonian]


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A portion of this interview appears in the April 20 issue of The Hollywood Reporter.
That Paramount finally decided March 29 to make an Anchorman sequel was as much a surprise to Will Ferrell and Adam McKay as anyone. After all, the collaborators had been trying for years to revive Ron Burgundy, and only three months earlier the possibility had been "really 100 percent dead," according to McKay.
Despite the fact that McKay, along with contemporaries Jay Roach and Judd Apatow, has one of the best modern live-action comedy records in town, the economics of the studio laughter remain very tight. The studio had refused to budge from a $35 million budget limit. But that number wouldn't have covered even a few of the above-the-line salaries: Ferrell's ask can now reach $20 million, and several of the secondary Anchorman players, including Paul Rudd and Steve Carell (now up to $12 million-plus), have since blown up.
PHOTOS: Funny or Die's Top 10 MVPs
Anchorman, a story about what happens when a macho '70s newsman and his crack team are forced to deal with an ambitious new woman in the office, was made for only $26 million. It racked up a decent $85 million in domestic revenue for DreamWorks in summer 2004, but while the film's quotable lines and 1970s San Diego TV news setting helped generate a cult following on DVD, the period humor didn't play overseas. Paramount Film Group president Adam Goodman had been the executive on the film at DreamWorks, which greenlighted the comedy after Old School had done well for the studio in early 2003 and Ferrell had his first huge hit with the New Line Christmas comedy Elf, which grossed $220 million worldwide later that year.
STORY: 'Anchorman' Sequel: A $50 Million Compromise
McKay was a Saturday Night Live vet making his directorial debut, and it was a surprisingly strong result. Since then, he has co-written and directed three additional Ferrell comedies for Sony — Talladega Nights: The Ballad of Ricky Bobby grossed $148 million domestic in 2006, Step Brothers grossed $100 million in 2008 and The Other Guys grossed $119 million in 2010. Goodman, who moved to Paramount with the property rights after DreamWorks left the studio in 2008, remained interested in an Anchorman sequel, but studio revenue projections repeatedly didn't justify paying the team any more to reunite.
PHOTOS: 'SNL' Stars Salute Kennedy Center Honoree Will Ferrell
McKay spoke to The Hollywood Reporter about the sudden unexpected breakthroughs that made the Anchorman sequel a reality, and what he and Ferrell have in store for Ron and the Channel 4 News team when they return, possibly in the summer of 2014.
The Hollywood Reporter: Paramount Film Group president Adam Goodman was the executive on the first movie at DreamWorks, right? What's been his attitude over the years about making a sequel?
Adam McKay: You know the story: Everyone said no, it was dead, a long road to get it made. And then finally Old School hit and, boom, DreamWorks was like, "We want to make it now." We came in, and Goodman was our day-to-day guy on it. That movie was one of the funnest movies we've ever made, and he had a great time and got to see our process. And then the movie came out and did really good but then got even bigger on DVD and cable. So then, when he was at Paramount, he said to me, "Would you ever do a sequel?" And at first we were like, "No, we don't want to do sequels, we have too many ideas. Why do sequels?" And then finally, we kept hearing the question so much from fans, and we're like, Shit, man, there's almost something original about doing a sequel, like, can-we-do-a-sequel suddenly became an interesting challenge to us. We got our heads around on it and said, "All right, we'll do it," and Goodman was really excited. But then it went in the numbers machine over there. And their numbers machine purely looked at the box office. It didn't project off of DVD sales and TV and cultural influence. It stopped at the box office. And when you stop at the box office, you stop at — what did it make, like $95 million with almost no foreign numbers?
THR: I think it was closer to $80 million…
McKay: I think it was $85 million domestic and maybe $5-10 million internationally or something like that. See, I keep trying to inflate the numbers a little bit. [laughs] Let's just call it $200 million! So their numbers machine did not compute that. They kept saying, "We'll give you $35 million." And we're like, "Wait a minute, if we do it for that, we're literally not getting paid!" And they weren't doing back end… I said, "Look, we want to do it, we don't need to get rich off of it, but you've got to give us something!" This was three years or something. So, basically they came back with a low budget. Originally, I was saying, "Hey, $80 million budget ,because it'll be the period, and you gotta pay the stars," and they were like, "Are you crazy?" And then quickly I was like, "All right, fine, $60 million and we can make it work, we'll all take pay cuts," and they were still like, "Are you out of your mind?" And we were like, "Oh, wow." And the whole time, to Goodman's credit, he's like, "I really want to get this done," so he's clearly pushing for it, and the numbers aren't computing. And then we did Other Guys and we came back again and we were like, "Look, can we take another shot at this? We're not asking for $80 million or $60 million. Let's just do it so we can get some money, a little bit of back end, let's just make it fair." And they still said, "No, no, $35 million," or whatever the number was, and crappy back end. Our reps wanted us to do it, and they're like, "You can't, this is such an awful deal."
THR: You could have gone and made a movie somewhere else with your regular deal, so why take a lowball offer?
McKay: Yeah, and once again, we didn't even want our regular deal. Just to get it so you're not losing money making the movie. Because for me, I've gotta be on it for two years, and if I'm making such-and-such money I'm losing a lot of money, and it's hard to explain to your wife why you're working 14 hours a day for… when you're directing, once you're in it you're in it. Believe me, I'm not complaining. But at the same time, you want to make some money, even out of a sense of fairness, and it was literally like no pay, a little shot of back end. And once again, all the reps, when we went back the second time, were like, "This is horrible. You can't do this." So we gave up.
THR: This was about three months ago, right?
McKay: Then we even went back a third time! In like November, just for the hell of it, [our manager] Jimmy Miller called and was like, "Hey, is there any change?" And they were like, "No, that's what it is." So now it's really, really 100 percent dead, and Ferrell and I are sitting down and there's talk of doing Step Brothers 2, and we were going to line that up at Sony and we were like, "You know what? That'll be our sequel. The first one was so much fun, we'll go do that." But I keep hearing from everyone: Anchorman 2, Anchorman 2, Anchorman 2. … So we're about to set sail on Step Brothers 2, and I go to Jimmy, "Can you just check one last time?" And he goes, "It's a waste of time. We've already checked three times." I go, "Just call, I just need to hear it one last time." And he said, "I'm telling you, it's a waste of time." So Ari Emanuel, my agent, is like, "Fine, I don't give a shit, I'll call." So he calls, and he goes, "They're interested." And we're all immediately like, "Screw you, we're wasting time." And he's like, "No, no, they're interested." Next thing you know, I hear from Goodman, going, "Hey, we've got a shot." I guess a movie fell through for them or something, and that was it.
THR: Do you know what the movie was? They had a comedy slot open in the slate or something?
McKay: I don't, no. I guess so. And then two things happened. We tried to set this other movie up for Will and Vince [Vaughn] that ended up being, once again, a crazy low offer, no back end, at Paramount, and that didn't happen. And then the other thing that happened was I did some work on The Dictator for Sacha [Baron Cohen], kind of helping out. And I think the combination of those two things with a movie falling through, I think they saw the numbers on the other one and were like, "Wait a minute, if we're looking at these numbers for an original Will/Vince one, and we have this other franchise that's guaranteed to at least get you to here, why wouldn't we do this for just a little bit more?" I think some of the numbers suddenly started rubbing against each other. And I think the other thing was, I suddenly was working with them again as a writer and as a little bit of a producer/director. They started looking at The Dictator and having fun working with me on that, and I think all three things kind of perfect stormed into, You know what? Let's do this. And Goodman finally got them over the hump.
THR: You were doing unit-directing work on Dictator?
McKay: I was sort of producing, writing, helping with the reshoots, kind of a vague title.
THR: What budget did you guys finally agree on then? It must not have been that much higher.
McKay: The budget we ended up getting was $50 million. It was perfect. We wanted $60 million, they were saying $35 million, $50 million we can get it done for. We came up with a — we're not going to get rich — but a fair little back end sweetener on it.
THR: You could get it done at a certain budget the first time. But that movie launched so many different people that are much bigger now. Rudd, Will, you—
McKay: Oh, it's crazy. And Carell's a huge star. And Vaughn obviously only got bigger. Yeah, they're all in.
THR: So does everyone get back end then?
McKay: Well, we're still finishing everyone's deal on it, nothing's official, but yeah I think we'll get it done. It looks pretty good. It's not officially closed yet for everyone else yet.
THR: You have David Koechner, you've got Carell, you've got Rudd…
McKay: Yeah, yeah. And I'm actually calling [Christina] Applegate's manager, but we already have talked about the story and it looks like there will be something for her.
THR: In a way, her character is the one that's sort of expendable…
McKay: Yeah, kind of in the Austin Powers tradition, they always flip out the lead lady. No, we haven't written it yet, but we have an idea for her that we think is pretty cool. So tentatively right now she's in. But obviously we kind of have to let it be what it's gonna be, we don't want to handcuff ourselves, but we love Applegate, so any chance to work with her is always fun. So, yeah, that's it. The last couple weeks we've been sitting down and banging out the story and putting it together.
THR: Are you guys going to go hole up somewhere when it's writing time?
McKay: Yeah. We're going to start next week actually, we're going to hole up. So I'm doing all my last meetings this week, because I know I'll have less time.
THR: How much time do you typically set aside?
McKay: Usually in a month and a half to two months we can come up with the full draft, like a rough vomit-y draft. Then, you know how it goes, the real work is in the re-writing, so then we just pound it for the next five months.
THR: And then you re-do every scene during shooting…
McKay: Yeah, we improvise often. Although, we work the crap out of our scripts. We definitely want that last read-through to be kind of seamless, and everything's working, so you know you have at least an A-minus script when you're hitting the set. And then obviously ideas come to you. You can only plan so much with a script for comedy, and then you get all the extra stuff on top of it.
THR: Do you have a tentative date you're trying to hit for shooting?
McKay: Yeah. We're looking at January-February for shooting. Probably it'll end up being February is my guess.
THR: Does Paramount have you slotted in a tentative release date?
McKay: We're talking about it, we don't know yet exactly where it'll be, we're kind of floating. They've said Christmas, they've said March, and then they've gone as late as May.
THR: Thanksgiving?
McKay: No, they didn't say Thanksgiving for some reason.
THR: It would be too early to get done by then?
McKay: We probably could have it done by then, that's not crazy. You know they want it to be summer, is what they want, but that gets a little long. So we'll have to figure that out.
THR: So you have a basic idea for the storyline. Is there any tease for what we should expect Ron to be doing? You're staying in period?
McKay: We have a basic idea. I'll tell you we're staying roughly period, and I would just say it's the next stage in the development of American media and news. The fun of these characters is they confront change very poorly. [laughs] So they've got some more change coming their way. I can say that pretty safely.
THR: And Rudd, Koechner, Carell, what was their response when you said it's going to happen?
McKay: Overjoyed. I bumped into Koechner, who was just beaming. Rudd sent me an email, "I can't believe it! Oh my God!" When the announcement was coming on Conan, I saw Carell tweeted it. It's one of those pure joy type projects, where we just had so much fun on the first one. We're all still friends. It's going to be fun as hell, man. We couldn't be more excited.
THR: And it gives you an opportunity to top the classic alley fight, when Ben Stiller and Tim Robbins come in.
McKay: I would guess there'll be some other cameos happening in this. That's always the trick with the sequels, is how much do you repeat from the first one. Because we all get bummed out when you go see a sequel and it's beat for beat. And you're like, Awww… And the spirit of the first one was such a three-chord garage band kind of spirit. The funny thing is we re-watched it for the first time in four or five years the other day. I had seen pieces of it on TV. But Will and I actually sat and watched the whole movie. When it was over with, we were like, "We've gotten a lot better than that!" [laughs]
THR: In what sense? Didn't you guys laugh at all?
McKay: Oh, no, we laughed the whole way through! We just meant as far as the filmmaking. The next one we did, Talladega Nights, we didn't do any reshoots on it. We knew exactly what we were doing. Whereas, with Anchorman we were reshooting, we were improvising. Since it was our first movie it was just a little more raggedy and frayed. But that's also the charm of it. That's what you kind of like. So when we were talking about writing this, we said, "We almost have to go back to that raggedy, frayed mentality." It's like when the Who has to do "My Generation," you're like, "They're way better than that song now," but yet that's still one of their great songs. So we have to kind of do that three-chord raggedy song again. We have to force ourselves to do some things we know are going to be risky and might not even work, just because that's the spirit of the movie.
THR: But you guys take risks all the time.
McKay: Yeah, not to say that we've ever gotten safe. But I just mean, we've learned some things through the years. Like we've learned, Oh don't paint yourself into this corner where if this one line doesn't work you're completely dead. We now know to give ourselves options and to have a little bit of a better sense for what's going to play where in the storyline. So that was the funny thing in watching it was there are some parts where we just jumped blindly into the pool, "Screw it, let's do it." And we have to kind of evoke that spirit again, like, let's make some crazy dumb calls.
THR: Where did you watch it?
McKay: We watched it at Ferrell's house. We were up at his guesthouse, where we write. And we popped it in and watched the whole movie. We were laughing our asses off, don't get me wrong. Oh my God, there's just some great stuff in that movie. That cast is so good.
THR: It's sort of the classic, Ferrell buffoon prototype…
McKay: It's his best, most iconic character, in a sense. He goes right into that voice, even writing with him. The only thing we did was we watched the unrated version. I remember that whole craze with unrated DVDs, and I hate those. We were watching it, like, "No! The theatrical was the best!"
THR: Really? It seems like with all the improv you guys do, you'd want to get in as many jokes as you could.
McKay: Well, you know what it is? We're not editing ourselves that much with the theatrical. You're cutting the theatrical to be the best version it could be, and we're not doing hard-R movies anyway. Anchorman was PG-13, so it wasn't like we had to edit ourselves for content. We cut the best version of the movie we can cut, and that's what we put out. And then they tell you, "Go put stuff in." And you're like, "No, I put everything in that I wanted to." In the case of some movies, you have a bit that's hilarious on its own, and you want it to fit into the movie. Like, in Step Brothers, we had them sleep-driving. When they would sleepwalk, at one point they got up and jumped in a car and actually drove while they were asleep. And it was one of the funniest things we've ever shot, but it didn't work in the flow of the movie. I kept trying to force it in, and it just never worked. It might be in the unrated or the extra version, but if it is it doesn't work. So that's what it was with Anchorman, there were these bits in there that we tried that didn't work. So you watch it and you're like, No! And there they are on the DVD. And a lot of people only watch the unrated, so I'm glad they don't do that as much anymore because I'm never crazy for it. But other than that, it was really fun to watch. I was actually impressed, parts of it look really good. There are some nifty little montages or tracking shots or parts that are cleverly composed, and we were like, "Oh, occasionally we knew what we were doing."
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Look at me! This is the third Thursday in a row that I've released a video! And this comes after going a month without releasing a single one. What the heck has gotten into me? Ha!
Anyway, today's video discusses Fahrenheit 451 by Ray Bradbury and I really think you're going to want to hear what I have to say about it. First, because this book was one y'all really wanted me to read when I ran my poll a little while back. Second, because giving me six minutes of your day isn't so bad.
I don't have anything to add here because I think I said all I wanted to say in the video. Now watch! And subscribe if you haven't. Cause why not?
On this day in 2014 I published Knowing Your Audience.


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It's hard to build an amateur adult porn tube from scratch, so the collection we're going to discuss here was created with mostly non-exclusive content. We see no problem with that because it's either to pick and choose between the already existing adult content than to talk your visitors into sending in their sex tapes in hopes of getting some actually good shit out of it. The people behind this adult amateur tube collection clearly spend countless hours trying to hunt down the hottest clips related to EACH and every single specific pornographic subgenre.
Amateur Anal, Amateur Lesbian, Webcam Porn, Amateur Fisting… they got all the offshoots covered! Aren't you tired of porno tubes that are only willing to deal with surface-level content? The ones that only upload the most popular videos or videos produced by the most popular XXX studios? Yeah, you're not going to get ANY of that with Cams Vids TV because this site is straight-up obsessive when it comes to variety. Their collection of non-professional content is obsessively varied, almost to a fault. We did find some reviews that mentioned the fact that there are just TOO MANY options for them.
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One of the key things that help this collection of amateur content to stay on top is the fact that there are daily updates. Day in and day out, there are brand-new videos being added all across the different webcam porn categories available on that website, including the one dealing with non-professional action. As alluded to before, the vids themselves come from a plethora of sources, which only makes it better.
The last thing to mention in this disjointed review is the fact that you WILL love their selection of professional porn with pornstars as well. It's every bit as exciting, just FYI.


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Bella Women's Baby Rib Contrast Cap-Sleeve Raglan T-Shirt
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Millions of office workers work such long hours they eat three meals a day at their desks, it was revealed today.
Researchers found the mad dash to get to work in the morning means millions of us grab something from the fridge and take it to work to eat on arrival.
While lunchtime sees many pop out to buy lunch before hurrying back to work to stay on top of the to-do list.
Incredibly the study also found many work such long hours they find themselves struck by hunger at 5pm and seek fuel to keep them going into the evening with a third meal at work.
This eating habit, combined with increased levels of snacking, means the average person puts on almost a stone in the first year of office work, with 11lbs the average weight gain.
The research, which was commissioned by Wonderful Pistachios ahead of World Pistachio Day on February 26 2013, found half of respondents ate both breakfast and lunch at their desks, while one in ten even eat all three meals in front of their computer.
A sorry seven in ten admit to going to work with good intentions, only to succumb to the office vending machine or temptations provided by co-workers.
In fact, the average British worker doesn't even make it an hour before tucking into their first snack with 9.58am the time most cave in.
Yesterday, a spokesman for Wonderful Pistachios said: "Many people struggle to manage a demanding work life with a good nutritional diet and inevitably the latter ends up suffering.
"Workplace conversation about food, boredom and a constant flow of treats brought in by colleagues all combine to easily knock people off the healthy eating path.
"Being prepared for the 10.00 am craving with healthy snacks brought in from home will help keep those unwelcome pounds away."
One in seven said their co-workers seem to talk about food all the time, while the average person experiences 23 minutes of food-related chatter each and every day and only 10 per cent never talk about food at work.
Despite an abundance of good intentions, 45 per cent lack control and eat far more than they feel they should at work.
More than half of office workers like to bring in snacks from home, but other colleagues handing out the goods proves too tempting for one in three.
While one in five regularly succumbs to the temptations of the vending machines at work.
One in seven workers describes snacking as the absolute highlight of their day and a fifth admit they buy snacks at work to gain popularity within the workplace.
Four in ten people indulge in at least two unhealthy snacking sessions each day at their desk.
And a snacking boost proves essential to six in ten workers who claim it helps their productivity.
Half the study relies on snacks for an energy boost day to day, while a fifth say it's essential in lifting the spirits.
And keeping morale proves crucial in enduring long spells at the desk – workers were found to spend at least 5 hours and 40 minutes of every day completely desk-bound.
The biggest excuses for such devotion to the desk were a lack of time, huge workloads and simply working extraordinarily long days.
A disillusioned 45 per cent think they've no choice but to put on weight because of the sedentary nature of their job.
The Wonderful Pistachios spokesman added: "Snacking will always be a part of office life and the results reinforce just how much we use it to keep us going and even look forward to it in our day.
"For people looking for a tasty snack, Wonderful Pistachios are a great option. A 30-gram serving contains 160 calories and provides a variety of different vitamins and minerals.
"What's more, the empty shells act as a reminder of how many we have already eaten acting as a visual cue to stop overeating."


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In this new post to her site Lorna Mitchell tries to help answer a question she got on Twitter about "subqueries" in REST API calls. In this case, a subquery is requesting just a subset of the data from a resource.
REST is all about representations of resources. They might come in different formats, and they might appear at their own URI as well as in one or more collections, but essentially you just get a representation of a thing. This is great, apart from when it isn't. [...] There are a couple of tactics that I deploy each time I need to solve one of these problems, but they all revolve around remodelling the resource structure. Just as we sometimes move fields around for database design or normalisation, we can do exactly the same with a RESTful service to make the resulting output make more sense to consumers.
She talks about one method that lets the consumer change the "verbosity" of the response and another that splits these pieces out into separate sub-resources for each section. She suggests a third option as well, the nesting of likely data - that is related data the user might most likely want along with what they requested.


text: \u00a0 \u00a0 Amazon \u00a0 The online retail giant has approached "at least three big media conglomerates seeking rights to distribute their content online," according to The Wall Street Journal \u00a0 However, an Amazon rep told Variety that the report was inaccurate, stating "We continue to build selection for Prime Instant Video and create original shows at Amazon Studios, but we are not planning to license television channels or offer a pay-TV service." Amazon invested $1 billion in content in 2013, according to Cantor Fitzgerald analyst Youssef Squali. See also: Amazon Knows What You Want Before You Buy It Amazon would be joining Sony, Google and Verizon in seeking to offer a new service to cord-cutters, people who have canceled their cable or satellite service and are now watching programming over the Internet. Verizon joined the group this week when it agreed to purchase Intel's Internet TV technology to the company. Despite the interest, no one yet has offered an online-based pay TV network in the U.S. The Wall Street Journalpreviously reported that Amazon is aiming to offer a set-top box, a la Roku or Apple TV. This story originally appeared onMashable.com. \u00a0


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"What the gladsome tidings be, which inspire your heavenly song?"
Music has been referred to as the 'language of angels'. This is such a beautiful and poetic thought; "Sing, O heavens; and be joyful …" (Isaiah 49:13). I believe we can also take this sentiment literally. The Holy Scriptures confirms the presence of heavenly choirs. In Revelations we read; "… and I heard the voice of many angels around the throne and the beasts and the elders: and the number was ten thousand times ten thousand, and thousands of thousands." (Rev. 5:11)
We also read in the account of the prophet Lehi's vision; "…he saw the heavens open, and…he saw God sitting upon his throne, surrounded with numberless concourses of angels in the attitude of singing and praising their God." (1 Nephi 1:8)
Perhaps the most beloved account is when angels heralded the birth of Christ:
"And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them… And the angel said unto them, fear not: for, behold I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was with the angel a multitude of the heavenly host praising God and singing, Glory to God in the highest, and on earth peace, good will toward men." (Luke 1: 8-11, 13-14)
Modern accounts are also notable. I stumbled upon a fascinating little book called "90 Minutes in Heaven; a true story of Death and Life" by Don Piper with Cecil Murphy. I found this book recently before boarding a flight home from vacation, and read Mr. Piper's personal account with great interest. In 1989 Don Piper was on his way home from a conference when his car was totaled by a semi. He was pronounced dead at the scene, and subsequently spent 90 minutes in the next world before miraculously returning to life on earth. Much of the book is dedicated to his painful and inspiring physical recovery. However, among the account of his after-life experience, Mr. Piper devotes a chapter describing the Heavenly Music:
"It was the most beautiful and pleasant sound I've ever heard, and it didn't stop. It was like a song that goes on forever. I felt awestruck, wanting only to listen. I didn't just hear music. It seemed as if I were part of the music and it played in and through my body. I stood still, and yet I felt embraced by the sounds…as I've pondered the meaning of the memory of the music, it seems curious. I would have expected the most memorable experience to be something I had seen or the physical embrace of a loved one. Yet above everything else, I cherish those sounds, and at times I think, I can't wait to hear them again – in person…Obviously, I can't really know how God feels, but find joy and comfort in thinking that He must be pleased and blessed by the continuous sounds of praise" (Chapter 3, pages 29-30, 32)
Mr. Piper adds that even now, most of his "flashbacks" to his experience actually come as sounds instead of sights.
Perhaps the greatest witness that we have of the heavenly role of music is the way our own hearts and souls respond to beautiful melodies, sweeping orchestral arrangements, a tender solo or majestic choir. Who of us has not experienced a lump in our throat during a heartfelt rendition of our national anthem, or tender tears at a beautifully rendered hymn? Certainly one cannot possibly be closer to heaven than when surrounded by beautiful music. I think that one of the main reasons the Christmas season is so magical and holy is that it is a season of music!
Everywhere we go, we hear the music of Christmas; we hum it subconsciously as we shop or as we drive our daily commutes. We attend or participate as performers in musical concerts – possibly more than at any other time of the year. Entire television specials are devoted to musical celebrations. Some of us go caroling through our neighborhoods, or just curl up with hot cider listening to our favorite albums as we enjoy the lights of a freshly decorated tree…indeed, Christmas is a musical feast.
There could be no better way to praise the birth of our Savior than through song. Latter-day revelation tells us the value the Lord places on musical praise:
"For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads". (Doctrine and Covenants 25:12)
We have the opportunity to be a little closer to heaven every time we sing praise!
At this joyous season, and always, may we join with the angels in celebration:
Come to Bethlehem and see – Him whose birth the angels sing;
Come, adore on bended knee – Christ the Lord, the newborn King.
Gloria in excelsis Deo!


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But Mousie, thou art no they lane,
In proving foresight may be vain;
The best-laid schemes o' mice an' men
Gang aft agley.
-Robert Burns, To a Mouse
Well, Macro Man had the right idea to get long yesterday, but apparently so did everyone else, as equities were bid when he woke up and only briefly threatened to tickle negative territory in the morning before ripping in the afternoon. You know what they say about the best-laid plans...well, you do if you can read Scots, at least.
That's alright, at least his short-end trade came good, right? Err....no. The Dudley comments that the case for a September lift-off being less compelling than a few weeks ago were not particularly surprising- one might have thought that the recent 14-tick rally in EDZ5 was pricing just that- but that didn't stop the short end from ticking up further, because hey- PermaZIRP!
The long end received no such succor, however, as stories of Chinese selling similar to that reported here yesterday vis-a-vis Bunds began to percolate. The data was pretty solid, too; the 3m/3m rate of change in core durable goods turned positive for the first time all year.
Interestingly, spot VIX remained stubborn, closing at 30.32 despite Spooz going out more or less on their highs. Of course, the curve is sharply downward-sloping, which eliminates one of the prime attractions of selling vol (i.e., the roll-down of the VIX curve.)
While Macro Man is of the view that the fractured micro-structure of the market is a clear reason for implied and realized volatilities to be higher than those observed for much of the summer, he is not yet convinced that current levels in any way represent the new normal. As such, he will continue to use the 30 level as a touchstone for the sustainability (or lack thereof) of any market correction; with VIX here, he is happy to wait for his price (or price pattern.)
Interestingly, the FX market more or less disregarded the Dudley comments that the short end apparently took so deeply to heart. USD/JPY's back north of 120, the euro sub 1.14, and cable got shunted down the lift shaft some 370 pips below Tuesday's high. Macro Man frankly isn't sure what drove that weakness, as sterling performed comfortably worse than even the euro. While it's tempting to suggest the ongoing rise of left-wing loony Jeremy Corbyn has something to do with it, positioning is a much more likely culprit (what's new?)
In any event, the surge in the big dollar yesterday in spite of the Dudley comments would suggest that there was a lot of clearing out done earlier in the week, and that perhaps a few babies were chucked out with the bathwater. Now, the last week of August isn't normally the time to start rebuilding positions, but then again this has been a pretty unorthodox last week of the summer, so it seems likely that there was at least some real buying going on.
It's interesting to note that October seems to be getting a bit of play now as a "compromise date" for the Fed's lift-off. Like a lot of people, Macro Man has been running with the idea that the Fed would want to lift off in a quarterly meeting, with the full panoply of support via the SEP/press conference, etc. He still holds that view, but acknowledges that the Fed has stated pretty explicitly that every meeting is a live one, and they could in theory call a press conference to explain something after a non-quarterly meeting. The narrative emerging from this week's Jackson Hole conference will be particularly interesting in this regard.
At 3 ticks, the Oct/Nov Fed funds spread offers better than 7-1 odds of an October lift-off. It's not like betting on the Houston Astros to win the World Series (100-1) before the season starts, but it's pretty darned good as a cheap punt if and as a narrative over a possible October lift-off builds.
After all, cheap bets offering high potential payouts are a cornerstone of the best-laid plans of building a macro portfolio.


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When I went away to college, and lived in my first apartment, I was just dying to start cooking. My mother, a fantastic, creative cook, had set a high standard. She was a total control freak in the kitchen, and could not bear "help" of any kind, but she did permit spectators, and I was generally there, hovering, and carrying her delicious food to the table. I think this may be the best method ever for the psychological conditioning of future generations of enthusiastic home cooks. I learned a lot from watching, and as I was not allowed to participate, cooking seemed a privilege, rather than a duty.
It still does. And, after all, it is a privilege, to have the wherewithal to bring home baskets of lovely local produce, to afford some meat and poultry, to buy the nicest imported coffees, and to never run out of King Arthur's unbleached all purpose flour, when there are many, many people going hungry, and many more with no stove to cook on.
In any case, a couple of the many things I learned watching my mothers fine hand at work, were the importance of timing, and the benefits of keeping a hot summer kitchen from roasting the cook. The latter was especially important pre-air conditioning, but is still relevant for those of us who like to feel cool enough to be hungry for supper.
Quite a few of my more impressive early kitchen tricks were copied directly from my mother. The cacciatore /fricasee of chicken was a cornerstone of her dinner party cooking repetoire, embodying both principles, and allowing for all sorts of great variations. I got a lot of mileage out of these concoctions, which could be both homey and fancy. You browned the chicken in butter or olive oil, removed it briefly, sauteed some good combination of vegetables in a bit of the exuded fat combo, and deglazed the pan with wine, broth, tomato sauce or some combination thereof. The chicken and some herbs went back in the pan, to be covered and braised. These dishes could be done in the morning, without lighting the oven and reheated, with no last minute flurry- except perhaps the adding of a bit of cream sometimes, and sauce reduction.
There were all sorts of classic variants, or you could make up your own. I was especially fond of one done with mushrooms, artichoke hearts, tarragon, garlic and white wine. A friend used to make a recipe from a supermarket women's magazine, where the braising liquid was canned cream of mushroom soup with a little white wine, and there was grated gruyere in at the end. It was, frankly, delicious, and in those days, we were far less suspicious of and /or embarrassed by prepared foods with mysterious chemical additives.
If there were no potatoes in the veg mix, you could make some plain noodles or rice, and put some pan juices on top. A green salad, crusty bread for moping up, and you were good to go. Pretty much everyone liked this sort of food- so what happened? Why did I stop making this sort of chicken? It was really a perfect solution for jazzing up fairly tasteless supermarket chicken, was it not?
I am not entirely sure, but I think that supermarket chicken has deteriorated in quality, even since the 1980s. They were already less tasty than the best free-range hens our ancestors presumably had, if they were lucky enough to afford chicken, but there was still some decent texture. It may be my imagination, but I think mass produced chickens are getting mushier and flaccid? Is this craziness on my part? In any event, that's what it seemed like to me. So, I sort of began making only the sort of chicken dishes that firmed up- roasted, grilled, sauteed, and abandoned the tenderizing cacciatore type dishes.
I've noticed that the 2 free range chickens which I get each month from the neighbor of my CSA farmer, delivered one week each month with my vegs, have, in addition to excellent flavor, a welcome toothsomeness. So I thought I try a scratch version of the gruyere topped stuff, and I'm here to tell you, it was great. And it is also very easy, as long as you have a proper organically raised free range chicken. You will definitely want some crusty bread for mopping up the pan juices here. I won't pretend it's diet food- but it is special occasion worthy, IMHO.
Cut up your chicken and dredge it with flour which you have seasoned with salt, sweet paprika and pepper. Brown it very thoroughly in butter in a heavy skillet or saute pan which has a cover and can go, coverless, into the oven. Make sure it is quite thoroughly browned, as the longer, damp cooking will make it pale, otherwise. Remove the chicken from the pan, and deglaze with 3/4 of a cup of dry white wine.
Reduce the wine by half. Put the chicken back in the pan with chunks of carrots and a fair number of peeled shallots, a branch each of fresh tarragon, thyme and parsley. Add 1/2 cup of broth. Partly cover, and cook very slowly until quite tender, adding a bit of broth or water if the liquid gets too low. I cannot tell you how long this will take, it really depends on your chicken. It is easy to overcook supermarket chicken; my farm chicken takes longer. so you will need to poke at it a bit to be sure.
You can stop now, and cool and refrigerate until just before serving. If you do that, bring it to a simmer before you go on. Stir in 2/3 cup of heavy cream, blending with the pan juices, and sprinkle the top with a generous handful of coarsely grated gruyere, or other swiss type good cheese. Run under the broiler until the top is brown and bubbly, and serve, with the aforementioned crusty bread and some salad.
Sorry about the terrible photo.


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The Low-Profit LLC (L3C): Program Related Investment by Proxy or Perversion?
26 Pages Posted: 15 Feb 2010 Last revised: 13 May 2010
Date Written: February 12, 2010
Since 2008 several states have adopted or are considering statutory amendments permitting an LLC to become an L3C when organized for a business purpose and operated to significantly further charitable purposes but without a significant purpose to produce income or asset appreciation. The L3C hybrid is designed to brand the hybrid entity as a business enterprise with a social conscience. But given that the LLC form preexisted and can be operated for any lawful purpose including low-profit, what is the advantage of the L3C statutory operating form? The L3C statutory elements can easily be incorporated in an LLC operating agreement. Closer inspection reveals that, beyond modest branding assertions, the L3C is configured to attract untapped private foundation capital. Given the risky tranche investment scheme targeted for the L3C, the private foundation must be assured its investment in the L3C will be classified as a program related investment (PRI) to avoid prohibitive excise taxes. To date that requires advance federal tax authority approval and it is unlikely the L3C statutory restrictions will serve as a proxy for federal approval. Even if so, additional excise taxes require the foundation to monitor the investment to assure it is appropriately used by the L3C. This requires approval over L3C expenditures and significant accounting reports that will be detailed in the operating agreement. Finally, it is open to question whether tranche investing will threaten the foundation's exemption through private inurement to the other investors that results from using foundation assets without reasonable compensation.
Suggested Citation: Suggested Citation


text:
Los Angeles Dodgers right-hander Eric Milton has had surgery for a herniated disk in his back and will be out at least three months, likely bringing his season to an end, according to media reports.
Milton, who spent two years recovering from Tommy John surgery, was 2-1 with a 3.80 ERA in five starts for the Dodgers as their No. 5 starter after signing a minor league deal.
But Milton, who was twice placed on the disabled list this season, underwent the back surgery after suffering a setback in New York last week, according to MLB.com.
While Milton's season may be over, his career could continue, depending on his recovery. Last week he said he had no intention of retiring at the end of the season, according to the Los Angeles Times.
James McDonald, Eric Stults and Jason Schmidt are the top candidates to replace Milton in the rotation, the Times reported.
Milton has a 89-85 record and 4.99 ERA in 271 career starts with the Dodgers, Cincinnati Reds, Philadelphia Phillies and Minnesota Twins. He was an All-Star in 2001, when he went 15-7 for the Twins.


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Anti-Gay Pastor Grant Storms Convicted On Obscenity Charges
Want some piping hot Schadenfreude for breakfast? Well here it is…
Anti-gay activist and self-confessed hypocrite Grant Storms, made famous for his homophobic crusades during New Orleans' annual Southern Decadence event, has been convicted of obscenity after being caught masturbating in a public park.
From NOLA.com:
[Judge Ross LaDart] promptly found Storms guilty of the single count of obscenity. He sentenced Storms to three years of probation, citing no evidence of a criminal history.
LaDart also ordered Storms to be evaluated, apparently psychologically. The judge noted that in Storms' confession, he admitted that Feb. 25, 2011, the day he was arrested, was the third time that week that he masturbated in Lafreniere Park.
"Lafreniere Park is a public place," LaDart said in announcing the verdict. "Lafreniere Park is a place that was chosen by this defendant to engage in a history of masturbation."
Storms declined to testify. His attorneys, Brett Emmanuel and Donald Cashio, did not overtly deny their client masturbated in the park but argued he never exposed his penis. The exposure was a necessary element of the obscenity charge.
In his confession, Storms told Jefferson Parish Sheriff's Office Sgt. Kevin Balser he had taken a break from his grass cutting business to sip a beer in the park, where he said he became "horny." He said he put his hands into his underwear, but he never exposed himself.
Storms said previously he was looking for a "thrill' by taking care of his business in public.
Read more: http://www.towleroad.com/2012/08/anti-gay-pastor-grant-storms-convicted-on-obscenity-charges.html#ixzz24hCa2Vl2


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Usually when I browse through hundred-year-old cookbooks searching for a recipe to make, I skip over the ones that seem particularly odd or strange. However, I recently read a quote that made me give some of these recipes a second look:
Recipes that a century ago would have been the apogee of culinary chic may no longer be prepared because they are no longer in vogue; they may be considered unappealing, outdated, or unhealthful.
Janet Theophano
(Eat My Words: Reading Women's Lives Through the Cookbooks They Wrote, 2002)
So when I saw a colorful illustration for Asparagus Shortcake in a hundred-year-old promotional cookbook published by the KC Baking Powder Company, my curiosity was piqued. Was Asparagus Shortcake an example of a food that once had been at the "apogee of culinary chic"?
When I made this recipe, I worried that my husband and I won't like it, so I only made half a recipe so that I won't have too much left-over.
The verdict: Asparagus Shortcake gets high marks for the "wow" factor when served. And, while the combination of asparagus and shortcake seemed a bit odd, the dish was tasty. The asparagus in its rich butter sauce worked well with the shortcake. Overall, Asparagus Shortcake made a satisfying lunch.
Here's the recipe updated for modern cooks:
Asparagus Shortcake
1 1/4 cups flour
1/4 teaspoon salt
1 1/4 teaspoons baking powder
1/4 cup shortening
1/2 cup milk
1 1/2 cups asparagus, cut into 1 inch piece
1/2 cup water
2 tablespoons butter + 2 tablespoons butter
2 tablespoons flour
1 hard-boiled egg, quartered
Preheat oven to 425° F. Grease and lightly flour a 6-inch round baking pan; set aside.
In a mixing bowl, combine the 1 1/4 cups flour, 1/4 teaspoon salt, and baking powder. Cut in the shortening; then add the milk. Stir gently with a fork to create a dough. Place on a pastry cloth or other prepared surface, and gently knead for 15 seconds; then shape into a 6-inch round disc and place in the prepared baking pan. Place in oven and bake 20-25 minutes or until the top is light brown.
In the meantime, put the asparagus pieces in a saucepan and add water. Using high heat bring to a boil. Cover and reduce heat; simmer for 2 minutes. Remove from heat and drain (reserve liquid).
In another saucepan, melt two tablespoons butter using medium heat, then stir in the 2 tablespoons of flour. Add the asparagus liquid while stirring constantly; continue to stir until the sauce begins to thicken. Remove from heat, and immediately stir in an additional 2 tablespoons of butter, then gently fold the cooked asparagus into the sauce.
To assemble the shortcake, split the baked shortcake. Place the bottom half of the shortcake on the serving dish and then spread with half of the asparagus sauce. Cover with the top of the shortcake and spread with the remaining sauce. Garnish with hard-boiled egg quarters. Serve immediately.


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WASHINGTON (CNN) — Attorney General Jeff Sessions has asked for the resignations of 46 US attorneys, igniting anger from officials who say they were given no warning about their dismissals.
The Justice Department announced the firings Friday afternoon, and many prosecutors had not been formally notified or even told before they were fired, according to a law enforcement source. Acting Deputy Attorney General Dana Boente was in the beginning stages of calling each US attorney individually to tell them they had to resign when the DOJ issued a statement.
A law enforcement source charged that "this could not have been handled any worse" because there was little warning. Many prosecutors found out through media reports that they had to resign today.
A Justice Department spokeswoman explained that forced resignations are a matter of course when turning the agency over to a new administration.
"As was the case in prior transitions, many of the United States attorneys nominated by the previous administration already have left the Department of Justice. The attorney general has now asked the remaining 46 presidentially appointed US attorneys to tender their resignations in order to ensure a uniform transition," Justice Department spokesperson Sarah Isgur Flores said.
It is common for administrations to ask holdovers to step down, but what is less common is the abruptness of Friday's announcement. Two sources familiar with the Justice Department tell CNN they were unsure for some time whether such an action would happen and had been looking for some type of announcement — but received radio silence.
"There was not any particular clarity from the Justice Department as to what the future held for the US attorneys" until now, one source said.
But the Justice Department argues that the agency will continue to function as normal.
"Until the new US attorneys are confirmed, the dedicated career prosecutors in our US attorney's offices will continue the great work of the department in investigating, prosecuting, and deterring the most violent offenders," Flores said.
A list of the US attorneys asked to resign was not immediately available. But one of them is the high-profile US attorney in Manhattan, Preet Bharara, according to a Justice Department official. Bharara met with President Donald Trump at Trump Tower after the November election and told reporters that Trump had asked him to stay on, and that he agreed to do so.
Resignations from two prosecutors, acting deputy attorney general Dana Boente and his permanent replacement, Rod Rosenstein, were declined by Trump, according to a DOJ spokesman.
Ranking Democrat on the Senate Judiciary Committee Dianne Feinstein said she was "surprised" and "concerned" by the news of the firings, saying the actions contradict what she was told by the Vice President and other administration officials.
"In January, I met with Vice President Pence and White House Counsel Donald McGahn and asked specifically whether all U.S. attorneys would be fired at once," the California senator said in a statement. "Mr. McGahn told me that the transition would be done in an orderly fashion to preserve continuity. Clearly this is not the case."
The law enforcement source said it is understood that it's customary for a new administration to ask for resignations, but "you don't tell them to clean out their desks the same day effective midnight tonight. There are people traveling on official business — are they supposed to turn into their cell phones today? Can they come into their office tomorrow to check email?"
Administrations have the right to replace and nominate US attorneys. President Bill Clinton, for instance, dismissed dozens of US attorneys in his first year of office.
In mid-March 2001, President George W. Bush's attorney general said he was transitioning most of the 93 US attorneys before June of that year.
President Ronald Reagan replaced a majority of his administration's US attorneys within his first two years in office.
The news came as Trump's administration was raising alarms about interests within the administration working against the current White House.
"I think that there's no question when you have eight years of one party in office, there are people who stay in government — and continue to espouse the agenda of the previous administration," White House Press Secretary Sean Spicer said Friday. "So I don't think it should come as any surprise there are people that burrowed into government during eight years of the last administration and may have believed in that agenda and may continue to seek it."
Spicer's remarks were in response to a question about the existence of the "deep state," a phrase meant to suggest non-elected individuals controlling the work of the federal government.


text:
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text:
Roadkill art: not quite necromancy, but...
If you're driving any of the more trafficked roads in Illinois, you might come across some of Jessica May's art. She's been busy playing undertaker to the most recent waves of roadkill, choosing to leave them in their original locations of impact but adorning them "in pet and baby clothes" and leaving many of them with their nails done:
Although she has dressed, and given some manicures, to three raccoons and three possums, she said she is not trying to make a political statement: "I'm not trying to be any sort of militant activist for animals' rights or anything like that." May, a 2006 graduate of Purdue University, delicately approaches her subjects: "I wear gloves. I don't know that I could touch it with my bare hands, because by the time I find them, they're pretty far gone," she said. Recently, she painted a deer with metallic gold paint. Several drivers stopped to inquire about her actions; some were not happy.
It's not quite taxidermy, but it's not quite sacrilege...right?


text:
CNJ staff
A pair of storm spotter's courses will be taught April 6 in Clovis and Portales.
The courses, which are identical, are offered from 1:30-4 p.m. at Clovis City Hall and 6-8:30 p.m. at the Memorial Building (300 E. Seventh Street) in Portales. They are both sponsored by the local offices of emergency management.
To sign up for a session, call 763-9485 (Clovis session) or 356-4404, ext. 2005 (Portales session)


text: An exhibition curated by art history professor Anne Higonnet and 20 students from Barnard and Columbia explores the legacy of the early 20th-century sculptor Anna Hyatt Huntington. Although Huntington's works—including the Joan of Arc sculpture on Riverside Drive at 93rd Street and jaguars at the Bronx Zoo—grace many of New York City's public spaces, she has been largely forgotten. The exhibition runs through March 15 at Columbia's Wallach Art Gallery.