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On-line version ISSN 2309-9585
Print version ISSN 0259-0190
Kronos vol.37 n.1 Cape Town Jan. 2011
Reading and representing African refugees in New York
Sean Field
Centre for Popular Memory, University of Cape Town
Tracy Kidder and Jonny Steinberg have constructed evocative biographies of African refugees' dislocation, journeys and struggles to settle in the USA. These books are reviewed through the lens of how South African readers might read these books given local imaginings of African refugees. The article describes how African refugee experiences are portrayed in both books and it critiques their representation of trauma and memory; and how each 'author' approached their relationships with the 'authored'. Kidder tended to be the ventriloquist for the Burundian refugee's life story and while offering useful narrative analysis, his conclusions have a redemptive tone. In contrast, Steinberg shares his draft manuscript with two Liberian protagonists, which produces complex encounters between author and authored. Steinberg's analysis of how the past Liberian civil war is mirrored in present conflicts within and amongst refugees in Little Liberia leads to a more complex account of refugee lives and of how memory and history intertwine.
Jonny Steinberg, Little Liberia, An African Odyssey in New York (Johannesburg: Jonathan Ball Publishers, 2011). ISBN: 978-1-86842-382-8.
With an optimistic three-year mandate, the United Nations High Commission for Refugees (UNCHR) was set up in post-World War II Europe in 1950. The UNCHR still exists and in 2010 it estimated that there are 43 million uprooted people worldwide consisting of 15.6 million internally displaced, 10.4 million refugees and various other displaced persons.1 The UNCHR also provides ample statistical evidence that contrary to First World perceptions, the vast majority of refugees do not enter Europe or the USA but neighbouring states.2 There are an estimated maximum of 2 million refugees in South Africa of who a maximum 1.5 million are from Zimbabwe.3 But what of the human suffering behind the numbers? What does it feel like to be displaced from your home, by civil war and/or genocide? How does one bear the material and psychological legacies of a violent past while adapting to a foreign country where your presence is unwelcome?
These questions are at the centre of Tracy Kidder's Strength in What Remains about a Burundian refugee named Deo, and Jonny Steinberg's Little Liberia about the Liberians, Jacob Massaquoi and Rufus Arkoi. Both books provide histories of African refugees who settled in New York and will interest researchers working on refugee studies, or historians of West Africa or the Great Lakes region. I found the writing compelling and their biographical approaches fascinating. Both books contain stories of extreme violence which are sensitively handled. But these books are not without flaws. In particular, the dynamic between the author and the authored concerned me. This raises a central question. What are the ethico-political implications of recording, writing and disseminating refugee life histories across the globe to-day?
Do refugees appear as strangers inside our symbolic 'homes'? They do not belong with us and they do not belong in our stories and histories. In the post-apartheid context, refugees tend to disrupt how South Africans imagine themselves as insiders in relation to local communities and to the nation. Moreover, given high unemployment rates, refugees are also perceived to be an added threat to competition over jobs, houses and livelihoods. But that response is based on a conception of the economy as 'a fixed cake' with much less to be shared, because of those strangers within. The presence and plight of refugees in our midst also calls into question the belief in authentic citizenship determining exclusive access to state resources and patronage.4 A lethal mixture of these insider-outsider perceptions fuels xenophobia and has had violent consequences for refugees in South Africa.
Steinberg is a South African author but the books under review are not about South Africa. Yet while I read these books, mental links were repeatedly evoked of African refugees in South Africa. I have no doubt that the publishers' hope that such associations will be made and that this will help sell these books to a local market. However, I am intellectually sceptical about simple comparisons. It was more useful to read these books in their own right while being aware of my location and how South African readers might read them. I am also concerned that choosing to review these books together has the risk of reinforcing the stereotype of 'violent and expulsive Africa' versus 'safe and welcoming USA'.
Both the Strength in that Remains and Little Liberia are driven by testimonies of passage from Africa to the USA. The mythical conception of a refugee's passage is of a sudden, painful departure from their homes to arrive at a single destination to settle. In fact, for most refugees, passage usually involves many destinations, stops and modes of transport. Many failed attempts at ffnding safety. Also, the passage after displacement due to war and genocide until reaching relative security is frequently circuitous and pock-marked with further violence. The duration of the passage in many cases continues for several years and at an emotional level a sense of safety might never be achieved. Both books provide evocative evidence of the extreme stress involved in displacement, journeys and the rebuilding of lives in a foreign country.
From Burundi to New York
The enmeshed colonial and post-colonial histories of Burundi and Rwanda are grounded in the geo-politics of the Great Lakes region. I cannot detail these histories here but the literature is burgeoning and Mahmood Mamdani's book on Rwanda (brilliantly titled, When Victims Become Killers) is a solid starting point. While Hutu-Tutsi tensions pre-date the arrival of German and Belgian colonialists, Mamdani argues that it was under colonialism that these differences were turned into a form of racial difference supported by Hamitic myths and constructions of Hutus being the 'true' inhabitants of Burundi and Rwanda, and of Tutsi's being foreign invaders.5 The separation of Burundi and Rwanda at independence in 1959 and the subsequent internal massacres repeatedly had ripple effects in each neighbouring state. For ex-ample, the 1972 Burundi genocide of Hutus by Tutsi soldiers, and the assassination of the first Hutu President, Ndadaye, in 1993 are bitter memories that were exploited in Rwanda by Hutu Power leaders during the civil war and the 1994 genocide.
Kidder narrates the life story of Deo from growing up in Burundi leading through to a detailed account of his experiences in 1993-1994. At the time of his displacement Deo is working as a medical intern at a hospital in Mutaho. But after an attack by a Hutu rebel group seeking reprisals for the death of the President, he decides to leave. Six months later the civil war further escalates in the wake of both the Burundian and Rwandan presidents being assassinated in Kigali on the evening of 6 April 1994. Deo crosses the Burundi border in late April and enters the Rwandan town of Murambi, but his timing is terrible. He had escaped from the Burundian civil war into the unfolding Rwandan genocide. On foot, he reaches the Murambi Technical College just as the killings begin there. He narrowly avoids being killed by Interhamwe militia near the college (which is today the site of a Murambi Genocide Memorial and Education Centre).6 Deo then returns to Burundi and in May 1994 flies to New York on a UN refugee visa.
Not able to speak English and with no friends or family there, his survival is a tribute to his courage and skilful intelligence. He learns English by reading dictionaries in bookshops. His interactions with American families and entry into university provide examples of his tenacity to survive and also of the acts of kindness from locals willing to support this remarkable man and his medical studies at Columbia University. I have no doubt that the support he received from American families, and Kidder himself, are examples of genuine altruism. But is Kidder's portrayal, in subtle terms, playing into historical myths about the USA being warm and receptive to all migrants? In contrast, Steinberg's detailed exposition of intra-refugee conflict within Little Liberia dispels such romantic myths.
From Liberia to New York
Anglophone Liberia has since the nineteenth century been riddled with tensions between indigineous language groups and the Americo-Liberians and their descendants. Americo-Liberians dominated political power and the state until Sergeant Samuel Doe led a military coup in 1980. Three years later coup-makers from several ethnicities splintered and in 1989 the civil wars began. Many of those fleeing the violence under Charles Taylor ended up on Park Hill Avenue, Staten Island, New York, where to ask about a neighbour's past might be construed as a threat. The book traces the stories of Jacob Massaquoi, a social worker with political ambitions, and Rufus Arkoi who rebuilt his soccer club Roza, which once thrived in the Monrovia slums, among young Liberian exiles in Park Hill.
Steinberg's account of Arkoi and Massaquoi illustrates their determined indus-triousness to gain entry to the USA and to carve a niche for themselves. When these men arrive in New York, they read the place through the lens of USA-Liberia rela-tions, and the history of Americo-Liberians as powerful elites in Monrovia. Massa-quoi says that the scale of New York swept over him and he realised how the Americo-Liberians used Liberia as 'their pet project'. 'They schooled their children here, went to hospital here when they are sick. I lost all respect for Americo-Liberians, for all those years and leaving us in the dark' (127).
There are also stories of the once-darling of the international community, Charles Taylor, portrayed as a 'street-hustler' who plundered state resources to maintain an army to stay in power. And when President Ellen Sirleaf-Johnson - the current favourite of the USA and the UN - visits Little Liberia she is heckled. Her prior support for Taylor (who is now on trial for crimes against humanity) still angers Liberian exiles in New York.7 Arkoi and Massaquoi are central to the tragic mirroring of prior Liberian conflicts within this refugee community. Steinberg writes that,
The conflict had two faces, one looking towards America, the other towards home. The anxiety about what was happening in both places erected the stage on which Arkoi and Massaquoi fought. With regard to home, Arkoi and Massaquoi were stand-in figures: people who could not be trusted to spend public money; people incapable of running power without cheating; people with terrible acts buried in their pasts. The uncertain future everyone feared for Liberia was condensed into the figures of Arkoi and Massaquoi. Both men had played these stand-in roles before. Arkoi had been overthrown in a soccer club in 1981. Massaquoi had organised a high-school coup in the late 1980s. In a sense what had happened on Park Hill Avenue grew naturally from both of their biographies (209-10).
It is difficult to decipher whether Steinberg's analysis is spot-on or over-reaching. It is thought-provoking and takes the reader beyond the comfort zone of 'the triumph over adversity' tale, which in contrast, Kidder's book does become. Little Liberia has a more complex structure as it bounces from biographical vignettes of each protago-nist, between events in Liberia past - remembered and actual - to contemporary conficts in New York. As difcult as it was to follow this structure, Steinberg should be praised for his creative break from the typical biographical method. These enter-twining biographies indicate shifting conflicts within the Little Liberia community which has neither clear heroes nor villains. Both protagonists are deeply shaped by the civil war and it emerges late in the book that sections of the community accused Massaquoi of being a rebel soldier responsible for atrocities, even though there is no evidence to prove this. Steinberg has a gif for writing biographies that are respectful to the narrators while simultaneously revealing their vulnerabilities and faws.
His image of America is far from cosy and he presents a rather grim sense of New York street realism. This again is in contrast to Kidder's portrayal of Deo's individualized struggles for survival and acceptance by American families which, while poignant, were cloistered and free of the re-ignition of conficts amongst refugees. Steinberg's ending, flled with ongoing tensions and doubts, felt more apt to me, whereas Kidder's conclusion had a redemptive echo. It is as if Kidder is appealing to an eternal hope that supposedly transpires from the Strength in what Remains, whereas Steinberg's narrative framing of an African Odyssey holds the tensions of history and memory by tracking not just a single life but the inter-subjective tensions between two lives placed in relation to communities of the past and present. Crucially Steinberg also does not close off their ongoing inner and outer struggles with the pain of the past.
Death, Trauma and Memory
'Death' and 'Africa' are words which, unfortunately, seem often to be twinned together. In much Western media coverage, 'Africa' appears as a space of death: epidemic disease, famine, war and apparently 'irrational' violence ...8
These stereotyped views of Africa conceal a fear of seeing, in any meaningful sense, both the human suffering and resilience of Africans across the continent. In this vein, these books are a laudable attempt to present how African refugees have seen the death of others, been hurt and traumatized, and have nevertheless survived and grown. But these are neither redemptive nor conventional oral histories but rather, as Lawrence Langer put it in relation to Holocaust testimonies, 'These life stories are really more like death stories'.9 And through these life and death stories, how do survivors of wars make sense of the senseless? Deo says to Kidder:
What kind of human being are you, if you can take a machete and kill your neighbour? ... teachers killing their students, priests killing their parishioners. Who is left to trust, really? God? God the most powerful, who let everything happen? (183)
With these words Deo points to a central affect of trauma: the shattering of trust in others. But how do survivors and researchers frame 'trauma' in language when it is by deffnition outside of language? These questions dominate the ffeld of trauma studies and take us to the limits of language and reason.10 Yet to make sense of what happened in the past and its ongoing affects survivors attempt to make themselves believe that their pasts can be mastered. But to believe in complete mastery over such legacies is a fantasy. Wars and genocides shatter comforting fantasies. Rather, what remains are memories of violence that may be forgotten, erased or become more bearable, but the traumatic rupturing of trust of being in the world resists mastery and comprehension.
So during Deo's studies at Columbia University, academic rationality jars with the imagery in his memories. A lecturer distinguishes humans from animals. 'Animals kill for food. They act on instinct.' Deo cannot accept this because, 'He had known cows and he had known militiamen, and for rationality, he thought he'd take cows any day' (184). It is ironic that cows were the unit of measurement used by Belgian colonialists to determine ethnicity. If you owned more than ten cattle the designation was Tutsi and less than ten, Hutu. Colonial obsessions with measurement, boundaries and bureaucracy turned Hutu-Tutsi distinctions into a toxic difference magnified during socio-economic crises. How did Deo cope with memories of violence? He speaks through Kidder.
He still had bouts of insomnia and dreams that involved immobility and appalling quantities of blood. But the most obvious effect of his ordeal - or what I took to be an effect - was the ungovernable quality of his memories. [And later] ... he was, possessing his memories. He was not possessed by them for the moment (179).
At times these memories of violence have the risk of overwhelming the survivor, but it is possible through remembering, speaking and emotionally re-connecting with others for 'ungovernable' memories to become more bearable. In a similar vein, Steinberg gives descriptions of how Massaquoi and Arkoi are living with flashbacks of violence. These are repeatedly triggered by events in New York which undermines their capacity to study, work and form relationships. Then in a different example, Steinberg describes how Massaquoi and a friend,
made their way through the bloodiest day of the civil war, through innumerable checkpoints, at each of which they had to dissemble and pose as people they were not. And yet neither seems to remember a single detail of the journey . When I press him to remember the journey, he describes it from what seems to me a vantage point of an eyewitness, as if he is watching himself ... from some distance away, perhaps from height (116).
The dangerous journey is outlined, but Massaquoi cannot place himself in the story. Perhaps he is holding back from Steinberg? But it is more likely that for Massaquoi to narrate the historical details would involve being exposed to potentially terrifying emotions. At times in relation to specific memories, survivors display a need to forget or avoid parts of their past, which researchers must respect. While survivors can dodge the pesky questions of researchers and others, what cannot be avoided are the mnemonic triggers in their current lives. For example, the drug-fuelled gang violence of New York plagues the Little Liberia community. Arkoi says,
The African-Americans were in for a shock ...They see African refugees arrive, washed-up from a civil war and the American kids think exploitation. They think we can walk over them ... but the Liberian kids are soldiers. They have been shooting automatic weapons. They are fresh from the battlefield. They are too hardened for the local kids. They start getting a reputation (28)
The local youths are portrayed as weak in comparison to the battle-hardened 'soldiers' from Liberia. This New York is thus a physical and mental battle-zone of another kind. Steinberg traces how Massaquoi and Arkoi fight to re-build their own lives and that of the Liberian exile community. Readers are given an evocative sense of their inner and outer worlds. However, in both books, we are taken to the limits of memory and history. Kidder wisely argues:
A lot of Western thought and psychological advice assumes that it is healthy to flush out and dissect one's memories, and maybe this is true. And yet for all that, I began to have a simultaneous and opposite feeling: there was such a thing as too much remembering, and that too much of it could suffocate a person, and indeed a culture (248).
This is not to dismiss the importance of oral, written and other testimonial representations but rather to understand that the emotional legacies of violence compel survivors to learn when to remember and engage the past (or not), and when to focus on the present and future. In these efforts, Deo, Massaquoi and Arkoi all deserve considerable praise. And for researchers involved in studies of violence and trauma, we also need to learn how and when to work through the limits of reason and what is emotionally bearable to us.
Between Authored and Author
Testimonial practices located within the relationship between researched and re-searcher, authored and author are central to these books. It has also become common practice in oral history to analyze what is said, how it is said and what is not said, in the context of the power-knowledge relations between interviewee and interviewer.11 However, to strive for a situation where these relationships might be perfectly 'equal' is a futile fantasy that many researchers harbour. Rather the on-going challenge is to refect on how these power-knowledge relationships frame research, analysis and writing and how these practices can be approached ethically.
For the ffrst two-thirds of Strength in What Remains, Deo's narrative is filtered through Kidder's words. While the book is written with empathy, Kidder the author is a ventriloquist for Deo's oral history. But then in the last third of the book Kidder reflects on their relationship. This diminished my concerns, but I remain sceptical about the backstage dynamic to their oral storyteller-writer relationship, and Kidder's paradoxically sensitive but dominating voice.
Moreover, to elicit refugees' life and death stories evokes shifs that traverse the private/public binary. What is narrated to the researcher might refect the survivor's inner-subjective struggles as much as being a publicly performed story which is tailored as a means to social and material survival. Massaquoi tells Steinberg:
In this country you need a story ... It's how the place works. Look at Obama. Man has a story. He came to office on the force of a story he told about himself. And it's not just Obama, it's everyone. This is America. You need a brand to walk through doors. Kennedy. A lot of work has gone into that name (220).
Playing the narcissistic game of branding is explicit and Steinberg is nevertheless honest about his relationship with both men. Massaquoi objects after reading a draft of the book. He says, 'Sometimes we were speaking with the recorder on. That was for the book. Other times you came around and hung out, and I told you stuff' (261). Steinberg accedes to some of Massaquoi's editing demands. Sharing his authority to some degree was admirable, as was his disclosure of Massaquoi's displeasure. There is also a link here with insights from Arkoi who Steinberg interprets as follows:
Now, he was saying not only that one comes to America to learn self-sufficiency, but to show America, and by this he surely means white America, that one is self-sufficient. Where the mask ends and the face begins is not certain. One is always performing, even in the most private corridors of one's soul (186).
This leads me to wonder: How much of what Arkoi and Massaquoi have told Steinberg is manufactured? We might never know, but it is clear is that both refugees have learnt to play particular roles to survive in the racialized, brand-obsessed United States. Steinberg is suffciently street-wise to know there is no untainted truth in the author-authored dialogue and he is suggesting that readers should keep an open and empathic mind when reading.
Stories of survival are the staple diet of biographers and oral historians. There is a sharp tension here. Are we 'memory entrepreneurs'?12 Are we politically compelled to continue disseminating peoples' stories to make a diference in the face of a globalised 'culture of indifference'?13 Neither the author nor authored can control where and how these stories will be received by diferent publics and simply presenting stories of refugee sufering as self-evident is insufcient. Oral historians need to be critically savvy about 'the politics of story-telling'14 across transnational contexts in order to be efective in dismantling stereotypes without resorting to essentialist views of Africa as a place of death or redemption.
Moreover, these books demonstrate the importance for oral historians and biographers to be self-refexive about their histories, identities and motives for doing the research projects they do, and how their interventions shape researcher-researched dialogues. This self-reflexive approach is not only productive but ethically indispensable. International oral history literature on refexivity and how research dialogues frame memories, stories and related texts is growing15 but this is rarely the case within South African historiography. As Steinberg's work reveals, self-reflexive research is neither navel-gazing nor diminishing critical academic enquiry. In fact, it creates more ways to produce intellectually nuanced and insightful analyses of memory and history.
Finally, have historians tended to ignore doing research about African refugees who entered South Africa since 1994? Is it perhaps that refugee studies are considered as too 'contemporary' for South African historians? Yet 'Contemporary History' as a specific historiography is thriving in many post-conffict societies-in-transition, especially across Latin America. I rather think that further research about and with African refugees and migrants have the potential to develop trans-national histories of Cape Town that will challenge Cape histories as being seen as exceptional or unhinged from the rest of the continent.16
1 UNCHR Global Trends Report (2010), 1-25, www.unhcr.org/4dfa11499.html, accessed 23/11/2011.
2 UNCHR Global Trends Report, 6.
3 Consortium for Refugees and Migrants in South Africa, 'Protecting Refugees, Asylum Seekers, and Immigrants in South Africa during 2010' report, Johannesburg, April 2011, 74-75. www.cormsa.org.za/research/cormsa-reports/ accessed 16/1/2012.
4 Jonny Steinberg, 'South Africa's Xenophobic Eruption, Institute for Security Studies, Paper No. 169, November 2008, 1-13.
5 Mahmood Mamdani, When Victims Become Killers: Colonialism, Nativism and the Genocide in Rwanda (Cape Town: David Philip, 2001). See also René Lemarchand. "The Burundian Genocide' in Samuel Totten, William Parsons, and Israel Charny, eds., Century of Genocide: Critical Essays and Eyewitness Accounts (New York: Routledge, 2004), 321-38.
6 While reading Deo's eyewitness account of the slaughter at the Murambi College I was reminded of my visit there in April 2004, and of walking on the same hill-top where this occurred in April 1994. For more information about the memorial centre visit: www.museum.gov.rw/2_museums/murambi/genocide/, accessed 23 Nov. 2011.
7 Adekeye Adebajo, 'Sirleaf: Peace prize for a "warmonger"?, Mail and Guardian, 14 October 2011, 6.
8 Rebekah Lee and Megan Vaughn, 'Death and Dying in the History of Africa since 1800, Journal of African History, 49 (2008), 9.
9 Lawrence Langer, Pre-empting the Holocaust (New Haven: Yale University Press, 1998), 70.
10 See Dominick LaCapra, Writing History, Writing Trauma (Baltimore: John's Hopkins University Press, 2001).
11 There is a considerable literature on these issues. See especially the seminal texts by Michael Frisch, A Shared Authority: Essays on the Craft and Meaning of Oral and Public History (New York: State University of New York Press, 1990) and Alessandro Portelli, The Death of Luigi Trastulli and Other Stories: Form and Meaning in Oral History (New York: State University of New York Press, 1991).
12 Elizabeth Jelin, State Repression and the Struggles for Memory (London: Social Science Research Council, 2003). [ Links ]
13 Fuyuki Kurasawa, 'A Message in a Bottle: Bearing Witness as a Mode of Ethico-Political Practice, Theory, Culture and Society, 26, 1 (2009), 92-111.
14 Michael Jackson, The Politics of Storytelling: Violence, Transgression and Intersubjectivity (Copenhagen: Museum TusculanumPress, 2002).
15 For example see, Valerie Yow, '"Do I Like Them Too Much?" Effects of the Oral History Interview on the Interviewer and Vice-Versa, The Oral History Review, 24, 1 (1997), 55-79.
16 Many thanks, to Andrew Banks and Lance van Sittert for their constructive comments. Thanks also to Jonny Steinberg for reading a draff version of this article and correcting my empirical errors.


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I'm going to interrupt this Thrive Forward cleanse food diary series for a product review of the most delicious chai I've ever tasted. Okay, I take that back. The very best chai I've ever tasted came from a teensy cafe in New Orleans, but I can't even remember the name of that place. But this is definitely the best chai I've had at home.
Blue Lotus Chai sent me three flavors of their spicy masala chai to review because they have a great deal going on with Vegan Cuts right now. The vegan discount website is offering a Blue Lotus Chai sample pack for $13 (regularly $18.97). The sample pack contains all three flavors — Traditional Masala Chai, Mint Masala Chai, and Rooibos Masala Chai — which is enough to make 51 cups of tea.
Now, as you may know from reading other posts this month, I'm off coffee for the Thrive Forward cleanse. But I am allowing myself to have tea, because well, let's not get too crazy, right? Anyway, because I have the tough job of researching products for this blog, I've had 3 cups of chai in the past 2 days. And let me tell ya, this stuff is serious chai.
Each package (the little ones that make 17 cups and the bigger jar that makes 100 cups) comes with a tiny bamboo scoop. You mix one rounded scoop with four ounces of hot water and four ounces of plant milk and a sweetener of your choice (I chose agave nectar). There's no steeping or any of that mess. You mix the powdered chai straight into the hot liquid. Instant chai!
Because it's masala chai (masala means spice), this stuff does not mess around. I made a cup of the Traditional Masala Chai last night with almond milk and agave. Most chai that I've had is spicy but not like this. Every sip leaves your mouth burning for more. Not in a hot-hot spicy way, but more like in a spicy gingerbread way.
Besides black tea powder, the Traditional Masala Chai contains organic ginger root powder, ground cardamom, cinnamon, black pepper, ground nutmeg, and ground cloves. There's no sweetener, no milk powder, no artificial anything, and best of all, no steeping.
The Mint Masala Chai may be my favorite. It has a slight minty flavor that's not overpowering. The other ingredients are the same, except there's added peppermint powder.
And the Rooibos Masala Chai is awesome too. And for you caffeine haters, this is one is also naturally caffeine-free since it has rooibos powder and chai spices instead of black tea powder.
One thing to note: The sampler pack on Vegan Cuts comes with three of the 17-cup packages, not the 100-cup jar. But I think you'll like the sampler so much that after you finish those 51 cups of tea, you'll be purchasing the bigger 100-cup size.
Tuesday, January 15, 2013
3 comments:
- Nikki said...
I've been seeing this at my co-op and really wanting to try it, but hesitated at the $15 price tag. I had a feeling it would be awesome. I like my chai spicy, so I'm sure I'd love it. Thanks for the review. I'm going to have to splurge and try it for myself. I was drawn to the mint flavor when I was looking at them. Glad to hear you liked that one.
- January 16, 2013 at 8:31 AM
- aimee said...
Yum. Love chai! xo
- January 16, 2013 at 10:39 AM
Awesome chai and at 100 cups for $15, it is 15 cents a cup...actually really cheap! Love it!
- January 17, 2013 at 12:03 AM
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subset: commoncrawl


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Interview by Rae Hanson for RamblingsofaTVWhore.com
When Lisa Klink approached us about being adopted, I jumped on the chance to interview her. Not only am I a huge fan of Lisa's TV credits (Star Trek: Voyager, Hercules: The Legendary Journeys, and Roswell to name a few), I've also been enjoying her blog since she started it last June. And, in fact, I had actually met her on the picket lines during the first fan day back in November. It was an honor to meet her and an even bigger honor to interview her for this project.
Before I go any further, I have to apologize for taking so long to get this interview posted. Lisa was kind enough to talk to me back in the beginning of February and I feel bad that it's taken this long to share what she had to say. We were just finishing up our interview as the Guild was preparing to vote on ending the strike. I didn't want the interview to get lost amidst that news and then life, as it often does, interfered. But we're finally getting it posted and I hope you'll enjoy getting to know Lisa as much as I did.
As a writer who works primarily in television in the genres of sci-fi and action, Lisa's many credits include Flash Gordon, Painkiller Jane, Missing, Roswell, The Fearing Mind, Martial Law, Earth: Final Conflict, Hercules: The Legendary Journeys, Buzz Lightyear of Star Command, Star Trek: Voyager, and Star Trek: Deep Space Nine. In addition to television, Lisa's also written a feature film, comics, CD-ROM games, and even a themed attraction. Since Lisa has a great summary of how she got started in the business on her website along with the story of her very first produced episode, I decided to skip those questions and get right to the nitty-gritty…
Was telling stories something you did when you were younger? Were you always interested in writing or something you realized later best fit your desire to tell stories?
I've always loved stories, both reading and telling them. When I was a kid, my friends and I would make up plays. In high school and college, I wrote for the school newspapers, and considered going into journalism. I also wrote plays in college, and had one performed in a one-act festival. But when I moved out to Hollywood, I didn't have enough confidence in my writing skills to pursue that as a career, at least at first. I thought I wanted to direct, until I worked for a director for a while and realized it wasn't for me. I think two things steered me back toward writing. First, I read scripts for the director, and frankly, read a lot of crap, which reassured me that maybe I was good enough after all. Secondly, I tried writing for TV, which seems to suit me better than screenplays. Once I wrote my first TV spec, a Star Trek: Next Generation, I felt I'd found my niche.
In addition to your TV work, you've also written a feature and for comics, a CD-ROM game, and a theme park attraction. Are these all challenging and rewarding in different ways or is there one you definitely prefer to the others?
Writing for television, for me, is the right balance of freedom and limitations. There's an established world and characters, and there are budget and production considerations, which provide a nice-sized empty box to fill with story. I find screenplays a little intimidating because there are no boundaries. I tend to second-guess every decision: is this the right story, the right characters, etc. – which makes it tough for me to finish a screenplay to my satisfaction. At the same time, I do enjoy challenging myself. I like trying new formats. I very much enjoyed writing the Batman comics, and am working on a new graphic novel now.
I used to work at Universal Studios and I like going to theme parks way more than any thirty-something should and yet for some reason it's never even occurred to me that someone obviously had to be writing those scripts. What exactly goes into writing for a ride? Is it almost like writing a short TV episode? Do you help shape what happens before the ride is even built or do you just get a breakdown of what will happen on the ride and have to write around that?
Working on the "Borg Invasion" project was a lot of fun. I worked with the designers of the attraction to find out what was technologically possible and how to best take advantage of that. There's a mechanism in the audience's seats which simulates the injection of Borg nanoprobes, and we actually had a debate on how badly we could freak people out without giving someone a heart attack. There were other unusual challenges, like how to work the 3-D glasses the audience had to wear into the story. Once we had the premise and basic storyline worked out, I wrote the script, then revised it several times for both creative and production reasons.
Are there other types of writing projects you'd like to try?
One thing I've always wanted to try is adapting a novel. I think it would be an interesting challenge to break one down to its essential parts, then put those pieces back together in a different format.
The majority of your work is sci-fi and action. Is there something in particular about those two that appeals to you? Has it been a conscious decision to stick with them throughout the years or is that just where the jobs have been?
I love sci-fi and action, as a writer and as a viewer. That being said, the reason I started with a Star Trek spec is that they were the only show in town which would accept an unsolicited script. That's where I got my first job, which classified me in the TV world as a sci-fi writer, which has led to more sci-fi jobs. I've made some effort to expand my options. I wrote specs for The Practice, CSI and House, and I've gotten interviews for staff positions on "mainstream" dramas, but haven't been hired. Ideally, I'd like to be able to write for several different genres, including sci-fi, if for no other reason than to have more job opportunities.
Star Trek has such a loyal (and huge!) fan following. What is it like being a part of that franchise?
It's been amazing and overwhelming to be part of Trek, especially since it was my first job. We all knew that our work would be under a huge amount of fan scrutiny. The show, and everyone associated with it, got a lot of press, so I was interviewed by magazines before I'd really accomplished much. I learned to be a little cautious about telling people what I did for a living, because sometimes when someone would hear the word Trek, I'd be stuck talking with them about it (and listening to their story ideas) for the next hour. The toughest thing about writing for "the franchise" was the fact that so many stories had already been told in that universe. It was really difficult to come up with something original. Of course, there were perks. There was a big 30th anniversary celebration, which included a TV special and some real live astronauts who'd been inspired by the original series. Meeting someone who'd actually been in space was pretty damn cool. Trek also brought other opportunities: the Borg Invasion project, obviously, and also the chance to write Batman. One of the editors at DC comics had seen my work on "Voyager" and invited me to write an issue or two. Overall, a fantastic place to start my career.
Since Star Trek is a series that gained popularity long after its initial run, it seems like a great example of how important DVD residuals can be to writers and an appropriate time to move on to a couple of questions about the current strike. Can you talk a bit about why the issues on the table are important to you?
One of the best things about working for Trek is its long, long ancillary life. It's always running on some station somewhere in the world, and the residuals just keep coming – which has been a godsend during those times I'm not working. Every writer, no matter how talented and successful, will have downtimes. They're unpredictable and you never know how long they'll last. Without residuals, it would be extremely difficult to be a full-time writer, especially with the spec work we all have to do to stay in the game. That's one reason the WGA has been fighting so hard on this issue. The other reason is basic fairness. If the studios are continuing to make money on something I wrote, it seems reasonable for me to get some small share of it. The internet complicates the residuals picture, because the studios are making episodes available to download, and rerunning them on TV less – which, under our old contract, would dramatically decrease our residual payments. Under the contract we're currently voting on, we'll also get residuals for downloads and streaming. Whether that equals what we've been getting from TV-only reruns remains to be seen.
As a writer who has openly discussed the strike on your blog, have you felt any added responsibility to be careful exactly what you say in that forum and in expressing your views of how things are going?
I haven't felt too self-conscious about posting about the strike because I genuinely supported it. If I'd disagreed with our leadership, it would have been a stickier moral question, because the last thing I'd want to do is support the AMPTP's divide and conquer strategy.
Besides the obvious of getting paid to write, is there something that you've realized you've missed during the strike?
The thing I always miss when I'm not working is the writers' room. I love the creative energy that comes from a group of talented people attacking a story.
In a recent blog post, you talked about the strike forcing writers to think outside the network/studio box and to catch up with the opportunities on the internet. Do you think this is an arena that writers will continue to explore once the strike is over?
I do think that writers will continue to explore the internet – which was already happening before the strike, but may have been accelerated by it. There was a lot of talk on the picket lines about when we'll see the first breakout hit show on the 'net. Sites like AskANinja are plenty successful, but I think we're still waiting to see if conventional, scripted drama or comedy can come from the web.
Speaking of the strike being over, with the rumors of the end being in sight, will it be easy to fall back into work or will it take a little time to get over the "US vs THEM" mentality? I'm sure it's easier for me to hope the strikes ends tomorrow than it will be for everyone who has to actually deal with the aftermath of it.
Unfortunately, there's always an "us vs. them" mentality between writers and studios. That's partly why the strike happened in the first place. But I suspect we'll all get back to "business as usual" pretty quickly, because the "bad guys" from the strike – the studio heads and AMPTP – won't actually have to face any of us. Writers deal with development executives, who really had nothing to do with the contract negotiations, and may not be any more fond of their bosses than we are.
This is a related question and mostly something I've been curious about now that things are looking more optimistic. The Strike of '88 ended near enough to when production would have begun again that it couldn't have been much different (logistically anyway) than normal procedures for starting a new season. That's not the case here, though. If the strike ended tomorrow, even with the time it would take for the writers to return to work and break/pound out new episodes, would it even be possible to be back in production quickly enough for us to see any new episodes before next fall?
For TV shows, it would probably take at least six weeks to crank out any new episodes. It's certainly possible to produce more episodes for this TV season. The question I've heard discussed is: should we bother to produce three or four more episodes for this season, which may not be real satisfying for the audience, or just wait until next season? Of course, the schedule has become increasingly flexible as some shows (especially on cable) premiere in January, or over the summer.
Here's a less complicated question though not necessarily one less complicated to answer, what do you think will be some of the long-term effects of the strike on the industry?
To continue the thought from that last question: I'm hoping this strike may push the networks to become even more flexible in their development, pilot and premiere schedules. Their current system, of hearing pitches in the fall, producing pilots in January and premiering them in the fall, is silly and counterproductive. It forces them to compete for the same talent in pilot season, and against each other's programming in the fall. As a writer who pitches every fall, in competition with every other writer in television, I'd really prefer a year-round development schedule.
As an avid TV fan, I've really hated the absence of my favorite shows due to the strike and the AMPTP's general lack of respect for people I've come to admire over the years. But I think there's also been some positive side effects as well (for instance, the writer/fan interactions via the internet and on the picket lines). I hope it's shown the writers that we all really do know where our shows begin and end. What is something positive (for you) that's come from the strike?
For me, the positive aspect of the strike has been the time spent with other writers, both meeting new people and getting reacquainted with old friends and colleagues. I certainly hope to maintain those relationships. I also hope that the writers as a group can maintain some of the unity and confidence I think we've gained from this experience. It's really easy for writers to feel isolated and marginalized in Hollywood. The strike forced us to overcome that, and I hope it lasts.
One last question, what's something people would be surprised to learn about your lifestyle in Hollywood and your life as a working writer?
People sometimes ask if I know any movie stars, which I don't. I don't spend my evenings at premieres and Hollywood parties. Most of the time, I'd rather stay home and watch TV.
Filed under: Earth: Final Conflict, Flash Gordon, Hercules: The Legendary Journeys, Lisa Klink, Painkiller Jane, Roswell, Star Trek: Deep Space Nine, Star Trek: Voyager | 3 Comments »


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Refer to this article if you're using OS X v10.8 Mountain Lion or earlier. If you're using OS X v10.9 Mavericks or later, refer instead to How to use Activity Monitor.
OS X has very efficient memory management. It automatically allocates memory and adjusts the contents of memory as needed. The types of system memory are free, wired, active, and inactive. The term memory as used in this article includes high-speed RAM, virtual memory, and swap files on the Mac's drive.
Understanding the Activity Monitor's System Memory pane
Four types of memory appear in the System Memory pie chart: Free, Wired, Active, and Inactive. The sum of the four pie graph slices equals the total amount of random-access memory (RAM) installed in the Mac. RAM is the high-speed memory used to store information that is in use or used most recently. Information in RAM is loaded from the Mac's drive at startup and when applications and documents are opened.
Here's an Activity Monitor window with the System Memory tab selected:
- Free: This is the amount of RAM that's not being used.
- Wired: Information in RAM that can't be moved to the Mac's drive. The amount of Wired memory depends on the applications you are using.
- Active: This information is in RAM and has recently been used.
- Inactive: This information is in RAM but isn't actively being used, though it was recently used. For example, if you've been using Mail and then quit it, the RAM that Mail was using is marked as Inactive memory. Inactive memory is available for use by another application, just like free memory. However, if you open Mail before its inactive memory is used by a different application, Mail will open quicker because its inactive memory is converted to active memory, instead of loading it from the slower drive.
- Used: This is the total amount of RAM used.
- VM size: This is the total amount of virtual memory for all processes on the Mac.
- Page ins / Page outs: This refers to the amount of information moved between RAM and the Mac's drive. This number is a cumulative amount of data that OS X has moved between RAM and the Mac's drive. The number inside the brackets shows recent page activity. Page outs occur when the Mac has to write information from RAM to the hard drive, because RAM is full. Adding more RAM may reduce page outs.
- Swap used: This is the amount of information copied to the swap file on the Mac's drive.
Learn more
For more information about OS X memory management, including virtual memory, refer to the Apple Developer website.


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K100 Fuel Treatment
Are for ALL gasoline and diesel powered equipment and are formulated for use with all fuels including E-10, ULSD, Off-Road, Bio-Diesel and Home-Heating Fuels.
What is K100 Fuel Treatment?
K100 Fuel Treatments are proprietary formulations of complex engineered organic compounds developed to eliminate water in fuels, remove gums and varnishes and stabilize fuel, add lubricity and corrosion protection and boost cetane/octane ratings. Its ALL- IN ONE Chemistry is all you will need to keep your engines running right.
Benefits of Using K100 Fuel Treatment
- Prevents Phase Separation in Ethanol Blended Gasoline
- Eliminates water and all water related problems
- Stabilizes fuel for up to two years, and keeps it fresh
- Increases Octane/Cetane ratings 1 1⁄2 to 2 points
- Replaces lost lubricity in LSD, ULSD and K-1 winter blends
- Cleans engines and fuel systems for better mileage, easier starts, smoother idle, more power and better acceleration
- Reduces black smoke, unburned hydrocarbons, CO and particulate emissions
- Reduces maintenance costs and down time and extends engine life


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Brendon S necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 32 diseños de 10 diseñadores freelance.
Varsity Apartments
Varsity Apartments offer student accommodation. Located right next to an Australian university campus, each fully-furnished apartment has four bedrooms, with a large kitchen and living area.
Students get the bedroom to themselves, which includes an ensuite bathroom, a study desk, private phone line, and access to the in-house local network with high speed internet connection. The entire complex can house around 500 students, and also offers a volley ball court, tennis court, swimming pools, games room, laundry facilities and BBQ areas.
In short, this is ideal student accommodation. The new owners wish to streamline operations, and reduce the staff workload by making the website more functional.
The existing website can be seen here:
This website will showcase the complex, encouraging students to apply for residency during semester.
We'll also provide information for parents, and useful information and tools for current residents. Our residents are primarily international students, studying at the close-by campus.
We're picturing a fixed-width (for 1024 sized screens) layout, with a header area at the top for logo, banner image, and horizontal menu. Two columns for Content + Sidebar under that, with a full-width footer at the bottom. That's just our initial idea - if you come up with something better, we're open to it.
We'll need something visually appealing, with a well-organised layout to display our information/content.
The sidebar will include our twitter feed showing the latest 2-3 tweets, and possibly a Facebook badge.
We'll include a testimonial, and a section for "Upcoming Dates". This will list the next 3-5 important dates for students/residents.
Example dates: 15 Feb - Orientation Week. 22 Feb - Classes start. 29 Mar - Mid-Sem Break. 14 Jun - Exams commence.
We may also want promotional banners/buttons to encourage "Apply Now" (people to apply to live here), or to promote an upcoming social event.
The content column should have the page heading, followed by text including bullet points, links, and floating images. You may consider including a promotional "Apply Now" banner. The footer should include some links and a copyright notice.
The menu will have a few top-level items, with dropdown options available. Your entry should show what an expanded dropdown looks like. See attachments for menu items.
Important: We'd like the design in a layered PSD format.


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Will Phillips, founder of REX Roundtables for Executives, manages 15 Club Roundtables for owners in the United States, Canada, Australia and New Zealand. He has consulted CEOs in 34 industries and nine countries in the last 30 years. You can reach him at firstname.lastname@example.com.
In the health club industry, a high retention is a must. Unfortunately, there's a lot of misinformation out there about retention. Here are five important tips for improving your retention and separating the soft data from the cold hard facts:
1. Select your members wisely. Select the right people, and retention goes up. Select the wrong ones, and retention goes down. Several clubs report that their lowest rates of member retention come from memberships sold by their best salespeople. The best salespeople have the skill to sell to those people who are not really committed, and many owners intuitively sense that January joiners are not long-timers. Focus your sales efforts on new members who are likely to stick around.
2. Question why early users stay longer. Soft data shows that those who use the club more often in the first eight weeks of their membership stay longer. Therefore, many clubs believe that if they increase early usage with a strong orientation program, the member will stay longer. However, no hard research supports this method. All the work that several clubs and some chains have done in improving new member orientation has had only miniscule impact on retention. Instead of a club affecting retention, it's more likely that a committed exerciser uses the club more in the first eight weeks and stays longer because of their own drive, not because of your attempts to get them in the facility.
This fallacious thinking points out the softness of most of our research in this industry: Correlation is not causation. Remember the research that showed that taller kids in middle school wore longer pants? Very true, but it does not mean that if you want your child to grow, you should buy him longer pants.
3. Guarantee results. "Getting results" is a phrase often found in sales presentations, yet I only know of two clubs in the world that take it seriously and guarantee all of a member's money back if he or she does not achieve results. The data is not yet in, but retention might improve if you took yourself seriously and guaranteed results.
4. Invest in relationships. It is well documented that loyalty is based on emotion. We see this mostly in personal training and group exercise. Personal trainers who earn near or above six figures have all mastered the ability to engage and connect with their clients on an emotional level. Unfortunately, we have little hard data on the relationship between personal training and retention.
It's a different story for group ex. The data on group ex shows that fitness-only members stay for an average of 27 months while members who attend group ex stay for 48 months -- an amazing increase in retention. I believe this is due to two factors: 1) group ex instructors' outgoing personalities help them connect with members, and 2) the design of good group ex connects members to members. When regular group ex members do not show for class, they probably each have three members who will call them to see where they are. Moving your group ex participation of daily visitors from 25 percent to 70 percent doubles your net profit. To drive retention, invest in a professional group ex program and recruit group ex members. The hard data shows that it works.
5. Use contracts. Several clubs and some chains have compared the impact of contracts for one to two years versus month-to-month memberships. The result? The vast majority of members live up to the contracts they sign.
Some interesting and solid multi-year research has shown that when a prospect is offered a month-to-month contract or an annual contract (with no economic incentives to take one or the other), 90 percent choose the 12-month contract. Also, the retention of those who choose a 12-month contract is significantly higher (double digits) than those who choose a month-to-month contract or those who choose an annual contract with an economic incentive. This opens a powerful possibility that the prospect -- who is at the highest level of commitment when sitting across from a salesperson -- will choose a long-term contract and emotionally make a deeper commitment when it is not influenced by money.
When it comes to retention, build your numbers based on the hard data. Select members well, engage members with each other and with staff, build a professional group ex program, use contracts without financial incentives and consider taking your promise of results seriously.However, remember that to have good retention, you must have the basics. If your facility is outdated and you don't invest in promotion, or if your location is poor and your parking is limited, good retention may not matter.


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Horse Age Calculator
Here you can find answers to questions like: My horse is 1 years old. How old is he/she in horse years? What is the horse years equivalent for a 1 year horse? 1 year is equivalent to how many horse years? You can use the this Horse Age Calculator also known as Horse Years Calculator to find your horse's age in horse years (horse's relative age), as if he/she were a human, or your age in horse years.
About horse years
This calculator is based on the average lifespan of a healthy horse. Experts say that a one year old horse has roughly the age of a 15 years old human and a two years old horse has the age of a 25 years old human. After two years old the horses mature slowly, so that a 15 year old horse is roughly comparable to a 76 year old human (see the graph below). Horses that live indoors can live longer than horses that live outside.
Note: There is no reliable method for calculating precisily how old your horse is in human years equivalent. So, it is possible to find calculators that show diferent values for the same human age. It is because there are different models to calculate the horses age.
Graph of horse age versus human age
Approximate graph of horse age versus human age.
How long do horses live on average?
This is not a easy question, but most agree that, depending on the conditions in which the horse is raised (management and environment) and the breed. Most modern domestic horse has a life expectancy of 25 to 30 years.
Horse age table
According to the chart below, under the age of one year old, there is really no comparison between human and horswe. A horse can walk shortly after birth, whereas humans do not walk until two years old, but a horse will walk within an hour after birth. A horse at birth has approximately the same physical capabilities and age as a two year old human. Generally, all aspects of growth are much faster for a horse than a human. Please keep in mind that the comparisons are not too accurate.
This chart is based upon that research as published by Equine Resources International
Sample Horse Years Calculations.


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Gods and myths of the Viking age
Bell Pub. Co., 1964 - Religion - 250 pages
What people are saying - Write a review
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New Light on the Myths
The World of the Northern Gods
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Common terms and phrases
Aesir Anglo-Saxon appears Asgard associated Balder batde believed Beowulf burial mound burned called Christian connexion cult dead death deities Denmark dragon early kings earth Edda poems England father fertility figure fire Freyja Freyr Frigg funeral Germanic giant giantess given goddess gods hall hammer heathen period heaven Heimdall hero Hoder horse Hrungnir Iceland idea journey killed land litde Loki magic Mimir monsters mother mythology myths Nerthus Njord Norse northern Norway Odin Odin's Olaf Old English picture poetry poets Prose Edda Ragnarok realm religion resemblance rites sacred sacrifice Saga Saxo Saxo's Scandinavia seems seeress seidr serpent shaman ship slain Sleipnir Snorri spear story survived Sweden sword symbol Tacitus temple tenth century Thor Thor's thunder Tiwaz told tradition translated treasures underworld Valhalla Valkyries Vanir Vgluspd vglva Viking age Volsung warriors weapons wife Wodan women World Tree worshipped Ymir Ynglinga Saga


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Steve Reich: WTC 9/11 and Mallet Quartet released by Nonesuch Records
New Nonesuch Records album features three Reich works: WTC 9/11 performed by the Kronos Quartet, Mallet Quartet performed by So Percussion, and Dance Patterns performed by Steve Reich and Musicians
Steve Reich's WTC 9/11, a powerful memorial to the victims of the September 11, 2011 attacks, written for the Kronos Quartet, has been released by Nonesuch Records (2-528236). The album also includes Dance Patterns, performed by members of Steve Reich and Musicians, and the hypnotic Mallet Quartet, performed by So Percussion, as well as a separate live performance of Mallet Quartet on DVD. The title track, WTC 9/11, will be available via digital download (such as iTunes and Amazon) on September 6; the entire album will be available on September 20 in the U.S. and September 26 in the U.K. and Europe.
> Buy the CD from our Online Shop
WTC 9/11, Reich's latest musical creation, integrates a live quartet performance with two additional pre-recorded quartets and pre-recorded voices using stop action sound as a "means of connecting one person to another – harmonically," in the composer's words. Reich and his family lived only four blocks away from the site of the attack. According to the composer: "On 9/11 we were in Vermont, but our son, granddaughter, and daughter-in-law were all in our apartment. Our phone connection stayed open for six hours and our next-door neighbors were finally able to drive north out of the city with their family and ours. For us, 9/11 was not a media event," he added.
In its review of a concert performance WTC 9/11 in May, The Guardian noted the work as "…a restrained, taut piece in three continuous movements, almost ritualised in its plainness, and tremendously powerful in effect." National Public Radio commented: "Reich's [WTC 9/11] crystallizes some of the anxiety and searching that characterized not just the chaos and pain of the attack and its immediate aftermath, but the great unknowns that have characterized the last decade for all of us…"
So Percussion performed Mallet Quartet to much acclaim at celebratory Reich festivals in April and May 2011. Hailed the New York Times: "So Percussion's energetic account…pointed up one of Mr. Reich's current modes of propulsion: a two-tiered approach in which the rhythmically repetitive backdrop that listeners hear as Minimalist (and as the music's distinctively Reichian signature) is offset by restless, melodically adventurous top lines. There were other contrasts here: the repeating figures, for marimbas, were dark and subdued, with a warm, wooden tone; the themes, played on vibraphones, were cool, bright and lively." Mallet Quartet was co-commissioned by four leading international percussion groups: Budapest Palace of Arts for Amadinda Percussion Group, Stanford Lively Arts for So Percussion, NEXUS and Synergy Percussion.
Several composers contributed to the film Counterphrases of Anne Terese de Keersmaeker's Choreography by Thierry de Mey, including Reich with Dance Patterns. Performed on this album by members of Steve Reich and Musicians, the six-minute work features three keyboard instruments in its score: two vibraphones, two xylophones, and two pianos.
Reich's 75th birthday will be celebrated by several international festivals and performing groups, including:
September 11-18
Krakow, Poland
Sacrum Profanum festival
Seven concerts including Ensemble Modern, Synergy Vocals and Bang On A Can All-Stars performing Three Tales, Music for 18 Musicians, Double Sextet, Jonny Greenwood playing Electric Counterpoint, and music by John Adams, among others. Six works will have their Polish premieres.
September 30-October 16
Dresden-Hellerau, Germany
Two day festival features The Cave, a documentary video opera exploring the roots of Judaism, Christianity and Islam, and the German premiere of Double Sextet, performed by Ensemble Modern and Synergy Vocals.
October 11-18
Cité de la Musique, Paris, France
Reich at 75
Concert series to celebrate Reich's birthday on October 3, including Drumming, Music for 18 Musicians, Different Trains, and Triple Quartet performed by Reich, Ensemble Modern, Synergy Vocals, and others.
October 15
Barbican, London, U.K.
75th birthday concert
The London Symphony Orchestra's all-Reich program featuring Synergy Vocals conducted by Kristian Järvi includes The Desert Music, Three Movements and The Four Sections.
October 18
Melbourne, Australia
Kronos Quartet on Tour
As part of a larger Kronos Quartet tour, the ensemble will perform the Australian premiere of WTC 9/11.
More performances listed here.
Cover Courtesy: Nonesuch Records


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Rosa R11 on 32GB USB Thumb Drive is a Mandriva-based new exciting distribution targeted at enthusiasts who are likely to appreciate the wide choice of fresh software components. It brings "fresh" versions of user software and system components whilst providing a stable and fast environment and offers a wide set of customization and personalization possibilities.
This version comes with the KDE 4 Desktop and Firefox 60.
It features the KDM login manager, RocketBar and SimpleWelcome for your applications, TimeFrame content visualization tool for your photo, video and social network services, and StackFolder and Dolphin for folder and file management and organization.
Supplied on : 32GB USB
Version : R11 Desktop KDE (32-bit)
Release date: 16/03/2019
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Fit your ATV to haul small loads, protect you from the elements, or pick up bales.
These accessories fit most ATVs, and you won't have to limit them to work only. Pull snowmobiles or motorbikes out to trail with one of the new utility trailers from ShoreLand'r, or add a Plug-N-Play (page 68) to your ATV and bring a cooler full of food with you while you check crops.
Hauling help. ShoreLand'r Utility Trailers has about as many configurations for trailers as there are jobs to do.
Model BK1400U carries 1,400 lbs. of whatever you need. The trailer's narrow bed and low-profile tires allow it to handle rough terrain and tight off-road maneuvering. An optional lightbar kit lets you do some highway hauling and can easily be removed for loading and unloading, or for off-road work.
The working deck is 52 100 in., and stake pockets along the frame accept 2- 4-in. boards for side rails. The company also offers accessories such as a brake kit for hauling heavier loads and a tongue jack for easy hitching. Prices were not available at press time. Contact Midwest Industries Inc., Dept. FIN, Box 235, Ida Grove, IA 51445, 800/859-3028, www.shorelandr.com or circle 218.
Trick up your all-terrain. There are many products available to protect your ATV from rocks, mud and debris, but how about something to protect you from bugs, tree limbs and wind? Poly Tech Industries' new Brush Buster windshield will do just that while it adds extra storage space to your dash.
The shield mounts to the front rack of many different ATV models and has a dash area that features a center tray and two side compartments to stash gloves, hand tools or snacks. Suggested list price: $380. Circle 219.
The company also has a hitch receiver that mounts to the frame of an ATV. Once installed, the Plug-N-Play accepts many different accessories including a tool box, winch kit, seeder or spreader, and platforms. Accessories can be plugged in, pinned in place, and you are ready to go. Suggested list price range: $40 to 70, depending on front or rear mounting and ATV model. Circle 220.
Poly Tech also offers the RG EZ-Mount system to make adding and removing accessories to your racks easier. The mount installs to most ATVs, and with a couple of pins, you can add many of the company's accessories. Suggested list price: $50. Contact Poly Tech Industries Inc., Dept. FIN, Drawer 349, 238 Industrial Park Dr., Monticello, GA 31064, 800/542-7659, www.poly skid.com or circle 221.
Moving loader. The new Ground Hog loader from Walla River Enterprises is only 47 in. wide to fit into tight areas for loading, moving and hauling pallets, bins or bales. The loader fits most ATVs and has a 400-lb. load capacity with full hydraulic pressure, up or down. The company claims it is easy to install. Lift height varies with machines but averages 42 in. It comes with a six-month limited warranty. Suggested list price: $2,250 with a set of buckets or forks. Contact Walla River Enterprises, Dept. FIN, 54396 Walla Walla River Rd., Milton-Freewater, OR 97862, 877/266-7403 or circle 222. Roxanne Furlong


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Unemployment rates dropping because people are giving up on job search
North Carolina ranks fourth in the nation for African-American unemployment and one in six black workers continue to be unemployed, according to a recent report.
In addition, the N.C. Division of Employment Security released a report this month painting a bleak unemployment forecast.
The 2013 Economic Policy Institute report, Unemployment Rates are Projected to Remain High for Whites, Latinos, and African Americans throughout 2013, shows fourth-quarter unemployment rates in North Carolina were 9.2 percent overall.
This compares to 17.3 percent for African-Americans, 6.7 percent for whites, 7.4 percent for Hispanics and 7.8 percent nationally.
Fourth-quarter unemployment rates for 2007 in the state were 8.1 percent for African-Americans, 4 percent for whites and 4.9 percent overall.
A summary of the report was written by Algernon Austin, who directs the EPI�s Program on Race, Ethnicity, and the Economy.
Austin stated in his conclusion the focus should be on heavy investment in infrastructure improvements, rather than deficits, to stimulate the economy and create jobs for minorities.
�Policymakers need to focus on jobs now,� he said, �and on deficits only after we have a strong economy.�
Total unemployment rates don�t tell the whole story. This month�s state figures show 20,000 workers have dropped out of the labor system, including 15,000 people who gave up searching for jobs.
�The unemployment rate is dropping because jobless folks are giving up on finding work and dropping out of the labor force,� said Allan Freyer, policy analyst with the NC Budget & Tax Center, �not because we�re experiencing significant and meaningful job creation.�
As a result of these changes, the labor force � the pool of prime age workers who either have a job or want one � is now at the lowest level since July 2012, erasing almost nine months worth of gains. And the total number of employed people in North Carolina also dropped to the lowest levels since October 2012, suggesting that North Carolina's economy is continuing to struggle in generating long-term sustainable job creation.
But the ratio of blacks to whites in unemployment has remained about the same for the last 50 years.
African-Americans have consistently experienced an unemployment rate about twice that of whites, according to EPI�s 2012 report, For African Americans, 50 years of high unemployment.
Census Bureau data show that trend exists back to 1960, the report states.
�While whites have experienced periods of high unemployment during the 1970s, early 1980s, and in the past few years,� the report states, �their highest rates are in the range of the lowest unemployment rates for African Americans in the last 50 years.�
Several factors are mentioned for the disparity, including federal and state budget cuts disproportionately affecting African-American and Hispanic workers, public sector job losses affecting more African-Americans and the recession hitting African-American communities harder with declining industries, particularly manufacturing.
North Carolina has the second-highest rate of manufacturing job loss since 1995 among all the states from which the Bureau of Labor Statistics Consumer Expenditure Survey data are available.
Other factors include age � the white labor force is older, education and geography.
White unemployment peaked at 9.8 percent in the fourth quarter of 2009. African-American unemployment ranged around 17-20 percent throughout the recession and peaked at 20.1 percent.
Of the 24 states with a high enough black population for data, Michigan ranks No. 1 in the nation for African-American unemployment, followed by New Jersey and Illinois. Louisiana ranks No. 24.
Margaret Fisher can be reached at 252-559-1082 or firstname.lastname@example.com. Follow her on Twitter @MargaretFishr.
Breakout box:
North Carolina unemployment statistics:
n The unemployment rate of African-Americans is 17.3 percent � more than two and a half times that of whites (6.7 percent)
n North Carolina has the fourth-highest African-American unemployment rate of 24 states with large enough African-American populations to track with quarterly Current Population Survey unemployment data
n Three groups � all workers, white workers and African-American workers � have higher unemployment rates than the national rate for the same group
n Although the unemployment rate of Hispanic workers has remained markedly lower than that of African-American workers � 7.4 percent in the fourth quarter of 2012 � it is still higher than the 6.7 percent rate of white workers
Source: Economic Policy Institute


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Old Daka
The oldest and wisest of the Nightsisters clan, Old Daka's knowledge of the arcane magicks was unprecedented. When the Separatists launched a devastating attack on Dathomir, and the Nightsisters were outnumbered by General Grievous's droid forces, Mother Talzin retreated into the depths of the witches' lair and called upon Old Daka for help. Daka used an ancient incantation to summon the dead from the Nightsisters' graveyard, bolstering their number with zombie hordes.
- Female,
- Height: 1.83m ,
Related //
Mother Talzin
Mother Talzin, the spiritual guide of Dathomir's Nightsisters during the Clone Wars, held enormous power on her homeworld and wielded the strange magicks of the Nightsisters. She sold the services of the Nightsisters to the galaxy's wealthy and powerful, but wasn't above backstabbing any clients who treated her clan with disrespect. She sought revenge against Count Dooku and his master, Darth Sidious. Dooku had betrayed the Nightsister Asajj Ventress, but his crimes paled in comparison with Sidious's. Long before the Clone Wars, Sidious had promised to make Talzin his right hand, only to renege on his promise and steal her son, Darth Maul, to train as his apprentice.
Nightsister Zombies
The world Dathomir holds many dark secrets -- such as ancient incantations that could raise the dead. When the planet was attacked by the Separatists during the Clone Wars, the most ancient and knowledgeable of the Nightsister clan used her power to stir the bodies of the Nightsisters graveyard. From preserved cocoons built to resemble the trees of Dathomir emerged mummified warriors. The shrieking zombies mindlessly attacked their enemies, swarming over battle droids in droves.
The Nightsisters are a coven of witches that lived on the mysterious world of Dathomir. The sisters ruled unchallenged, gifted with the power to wield dark magicks. The men of Dathomir, the Nightbrothers, lived apart from the witches, but were subservient to their whims. Despite their power, the Nightsisters avoided the conflict of the Republic and Sith, content to pursue their own matters. The Jedi gave them a wide berth, for they remain focused on matters on Dathomir. Count Dooku has had dealings with them in the past, and turned to them when he was in need of a new apprentice. Their betrayal of Dooku earned the Nightsisters a powerful enemy, and he ordered a massive attack by his droid forces in retribution.
A remote planet, Dathomir is drenched in blood-red light from its central star. The planet has continents overrun by twisted vegetation, with forests of bent trees burdened by large, cocoon-like fruit. Bordering dense swamplands is the massive stone fortresses of the Nightsisters, a witch clan. The Nightsisters kept to themselves, but had on occasion been known to offer their services to those who piqued their interests. Far from the Nightsisters lived the Nightbrothers -- a tattooed clan of Zabrak warriors were subservient to their female counterparts.
General Grievous
General Grievous was a brilliant Separatist military strategist and a feared Jedi hunter, known for his ruthlessness and hacking cough. His body itself was a weapon, allowing him lightning quick strikes and devastating blows. But he was also quick to run from a fight, a tactic that worked until one final meeting with Obi-Wan Kenobi.
Inhabitants of the planet Dathomir. The Dathomirian Zabrak males, known as the Nightbrothers, are easily identifiable by the intimidating crown of horns around their head, as well as the distinct markings on their skin. The females, known as Nightsisters, have pale skin and are known to be powerful witches.


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ORLANDO, Fla., Oct. 4 (UPI) -- Lawyers for a woman suing Casey Anthony for defamation agreed Thursday not to mention Anthony's trial on charges she murdered her daughter.
Zenaida Gonzalez charges Anthony defamed her by using her name when she told police a babysitter had disappeared with her daughter, 2-year-old Caylee Anthony. Anthony, who has been living in hiding since her acquittal, has been subpoenaed to appear at the trial, the Orlando Sentinel reported.
At a hearing Thursday, Gonzalez' lawyers agreed generally there will be no need to bring up the criminal trial. But they still can do so, if the judge allows it, to impeach the credibility of witnesses.
Gonzalez did not know Anthony. But she came under suspicion after Anthony's mother reported Caylee missing and Anthony said a woman of that name had been caring for the toddler and had vanished with her.
Caylee's skeletal remains were found months later near her grandparents' home in Orlando.


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primesuspect wrote:
Gnome Queen wrote:I think I'm the 1%
Kwitko wrote:The thing was a piece of shit, a hand-me-down from my father's company. 4 years old and had 86,000 miles on it. The wipers would turn on when I put the turn signal on. The 4-wheel drive never worked. The A/C never worked. In the summer I would sometimes have to put the heater on while climbing steep hills or it would overheat. Someone keyed the word "DICK" into the driver side door. The shocks used to hold up the tailgate window failed one day and the window came crashing down on my head, leaving with a nice, huge bump. The bushings on the door were no good, so one day when I closed the door, it knocked the striker off and bounced back and hit me in the face. The lug nuts were fused to the bolts. I miss that car so much.
CB wrote:It's served well, but it has been in one accident so far: I had to take Betsy's car up to EPIC this year because I needed the cargo space for all my boardgames and such, so she was driving my car. Those of you who were there might remember that I got a phone call from my wife right after the DTEC, during which she told me that she had wrecked my car turning the wrong way down a one-way street. Luckily, we have full-coverage, so we weren't out much - except an increased premium, of course.
Icrontic — Home of the Big Beef Burrito since 8-8-2000, fool. A Short-Media community © 2003–2019. Powered with ill-gotten helium.


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Rumors have been flying for months about a Google buyout of Adscape, a San Francisco-based in-game marketer. The deal is now official, and though no financial details were released, the deal was earlier estimated at $23 million. Whatever the amount, Google has officially entered the in-game ad market, but they're keeping the specific plans under wraps.
One big question about the deal is what such ads will look like. Is Google planning, for instance, to bring its all-text AdSense technology to a virtual billboard near you? All the company will say is that "it is too early to say what the ads will look like."
The list of things Google is not discussing is a long one, and it includes the company's integration plans for the new technology. At some point down the road, though, it looks all but inevitable that Google will provide one-stop shopping for advertisers who want to reach web users, gamers, radio listeners, and even cell phone users. Is there any place Google is not interested in sticking an ad?
Bernie Stolar of Adscape is now known as Google's "Dean of Games," and says that he's excited about the deal. "Our charge at Adscape has always been to honor the game that was developed and find new ways to enable that game to continue so others can enjoy it," Stolar said in a statement. "That's why we are so stoked to join Google—because these guys get it, and are committed to helping us continue our mission."
That altruistic mission—to help gamers play titles that otherwise could not be made—drives Adscape, according to Stolar, though it's unclear whether games are actually failing without the additional ad revenue. In a Q&A last year, CEO Chris Gilbert also trotted out the standard line that gamers like ads, and that studies prove it (hopefully, he's referring to non-industry sponsored research of some kind). As our games editor Ben Kuchera puts it, "I have yet to talk to a gamer who says, 'Man, these ads really make me feel good about having things sold to me after I've bought a $60 game!'"
Now that the company is part of Google, its two-way technology will get far more exposure. Players can interact with ads and submit information through them, but will gamers actually want to step out of their Porsches and walk up to the interactive Pizza Hut billboard just beside the shortcut around the bridge that spans the river? The line between "immersion" and "annoyance" is a fine one, but Google has proved adept at staying on the right side of it so far.


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Redwood national park WEDDING PHOTOGRAPHER
If you landed here, then there's a good chance you're searching for wedding photography for your breathtaking Redwood National Park wedding or elopement in California. If so, you've come to the right place. We're Eastlyn & Joshua, an adventurous couple just like you, and we want to hear your story.
We're passionate about marriage, not only because love is one of the greatest gifts of life, but because we believe it's also an exciting adventure! That's why we photograph weddings & stories around the world. To participate in the beginning of this adventure to capture it for your legacy. Some of our favorite memories were created while traveling with incredible couples like Jenna & Kellon for their photos in Iceland, or Gentry & Sierra for their desert inspired pictures at Silver Lake Sand Dunes.
In all its beauty, wonder and real moments, your story is there. We want to document the events, emotions, and adventures of the day the way that they unfold naturally. We don't need to force cheesy expressions or stage awkward shots because that's not the real story. We simply ask you to do and be YOU. We'll be attentive to and document what matters most to you.
So let's go on this adventure and collaborate to create something beautiful for your legacy.
If you're looking for a photographer for your wedding in Northern California, we would love to hear from you. We're excited to learn more about you and what you're planning for your special day among the Giants.
To put your mind at ease on our experience level, we've already traveled to and photographed in twenty-eight U.S. National Parks, including Redwood, and are definitely excited to explore it again! We'll come alongside you with location planning, including how to obtain a wedding permit for the park.
If you're passionate about marriage and family, and if you desire to have a photographer at your wedding who understands the importance of telling your story in a natural and artful way, while staying true to who you are, then we know we would be an amazing fit for your love adventure—whether that is across the world or in your backyard!
Connect with us here, or just fill out the form below.


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Dear Members,
In June 2008, the CARICOM Secretariat convened the CARICOM Statistics Meeting: Strategising for the Improvement of Economic Statistics in the Region to assess the impact of developmental work in Economic Statistics and to develop and formulate CARICOM Economic Statistics Action Plans. At the end of the meeting, it was proposed that the technical issues surrounding this Action Plan would be best addressed via the formation of a Technical Working Group (TWG) – National Accounts and Trade in Services.
To date, this TWG has met twice (November 2009 and April 2010) and discussed a range of issues. Below are some of the outputs for your consideration and approval. It is expected that these outputs will be forwarded to the Advisory Group on Statistics for approval, following sign off by all Member States.
• INTEGRATED ECONOMIC QUESTIONNAIRE – LONG FORM and EXPLANATORY NOTES
In an attempt to support the harmonisation of data collection throughout the Region, the TWG proposed and developed an Integrated Economic Questionnaire as well as an accompanying set of Explanatory Notes. This questionnaire and notes are based on international principles and guidelines, and are meant to serve as a benchmark by which Member States ensure the correctness of their surveys.
• BUSINESS REGISTER MANUAL and QUESTIONNAIRE
The Group also proposed that further work be done to improve the state of Business Registers across the Region. To this end, it was recommended that a Business Register Manual and Regional Questionnaire be developed. As a platform, the TWG recommended that the Business Register Questionnaire of Trinidad and Tobago be used as a template for the development of the Regional questionnaire.
Your comments and suggestions on these TWG outputs are therefore critical towards finalising the attached documents, before submission to the Advisory Group on Statistics for consideration and approval.
Grateful for your efforts as usual.
Thank You,
Kevin Sears – Project Assistant


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A star-studded field featuring 13 of the Top 14 players in the world descends on Doha, Qatar this week for the $2,369,000 Qatar Total Open, currently in its 13th consecutive year on the calendar.
Watch live tennis from Doha all week on WTA Live powered by TennisTV!
The Qatari capital's ultra-modern Khalifa International Tennis Complex has hosted the prestigious tournament since the turn of the millennium all the way back in 2001, and that's not all - it was the venue for the season-ending WTA Championships for three years from 2008 to 2010, as well.
The world's Top 4 - Victoria Azarenka, Serena Williams, Maria Sharapova and Agnieszka Radwanska - are the Top 4 seeds, and they'll all have some tough tests en route to their projected semifinal spots.
Azarenka is fresh off defending her Australian Open title, and now she'll try to defend her Doha title. After a first round bye, the No.1-seeded Belarusian will open against either Tsvetana Pironkova or Romina Oprandi, with a projected third round encounter against a player who has given her a lot of trouble in the past, No.14 seed Dominika Cibulkova. No.6 seed Sara Errani looms in the quarterfinals.
After suffering through a few separate injuries during the fortnight, Williams' Aussie Open run came to an end in the quarterfinals; she still comes into Doha on some very strong momentum however, winning 56 of her last 59 matches and already winning a Premier-level title this year in Brisbane. Seeded No.2, she opens against Anabel Medina Garrigues or a qualifier, with No.15 seed Roberta Vinci her projected third round opponent and No.7 seed Petra Kvitova potentially awaiting in the quarterfinals.
The No.3-seeded Sharapova's path to the semis is scheduled to go through No.16 seed Sloane Stephens in the third round and No.8 seed Sam Stosur or No.9 seed Marion Bartoli in the quarters.
The No.4-seeded Radwanska's path includes No.13 seed Ana Ivanovic in the third round and either No.5 seed Angelique Kerber or No.10 seed Caroline Wozniacki in the quarters, though there's a big unseeded threat looming in her quarter as well - Mona Barthel, potentially Kerber's second round opponent, is fresh off her first Premier title and held match point against Radwanska the last time they played.
The only player in the Top 14 not playing in Doha is World No.5 Li Na, who had to withdraw from the event due to a left ankle injury originally suffered in the Australian Open final against Azarenka.
And the No.1 ranking could also change hands in Doha - watch this space for more in the coming days.
Doha isn't the only city hosting WTA tennis this week. Halfway across the world in Cali, Colombia, an inaugural WTA 125K Series event - the Copa Bionaire - takes place on the clay courts of the Club Campestre de Cali, a modern and spacious country club whose history dates all the way back to 1930.


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I'm not sure if any of you here are big fans of the FBI or the mafia but...my very favorite news reporter from Las Vegas has written a story with links to some of the files the FBI kept on people like Frank Sinatra, Marilyn Monroe, Howard Hughes, Rita Hayworth, & Sonny Liston.
But wait there's more...The article also has a link to The cattle Mutilations file. Yes, we are talking UFO's!
Don't worry if those topics are not what you would like to see the FBI Files about...you can find the files to just about anything or person imaginable....
- Administrative Policy Procedures
- Anti-War
- Bureau Personnel
- Civil Rights
- Counterterrorism
- Foreign Counterintelligence
- Fugitives
- Gangs Extremist Groups
- Gangster Era
- Hot Topics
- Miscellaneous
- Organizations
- Organized Crime
- Political Figures Events
- Popular Culture
- Public Corruption
- Supreme Court
- Unexplained Phenomenon
- World War II
- Violent Crime
Each of these categories breaks down into individual names or events. The record is then on a PDF!
The above mentioned report is by George Knapp of our local I-Team. For most you that may have no idea who George Knapp is...he has done awesome reports about UFO's, Area 51, Corruption from the city level on up, BLM Wild Horse Scam, Shark Finning regulations....
So check out his story at Inside the FBI's Secret Vault.
Now you may get to read up on your favorite gangsta, alien life form, or government group. They have people listed from Malcom X all the way to the sweet home boy John Denver. Now not all files are uploaded but it does say they are adding more.
FBI Files Vault


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The powerful story of Jackie Robinson, the legendary baseball player who broke Major League Baseball's color barrier when he joined the roster of the Brooklyn Dodgers.
42 stars Harrison Ford as the innovative Brooklyn Dodgers' General Manager Branch Rickey, the MLB executive who first signed Robinson to the minors and then helped to bring him up to the show, and Chadwick Boseman as Robinson, the heroic African-American who was the first man to break the color line in the big leagues. Together, they helped changed the game and the nation.
Facing unabashed racism from every side, Robinson was forced to demonstrate tremendous courage and restraint by not reacting in kind, knowing that any incident could destroy his and Rickey's hopes. Instead, Number 42 let his talent on the field do the talking—ultimately winning over fans and his teammates, silencing his critics, and paving the way for others to follow.
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2012 Ironman St. George
Heath Thurston fills his hydration reservoir while competing in the bike portion of the Ironman St. George in St. George, Utah May 5, 2012.
- Keywords
- 2012 Ironman St. Georg Utah
- Photographer
- Eric Lars Bakke
- Image ID
- File Size
- 4256px × 2832px


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So, I spent last month deciding to go have fun in cata 5-man heroics. Yes, you can actually solo cata 5-man Heroic instances. Gear + good strategy is enough for the major part.
Now, I checked internet and youtube, so if I made an error, please tell me :)
So, as far as worldfirst are concerned, I did:
Ulthok not very hard, just positioning and moving quickly.
Foe reaper 5000: Trivial
Springvale: Good thing I discovered the glitch on ashbury :)
Ammunae: also called the technical strategy boss, since timings are on a very narrow window, so you have to deal with adds, interuupts, loss of focus, and still dps the boss.
Setesh: complementary to ammunae, he's not technical, he's about reacting to chaos
Augh: lots of doubt for this one, I don't see why a dk hasn't solo'd him before, so maybe not a worldfirst.
Corborus: run, little dwarf, run!
Nalorakk: hah, that was a hell of a boss to solo! Pet health was limit, hunter health too, and dps too! Great boss to check the mist changes when they will be active.
Malacrass: free loot :)
Now, for Hunter worldfirsts:
Ashbury: first cata boss I tried, first challenge, learned a few things :) Also discovered the leaving combat glitch (that, I believe, doesn't work against raid bosses).
Helix : Fun boss, since you have 0.5 seconds to click on intervene when he yells.
Anraphet: the bug hits again... but he's got a water warden, so it's thanks to him that HoO isn't soloable :)
Rajh: easy easy easy
Throngus: now this is real soloing! Fun fun fun :)
Now, which bosses haven't been solo'd yet by a hunter? For those seeking an extra challenge, here is the list! Note that I haven't gone farther than zul'aman, so I can't give advice for ZG/4.3
In green, those who could be possible in heroic DS gear (my opinion)
Mindbender gur'sha: you need to tank him, and he hits hard (hunter survival)
Ascendant lord obsidius: nasty DoT (hunter survival)
Dragha shadowburner: shadow bolts (hunter survival)
Erudax: need lots of dps
Akil'zon: massive damage on hunter (hunter survival)
Halazzi: Massive damage on pet, self-healing... there could be a strategy to kill him.
Drakaara: Massive damage in lynx phase (bear is impossible) (hunter/pet survival)
Mandokir: Decapitate!
Edge of madness
Echo of Baine
Echo of Sylvanas
All hour of twilight
All well of eternity


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