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Hardwater Kiter – Thanks, Ozone reports the HL as being "mid aspect ratio" so presumably that equates to the figures you quoted.
Just wondering if the Projected Area (PA) is a parameter that would be worth knowing, although not advertised.
For sure UL would gain a bit, but I'm not sure that it's worth to sacrifice durability.Hardwater Kiter wrote: ↑Fri Oct 13, 2017 2:57 amTough call. UL will still make it faster turning and more compact. And less weight is always good IMO.
Try higher aspect (especially race) foil kite and you will see why Hyperlink is The New Erapitbulldoug wrote: ↑Fri Oct 13, 2017 5:43 amWell I have approx 4-5 sessions on my 12m HL and trying to get to know and like foil kites,but after almost 15 yrs kiting on LEI its a hard transition as if it were not for my 2yrs + of hydrofoiling i certainly would have no interest in a foil kite.I really like the lowend of the HL as you can foil in very light conditions which is probably its biggest plus,but turning speed is rather sluggish compared to my old 12m naish trips but again can probably foil in a tad lower wind than my old trip too.Currently I ride usually 10-8-6m boxers for foiling and just use the HL for lighter days and they are 2 different animals the foils and LEI kites as the LEI are much more higher performance IMO for my style of freeriding,however trying to find a home for my HL but its tough as with the slower turning,bridal management,and OMG if you drop your foil kite and are not used to a foil/sea anchor in the water be prepared! I accidentally touched one of my wingtips downlooping on a foil jibe luckily couple football fields out only,my first drop(pilot error) and tried to relaunch somehow tip got twisted and lines inverted and relaunced only to go down again for good due to weight of water on wet kite,cut my losses rolled lines fast and tried to roll up kite asap to avoid more water,big pain in the ass,lucky i have floaty surfboard foil board so paddled in with mess not quite like the chrono tutorial video, and got to beach and took the half hour plus to regroup bridal rats nest and try to relaunch again,but the thing about foil kites is when they get wet like that they just don't like to relaunch they really need to dry out some.After so many years on tube kites just really prefer self rescue on tube kite much,much safer and efficient if the shit hits the fan this is aspect of foils really irkes me if you drop the kite which eventually happens for one reason or another your SOL.Dont get me wrong had a couple of good fun sessions with my HL but if you drop the foil kites really fun factor and stoke of this kites goes south.Im not giving up on it yet as my 2 drops with my HL were pilot error its on me,but as with my tube kites I hardly ever drop them,just have get it more wired and used to it,my biggest gripes are the bribal management,slow turning,looping and dropping kite ending in a roll up and no wind assist self rescue paddle/swim to beach,which hopefully you have a floaty board which in my case i do luckily.its that low end power thats intriguing especially for a big rider like myself but you have to ask yourself the pluses and minuses of foil kites compared to LEI and not quite sure they stack up for foils if your not a racer,however going to keep on trucking with my HL trying to get it more wired in all aspects and hopefully get a better handle on it,time will tell.
Yeah I have the longest bar 55cm from ozone I think? And running 20m lines which I been flying for years,don't like longer lines on any kite personally,for me just going to have to face it the HL is not a LEI and will never turn as fast or self rescue like one either,but there is a cpl of traits of it that are interesting to me for lighter day foiling,perhaps with a bit more time we will become better aquanted/friends as I look at as somewhat a challenge to get it wired like my LEI and enjoy it for what it is,name of the game is keep that HL out of the drink!! Like I said time will tell here.totally agree with you on the snow kiting aspect might give it a go this winter,as I do snowboard,but never snowkited yet,so maybe the HL might be nice for that?early bird2 wrote: ↑Fri Oct 13, 2017 2:43 pmPitbulldoug , try a longer bar like 60 cm for your 12 meters , it would help to gain speed . Also I don't know what is your lines length but you could try shorter lines you would get more speed of your kite .
Whatever happens , keep thinking kite up first . Foils kite stay up in the air quite easy you will get used to it , from my point of view I don't think under 12 meters we really need a foil kite for water , for snow this is the only thing I use though , no way I would pump an lei in cold weather on snow .
Nor am I.WH Lithuania wrote: ↑Fri Oct 13, 2017 10:52 amFor sure UL would gain a bit, but I'm not sure that it's worth to sacrifice durability.Hardwater Kiter wrote: ↑Fri Oct 13, 2017 2:57 amTough call. UL will still make it faster turning and more compact. And less weight is always good IMO.
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Braves say RHP Kris Medlen injured elbow ligament for second time
Braves pitcher Kris Medlen has injured a ligament in his right elbow for the second time in less than four years, and Atlanta says it is too early to determine the extent of the damage.
Medlen had an MRI on Monday that revealed the injury, according to general manager Frank Wren.
Wren said Tuesday the 28-year-old right-hander and the team will seek a second medical opinion.
"I talked to him and he seems like he's in good spirits," Braves manager Fredi Gonzalez said.
Medlen felt the injury on Sunday while pitching against the New York Mets. He grabbed the elbow with two outs in the fourth inning and left with a trainer.
Medlen tore his right ulnar collateral ligament while pitching against the Mets on Aug. 4, 2010, and was operated on by Dr. James Andrews that Aug. 18. Medlen didn't pitch for the Braves again until Sept. 25 the following year.
He is expected to meet with Andrews this week.
Brandon Beachy, another right-hander in Atlanta's projected starting rotation, left a game Monday because of tightness around his pitching elbow. Beachy has been limited to a total of 18 starts over the past two seasons.
Left-hander Mike Minor, who underwent urinary tract surgery on Dec. 31, is struggling with shoulder soreness. He hopes to pitch within the next week but could open the season on the disabled list.
Atlanta could start the season without the trio, and Wren described the latest events as "worrisome."
Julio Tehran hasn't allowed a run all spring training after pitching four shutout innings against Philadelphia on Tuesday and is likely to be joined in the starting rotation by Alex Wood, who pitches Wednesday against Washington in a split-squad game. Rookie David Hale was impressive during a call-up to the Braves last September, but he has struggled a bit this spring training.

subset: commoncrawl


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Kim Esther Bex @EstherHH
@Netskope is constantly adding new features and capabilities to our product to deliver more value to our customers. Learn about our latest additions to the Netskope #Security #Cloud: https://t.co/x6jpQI9zhm https://t.co/lFLou5iT4I3:13 AM - 21 Sep 18
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AGC of ND - OSHA 10 Hr. Construction
Topic - OSHA 10 Hr. Construction
Fargo, ND
Space is limited
To register or for questions please contact Jack Kolberg
Email firstname.lastname@example.com or call 701-391-SAFE (7233) or 701-793-2510
This training is sponsored in part through Workforce Safety & Insurance's (WSI) Safety Training & Education Program (STEP) Grant


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Kenneth Charles Robbins was in the US Air Force between 1953-1955. He enlisted in the US Air Force because otherwise he was going to be drafted into the US Army by his hometown Islip, NY draft board after his first two years of college in Agricultural Economics at The University of Vermont.
From March-May, 1955 he was stationed with the US Air Force at Churchill, Manitoba, Canada serving as a loadmaster on a C-124 Globemaster, the "Mickey Mouse nose cargo airplane". The Third Troop Carrier Squadron was his unit. During his time, his airplane only flew equipment to Churchill, Manitoba, Canada from Greenville, South Carolina, Donaldson Air Force Base. His airplane carried equipment for the construction of the DEW Line. The airplane carried one D-8 Caterpillar bulldozer and enough barrels of fuel (gasoline, diesel) to fill the airplane. Another material was enough cement in small waterproof steel cans for a full airplane load during a side trip to Three Rivers, Quebec, Canada. A third kind of material was enough parts of prefabricated buildings to fill the airplane and to deliver to locations on the DEW Line. Then they flew many trips to many locations along the DEW line.
Ken described that he would climb into an airplane, bring it to life by starting the auxiliary power unit to operate the hydraulic system, open the doors, put the ramps down, and load or unload the cargo. Every two or three days his C-124 Globemaster would fly equipment to locations on the DEW Line, unload their cargo, and return to Churchill, Manitoba, Canada. Each time his C-124 Globemaster was loaded and ready to fly, the plane and crew would depart. When the plane landed, the captain and the crew would leave. The loadmaster's job was to stay with the plane unload it, with or without help, until the job was completed, even if the hours were past the rest of the crew's normal hours. A similar occurrence was to load the plane, with or without other crewmembers' help. The plane did not fly until the captain and the loadmaster agreed that it was safe with balance and weight calculated correctly.
"Churchill airport was constructed in 1942 by the United States Air Force, which chose the site because of its strategic position on their intercontinental air routes. The route, sometimes known as the Crimson Route, ran from the rich industrial areas of northern California across Hudson's Bay, southern Baffin Island, Greenland, and Iceland to the United Kingdom. Even the longest flight leg would be relatively short using the great circle route. Canada displayed little enthusiasm for the project because of doubts that the route would ever be used as proposed. However, it was built nevertheless with some Canadian aid. While Canada constructed the airport at The Pas, the Americans (with Canadian approval) built the airports at Churchill, Coral Harbour, Fort Chimo, and Frobisher.
Nothing came of this venture from a purely military point of view, but the airports built in Canada played an important part during the construction of the DEW Line in 1955 and in the subsequent development of the Arctic. Despite its lack of enthusiasm for the route, Canada did not want to leave any loopholes for the American legislators to claim property or any other special rights in Canada after the war, and therefore decided at an early date to pay the US for its Canadian installations. It cost over $27 million to buy the Crimson Route facilities, but this was a comparatively small price paid to ensure Canadian sovereignty and avoid any future misunderstanding.
The US Air Force operated and maintained the airport until the end of the war.
Updated: December 18, 2004"
U.S. Air Force personnel unload this U.S. Army truck from a 62d MAW C-124 at Elmendorf AFB, Alaska.es/c-124_spits_up_a_jeep3.jpg
"This map shows modern and historical Inuit settlements in Canada. It identifies Inuit communities of the four Inuit regions: Inuvialuit, Nunavut, Nunavik and Nunatsiavut. Modern names are given, with some historic names shown in parenthesis. The map also traces the D.E.W. line and shows other locations around Inuit communities."
The map also shows Churchill, Manitoba, Canada on the Southwest shore of Hudson Bay where my husband was stationed in the US Air Force from March-May, 1955 during the construction of the DEW Line.


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"Spooky, scary. Boys becoming men. Men becoming wolves."
The fabled "Happy Place" that insecure, downtrodden folks retreat to in times of stress very often takes cinematic form, not just eating form. When I was a wee shrub of eighteen and alone at college some years back, away from home for the first time and possessing the well-adjusted social skills of your average dark-dwelling cave fish, mine were full episodes of Mystery Science Theater 3000 scrapped together from various YouTube channels. Then during one of my unemployed stints following graduation, I turned to old episodes of Hey! Arnold. Helga G. Pataki understands existential angst better than any Saturday morning cartoon character. In my discombobulated teen years, The Big Lebowski was my mainstay.
I still turn to all of these various outlets on different occasions, sometimes when I'm blue, and other times when I'm simply in the mood for them because they're great.
One cinematic outlet--or series of outlets, I should say--that has pretty much always been there for me intermittently over the years, from very early pre-adolescence on, are the Universal Classic Monsters. They're misfits, like we all think we are especially when outgrowing childhood, but they're misfits with style, and with power. And in those very early '30s flicks, they seemed to exist in an otherworldly plane all their own, with a mish-mash of time and setting. You could ride a horse-drawn carriage through gothic 18th Century terrain, but still wear the saucy bobs and shorter skirts we associate with the '30s.
And so while suffering bravely through my current bout of unemployment, I decided the logical course of action was blowing almost $90 on the new Blu-Ray collection of the eight essential Classic Monsters: Dracula, Frankenstein, The Mummy, The Invisible Man, The Bride of Frankenstein, The Wolf Man, Phantom of the Opera, and Creature From The Black Lagoon.
I have no regrets.
(I've also been watching a lot of Roseanne.)
Inbetween my busy schedule of staring at the computer screen with my mouth open hoping jobs would magically appear and deciding between hot fudge sundaes or dignity, I watched all the movies in the set, and most (but not all) of the bonus features on each disc. I've seen these flicks all before, of course, but wanted them fresh in my mind before reviewing. Plus I spent a lot of money with my non-existent budget, so I better watch 'em all, at least once. I'm going to try gazing critically at these movies through the prism of my childhood idolatry, and see if I can be objective about these lumbering, psychopathic friends of mine.
First things first, the packaging sorta sucks. I hate the slidey-pocket deal, since I think it's easier for the discs to scratch and fall out (that's already happened a couple times. Is there no place for a budding film critic with butter fingers?).
As for the features on the discs, well...they're okay. I enjoyed most of them, but the problem is, they're almost all from Universal Home Studio's programs made some twenty years ago, and they feel a little dated in ways that, oddly, the movies themselves don't. I wish with the new collection we could get some new infotainment. I'll try going into more specifics with some of the features when I actually review the separate movies...this very instant!
dir. Tod Browning
Starring Bela Lugosi, Dwight Frye, Helen Chandler, Edward Van Sloan, David Manners
This was only my second viewing of Dracula, and although I was of course taken with Lugosi's Count, I realized for the first time how thoroughly Dwight Frye dominates the movie. Save for Frye and Lugosi, Dracula is not as thrilling as the other '30s movies here. The opening scenes at the castle are of course terrifically moody (although, why the armadillos? Why the tiny bee in its tiny bee-coffin?). The eerie, languorous pacing that matches the cadences to Lugosi's accented speech possess a unique courtly terror. Save for the scenes on the storm-ridden ship and Karl Freund's long tracking shot of Dr. Seward's asylum that culminates in Renfield's screams, no other sections of the movie match that early introduction to Dracula and his brides.
That isn't to say the rest of the movie is bad, and Carfax Abbey's set is mind-boggling, but this more than any of the other classic monster movies has the feel of the stage work that precedes it. Too much takes place in the stuffy drawing room in the Seward estate, and the useless buffoonery of David Manners as Jonathan Harker doesn't help. Manners, lord love 'im, was usually counted on as the biggest disappointment in the Universal Horror movies he was in. Perhaps he was useful for subversive directors like Browning and Freund to subtly hint that the ingenue--be it delicate Helen Chandler here or mysterious Zita Johann in The Mummy--isn't exactly rewarded with a life of sexy excitement for escaping the lustful paws of their monsters. It was either one way or the other: a degraded life of sensual slavery with the baddie, or an eternity of blandness with barely-there Davy. Hardly a fair choice.
Luckily, I don't think Manners was ever quite so insufferable again, and I was more charmed this time around by Chandler's ethereal spaciness than in my first viewing (where I tended to agree with Pauline Kael that Chandler's "too anemic" to attract a vampire). Edward Van Sloan makes a good, dependable Van Helsing, Herbert Bunson is an indifferent, stuffy Dr. Seward, and I enjoyed the outsized cockney caricature that was Charles Gerrard's Martin, up to a point.
But back to Frye: like I said, he dominates. He really pulls off something remarkable. His performance is immense, showstopping, and overwrought, yet he sells it so convincingly. At least to my untrained eye, there are no subtle tricks or shades he gives Renfield's madness, it's all played on a large, broad scale. Yet it's a heart-wrenching and giddy experience watching him, and there will never be another Renfield that touches him.
I do wish we could have had an early scene of Mina tending to Renfield at her father's asylum. That way she could have generated a little more interest in her character from the audience, and it would establish why Renfield is so preoccupied with protecting her in particular.
Dracula's disc has perhaps the best bonus feature, the Spanish version of the movie filmed at the same time on the same lot, but at night and with a Hispanic cast. I have to concur with critics that this is superior to the American version in dialogue and characterization, though it truly does not deviate too much from the original. However, save for Jose Soriano Voisca's more sensitive Dr. Seward (he seems actually concerned about his daughter, by Jove!) and the beautiful Lupita Tovar's more explicitly animalistic Eva, the casting falls a bit short. If only it were Lugosi in this version instead of the hammy Carlos Villarias, whose chief crime is a distinct lack of presence. Pablo Alvarez Rubio does a very respectable job as Renfield (his character is fleshed out far more satisfactorily here), but again, no one can touch Frye. And boy, oh boy, something about poor Jonathan Harker spells trouble. Barry Norton's Juan Harker is just about as helpless and foppish as Manners's.
The other features include, like on all the discs, little mini-documentaries on the making of the movie and interviews with actors like Tovar (still beautiful some twenty years ago, and presumably still beautiful now for a 103-year old). However, I haven't the heart yet to watch Lugosi: The Dark Prince. I'm sort of scared of falling into a deep depression if I do.
dir. James Whale
Starring Boris Karloff, Colin Clive, Mae Clarke, Dwight Frye, Edward Van Sloan, Frederic Kerr
There's still a bit of a stagy feel to James Whale's first foray into Universal Horror, but I think that can be blamed mainly on the lack of score, which makes some of the action come off overly stage-bound (Dracula might suffer similarly, though I haven't watched with Philip Glass's new orchestrations yet). However, because we are more often taken place to place, from Frankenstein's laboratory to the countryside, to the Frankenstein's rambling estate, to mountain rocks and windmills, Frankenstein feels more spacious and cinematic than Dracula.
The ensemble cast is, by and large, superior to Dracula's. True, not much can be done with John Boles or Mae Clarke, but they are the goody-goody, luckless exceptions. For Clarke, I think the problem lies mostly with the bland way Elizabeth's written. Clarke could act, as evidenced by her performance as Myra in Whale's version of Waterloo Bridge released the same year. For all Valerie Hobson's performance as Elizabeth in Bride of Frankenstein hinges mostly on switching back-and-forth from hysteria to haughtiness, at least the script gives her something to chew on; no such luck for Clarke here.
Sexy, sexy Colin Clive is smoulderingly intense as Frankenstein, far more alert and sinister than the more watered-down and battered version of Henry we get in Bride (part of why Henry might seem so tired and overwrought in the sequel was Clive's ever-deteriorating health and descent into alcoholism). While Frye is absorbing and entertaining in the role of the hunchbacked Fritz, he is not around long enough or given enough depth or sympathy to be as compelling as his Renfield. However, the shot of him pulling up his sock before heading upstairs is a delightful example of James Whale's idiosyncratic attention to character detail.
To accurately gauge the effect of Karloff in this film, try to place yourself as an audience member in 1931. There had never been anything like him on the screen before. Lon Chaney and Conrad Veidt brought heart to their monsters, but the silent medium provided a healthy distance between audience and character. While many cite Karloff's original monster as the last truly great silent monster due to his lack of speech, I disagree. It's in the muted whimpers, conveying such disoriented longing, combined with those fathomless eyes and sunken cheeks, that makes the Monster such a grotesque yet accurate depiction of our own inner monster-children.
Despite some all-round excellent yet sometimes static camera work from Arthur Edeson and Paul Ivano, and a vaguely cheeky script (fortelling the all-out cheekiness of Bride) by John L. Balderston, the success of Frankenstein can largely be attributed to three mad geniuses: James Whale, Boris Karloff, and the grim man who basically wore surgeon's smocks and would eviscerate you if you showed up late: Jack B. Pierce and his make-up. However, one of the features on Wolf Man is dedicated to Pierce, so I'll expound on him in a couple movies.
dir. Karl Freund
Starring Boris Karloff, Zita Johann, Edward Van Sloan, David Manners, Arthur Byron
This could in fact be technically the best movie of the bunch. Taking into account plot, mood, cinematography, and writing, Mummy really is superior, even in this decade when the genre was still considered somewhat serious art, and not childish B-Movie fare. The pacing is disarmingly sleepy, which historians Scott Essman, Steve Haberman, Bob Burns, and Brent Armstrong claim on the commentary track can bore a modern audience. Yet the tension and eroticism builds.
I've written extensively on the Mummy's character here, but I really want to re-emphasize the stoic romanticism in Karloff's portrayal of a mummy brought back to life, obsessed with bringing back his lost love Princess. Karloff's second Universal Monster is much more lyrical, romantic, intelligent, well-spoken, and deliberately cruel than his first, and you know watching that the Monster was not a fluke, and Karloff is a star.
The mini-docs reveal what a truly fascinating character Zita Johann was. I knew, of course, she had great presence and was incredibly beautiful, although a trifle owlish-looking at some angles--but, y'know, a beautiful owl. And I had read, of course, of her belief in reincarnation and that she would pray in her dressing room before each performance, willing the spirit of her character to possess her.
But she was also a ballsy dame. Karl Freund, for all that he creates such a spooky atmosphere, was apparently a bit of a pill. As this was his first time directing, he tried making relative newcomer Johann his scapegoat if anything went wrong. Thus on the first day of filming, he told her they would begin by shooting her nude from the waist up, telling her so in hopes she would fly off the handle and he could blame any mishaps on her diva-like behavior.
Instead, Johann shrugged and said, "Okay. If you can get it past the censors, I'm game." She also didn't hesitate to tell him to "move the damn camera" when he informed her the camera was in the wrong spot for the angle she wanted to be filmed in. She also once called on Irving Thalberg, asking "why he made such trash." His answer: "For the money, Zita."
Her confidence really shines through in the dual role of Helen and the revived spirit of Anck-es-en-Amon. She's one of the only horror heroines I can think of who saves her own damn self, and articulates just why she doesn't want to go along with her undead lover's plans. Johann's performance has a lot of weight, and a lot of mysticism that has nothing to do with acting; according to the featurettes, once or twice throughout she had out-of-body experiences, believing herself truly the long-dead fictional princess. One time she passed out and came to to the sight of Karloff's thickly wrinkled face looming over her, but the deep eyes with the charcoal lines around them were concerned, not mesmerizing: "Zita, darling, are you all right?"
Manners is still pretty dunderheaded, but I reiterate, nothing's more hysterical than his Jonathan Harker, goofing about in knickers.
dir. James Whale
Starring Claude Rains, Gloria Stuart, William Harrigan, Henry Travers, Una O'Connor, E.E. Clive
James Whale really lets his wit fly this time, with generous help from his screenwriter, R.C. Sherriff (who also contributed to Whale's macabre comedy Old Dark House from the previous year). Invisible Man is in many ways a prelude to what Whale would bring to Bride of Frankenstein two years later, in its mix of comedy, light horror, and his usual British color. In Una O'Connor's hysterical crone wife of the innkeeper we see shadows of her hamtastic Minnie in Bride, and blustering E.E. Clive is on hand as, yet again, another incompetent, pompous constable. The exception to the fun is Henry Travers as Dr. Cranley. He's dreadfully wooden and ineffectual.
This is also the first Universal Monster movie that lacks that stagy feel, as the gimmick of an invisible man demands that we get to see him commit his evil hi-jinks in all sorts of different settings: an inn, a village, a country road, a field, a house, a barn in the snow, etc. The stable of aforementioned character actors, with their wildly varying social positions and dialects, also contributes to the feeling that more of England is involved than a lab and a drawing room.
Yet for all that Invisible Man is a wonderfully cohesive and respected picture, perhaps it is not as beloved on as wide a scale as Whale's two Frankenstein movies because at the center of its cynical charade of biting dialogue and idiotic villagers, the monster is not a misunderstood giant with the mind of a child, but really just a colossal dick. Sort of like Dracula! This certainly isn't a drawback or flaw, since Rains is so endlessly entertaining for a man we can't see, but we do lose some pathos when the persecuted monster is gleefully malicious and deserving of punishment.
Not that there aren't attempts to give him sympathy, and they don't all fail. So we don't think he's just a homicidal maniac who struck out with the greatest cover a crook ever chanced upon, we're told that the chemicals he used have the unfortunate side-effect of insanity, and he was overall a pretty amiable man of science before the unfortunate transparence business. We're also given luminously beautiful Gloria Stuart as his misty-eyed fiancee, his one soft spot. Although Stuart's character is a little wet, Rains is at his most moving and sympathetic when with her, while still maintaining his creeping insanity.
It's a shame Invisible Man isn't quite in the same pantheon of immortality as Frankenstein or Dracula, because Rains gives a performance just as worthy of note. With only his voice he conveys malevolent cunning and believable madness, yet touches such sensitive shades when in the scenes I've mentioned with Stuart. He's having a madcap ball, yet never forgets the intense evil that's been thrust into him by his own character's thoughtless ambition. All in all, due in great part to Rains's urbane monster and Sherriff's intelligent script, this is certainly the most sophisticated of the movies here, rivaled only by Mummy.
Now You See Him: The Invisible Man Revealed is the best mini-doc in the set, combining biographical info on Whale with further details about his career and insight into the truly remarkable effects that went into turning Rains invisible (psst: lots of it involved standing in front of the set with everything covered in a black velvet).
dir. James Whale
Starring Boris Karloff, Elsa Lanchester, Colin Clive, Ernest Thesiger, Valerie Hobson
While Dr. Praetorius is certainly urbane wit personified, I don't include Bride of Frankenstein in that tie between Invisible Man and Mummy for most sophisticated. It's too madcap, too campy, too parodic, too wildly disjointed and damn weird to be exactly sophisticated, per se.
Yet Bride works, doesn't it?
You could say no wrong about this movie to me in my early years. This was my movie. Just read my review here of the 1986 Bride with Sting and Jennifer Beals if you don't believe me. However, even though I still flinch when I hear it criticized (just as we do when even our most eccentric family member is ragged on by an outsider), I admit now that Bride of Frankenstein is not flawless. In fact, when it comes to coherent storyline and consistent characterization, I'd venture to say The Mummy and Invisible Man are the technically superior movies.
The varying settings are wonderful, including that forest the historians in the documentaries are infatuated with, those great, long branchless telephone pole trees and the light show on the tower's rooftop toward the end. But like I said, all the flurrying action and locations give the film a disoriented feel. Sometimes--though rarely--the humor falls a trifle flat. An early example of what modern moviemakers still haven't figured out, just because you have the ability for a certain special effect doesn't mean you should use that special effect; I speak obviously of Praetorius's little people in their jars, which I think is a total misfire. Embarrassingly bad humor and, again, disjointed.
Yet all in all, this is the most sheerly entertaining movie of its monster genre; possibly one of the most entertaining movies of all time.
Like Invisible Man, Bride escapes the confines of early monster movie staginess not only through a variety of sets and colorful townfolk, but through the magnificent score by Franz Waxman running through the entire movie. No one who watches forgets the Bali Hai-esque refrain for the eponymous Bride, and the haunting buoyancy it gives the action.
Very few could argue that the best scenes, maybe apart from the Monster's rehabilitation with the blind man, are those of the Bride's creation. In the original Frankenstein, the limited budget gave only a glimpse of the process creating the Monster, though the glimpse we got was effective enough. But here we feast on all sorts of ridiculous doo-dads, including but not limited to the cosmic diffusors, cosmic rays, and the bandaged Bride on her platform in the sky as kites explode around her, Waxman's heartbeat score pounding throughout. The lighting on Clive and Thesiger as they watch from below in the lab gives them hollowed, ghoulish shadows under the cheekbones, highlighting their mutual descent into devilish god-like mania.
Bride also has the advantage of the most fluid ensemble acting of the movies thus far, slightly ahead of Invisible Man even. Gone is any stuffy staginess; even Gavin Gordon's R-rolling Lord Byron is hammy in a less stage-bound and more all-out operatic fashion. And you know what? Screw all you detractors, I love the hell out of Una O'Connor's Minnie. Maybe she just touches that soft spot I have for hysterical morbid old bats, but I adore her. "Insides is always the lahst to be consyewmed."
The three performers that truly elevate this movie to heights far above ordinary camp and ordinary horror are Karloff as a now haltingly speaking Monster, Thesiger as Praetorius, and Elsa Lanchester as The Bride. They each symbolize the different emotional aspects at play throughout: Theisiger evil, campy flamboyance, Karloff poignancy and heart, and Lanchester stylistic romanticism.
They're each slightly askew: Karloff may be the heart of the film, but he murders and growls like a beast; Theisiger may be a mad scientist, but he's awfully urbane and sarcastically detached for someone driving the plot, and Lanchester is beautiful, but in an unconventional, unearthly, elfin way, with Nefertiti'd lightning hair and long upward slashes for eyebrows. Obviously Lanchester is my personal live-through-her fixation (read more on that here), and I admit that's probably because she's the only major monster female we have to relate to in this early genre--although keep in mind, I haven't yet seen Dracula's Daughter. Though on screen for a pitifully short amount of time, even with her cameo as Mary Shelley in the beginning, Lanchester's bright, jerky performance helped cement this movie permanently into my consciousness, and that's why Bride of Frankenstein remains one of the best.
Not much stands out in the features, save for another mini-doc about the making of the film in question. I really wish Miss L. could have gotten a mini-doc all her own like the other monster actors, but limited screen time does that to you, no matter how great those eight minutes are.
dir. George Waggner
Starring Lon Chaney Jr., Evelyn Ankers, Claude Rains, Maria Ouspenskaya, Warren William, Ralph Bellamy, Bela Lugosi
I had a bit of a hard time truly warming to this one for awhile, partly because I consider Werewolf in London a far superior and overlooked film. I've also had my share of objections to Lon Chaney Jr.'s schlubbiness as lead Larry Talbot, though the fact he resembles Huckleberry Hound does sound appropriate for the role. However, I've been able to reconcile that my issue lies not really with Chaney as an actor--he does have some fine, touching moments here, and gets even better in the sequels--but instead with what his Average Joe unexcitement symbolizes: the loss of stylized enthrallment found in monster movies of the '30s to the more hokey B-Picture mentality going into the '40s and onward. Wolf Man is a rather transitional film in this regard.
The setting and cinematography are still fantastic, the thick fog machines memorably drowning the forest scenes in a sense of dread as the black trees stand ominously throughout. So the mood and look are right, but overall the casting is Hollywood at its blandest. No one's really bad, but save for Maria Ouspenskaya and Bela Lugosi in his short but pivotal scenes, there's no one to bring anything of weight to the proceedings. Ralph Bellamy as a British constable? Ralph Bellamy? Evelyn Ankers is certainly something to look at with her soft-focused features, shiny lips, eyes, and jewelry, but while competent, she too lacks excitement. And although Claude Rains's presence is always welcome and he does class up the joint, he looks as if he knows he doesn't have much to do and doesn't quite know what to do with that knowledge.
Chaney's casting as everyman Larry Talbot signifies that American producers and audiences were willing to relate to foreigners like Karloff up to a point, so long as Karloff plays a foreign monster to begin with. But for someone normal who trips unknowingly into an uncontrollable trap that ruins his average, harmless life, Americans want someone unfailingly, well, American in the role. Thus Larry, though born to an important, titled family in England, is conveniently abroad through most of his life, and is returning as much a Yank as any apple pie.
Despite that we're meant to relate to Larry as a good man before his tragic lupine encounter, I can't quite get over my initial repugnance to how he's introduced to us. He leers at Ankers through a telescope, pushes his presence on her, and really doesn't give a crap she's engaged, and it's all supposed to be charming and macho, especially in the twee English setting. However, this gives way to another reading of the plot, a reading I like better than the simplistic, Hitchcockian "sometimes bad things happen to good people" trope: Larry's already got the behavior of a wolf, and this is what comes of it (Bela Lugosi's werewolf howls and attacks a woman just as Chaney leans in for a kiss with Ankers).
So certainly there are many elements that work here, and I don't want to sound like I'm ragging on Wolf Man. Ouspenskaya in particular is spectacular as the gypsy mother of Lugosi, so battered down over the years with grief she's numb to it. Her otherworldly tones speak her sorrow far more than a million recitations of the "wolfbane" poem could. And Jack B. Pierce's makeup was never more effective. His Wolf Man face is a triumph. He perfected what he wasn't allowed to fully do in Werewolf of London thanks to star Henry Hull's vain reticence. The jutting lower jaw with its protruding fangs, combined with the fur-covered face and narrow snout transform Chaney so completely it really is terrifying. The snout is so obviously unreal with its button nose that it should jar, but instead it adds such a grotesque flourish we're convinced that out of all the monsters, the Wolf Man would evoke the most visceral terror if encountered in those woods in the deep of night.
As I mentioned earlier, in his featurette we learn more about Pierce's career, which sadly went downhill eventually. So devoted was he to the old-fashioned elbow-grease approach that he didn't take to the modern habit of prosthetics and special effects; thus he was booted out unceremoniously, relegated to less prestigious work on Mister Ed and such wretched Z-Movies as The Brute Man (why was he needed for that one? Poor Rando Hatton really didn't need makeup, did he?). Still, what a legacy, and Wolf Man to me is his crowning achievement.
The other major fact I learned from the featurettes was that Wolf Man screenwriter Curt Siodmak basically invented our modern understanding of the werewolf. He not only wrote the original Wolf Man, but the sequels Frankenstein Meets the Wolf Man and House of Frankenstein, expanding on a mythology we take for granted as lore but that he actually created: the full moon, the silver bullets, the entire wolfbane poetics. There's some theory that as a persecuted Jew who fled from Nazi Germany, Siodmak wrote in the ever-present pentagram on a werewolf victim's hand as a symbol for the Star of David that forever had to be visible on Jewish citizens in the Ghettos. The descent of ordinary men like Larry Talbot into a bestial mania mirrored the ordinary youth of Germany suddenly transformed and brainwashed into Hitler Youth. Another interesting reading, though how conscious Siodmak himself was of his real-life terror seeping into his screenplays about wolf monsters is unknown (maybe this is where Rob Zombie got his inspiration for his faux-trailer Werewolf Women of the S.S. in Grindhouse?).
dir. Arthur Lubin
Starring Claude Rains, Susanna Foster, Nelson Eddy, Edgar Barrier
It goes without saying that Phantom feels the least like a Universal Monster movie, and is rightly dwarfed by the far superior '20s version with Chaney, Sr. The movie is entertaining, but certainly not in the bracing, tightly compelling way Bride of Frankenstein is. Phantom is an oddity because it doesn't fit neatly into either category of the other movies in this set: the auterish '30s nightmare-scapes, or the less mature but more boisterous B-fare of the '40s on. By focusing more on the music, the opulent Opera House set from the original Chaney movie, the weak comedy, and the blazing technicolor, Phantom feels much more like a big-budget, all-expense MGM costume extravaganza than a Universal horror movie.
Like Wolf Man, Phantom suffers from a uniformly unexciting cast. Nelson Eddy certainly has presence as the heroic but fatuous baritone, but is so wholesome yet somehow skeezy you feel a little icky watching him and equally wholesome-yet-somehow-skeezy Edgar Barrier ogle fresh-faced, eighteen-year-old Susanna Foster's Christine. Foster herself has an impressive set of pipes and I like the level-headed, career-oriented spunk writers Samuel Hoffenstein, Eric Taylor, Hans Jacoby and John Jacoby give her character, which is rare for most Christines. Foster has carriage and is likable in a Glinda the Good Witch way, but she was obviously moulded in the Deanna Durbin/Jeannette MacDonald nice-girl school of actress singers, so we get none of the breathless, haunted mania that the ethereally frizzy-haired Mary Philbin lent Christine in the Chaney Phantom. We feel no terror or possession from Foster, since she is never under the Phantom's spell and is only in peril in the film's last minutes.
So again, as in many a supporting role throughout his career, Claude Rains steps in as the Phantom to carry the thing. Rains is enormously effective, and brings a sickly realism to his Erique Claudin's madness. Unfortunately Rains pulled some Hull-esque nonsense, dictating he did not want a full treatment of makeup. So poor Pierce had to settle on something that looked like a half-cooked steak covering one portion of Rains's face in the big reveal.
If the dynamic between the Phantom and Christine here seems ickier than usual--even ickier than Eddy and Barrier's attentions--that's because in the original scenario the writers wanted Christine to be Claudin's long-lost daughter he's been caring for from afar. Studio execs ultimately and rightly judged this inclusion too incestuous, yet wrongly directed the writers to simply take out this revelation while leaving the rest of the screenplay intact. What remains is definitely a fatherly vibe from Rains as he speaks mad words of what we can now only interpret as romantic love to young, apple-cheeked Foster.
Because of the war muddling copyright laws, many of the "operas" we see are cobbled together from works by Tchaikovsky and the like. Marta is a real opera, though, so don't worry. I know that was troubling you.
dir. Jack Arnold
Starring Julie Adams, Richard Carlson, Richard Denning, Antonio Moreno, Nestor Paiva, Whit Bissell, Ricou Browning (uncredited), Ben Chapman (uncredited)
Full-on sci-fi B-Movie. That isn't necessarily a bad thing, but boy, does this one drag in long stretches. Creature has the feel of an MST3K episode, since the majority is pompous, self-righteous white scientists expounding on the morals and ethics of science vs. men wanting to kill the shit out of things. That's just what MST3K movies at unfortunately their best often are. We also have present MST3K vets like Richard Denning as the mean blond guy and Nestor Paiva, of the Load from Mole People fame. And I know I've heard that damned musical sting that accompanies almost every shot of the Gill Man--bwah-bwah-bwaaaaaaah!--in more than one Universal-International movie MST3K showcased. In fact, the sequel Return of the Creature actually was an episode.
The direction by Jack Arnold is mostly static, and perhaps appropriately the only big thrills go on underwater. The first time we see the Gill Man full-on, suddenly shooting up from the bottom of the screen watching the divers explore his watery domain, is pretty classic. And the shots of his scaly legs as he wanders silently around the boat are pretty chilling--you're uncomfortable and frightened on behalf of injured Whit Bissell when he sees the Gill Man's face through the porthole, Bissell helplessly trapped in bed and wrapped in bandages.
Yet there's no getting away from the fact the movie feels too episodic. We're basically watching the long process of concerned milky-white guys in swim trunks come up with faux-scientific ways to trap the monster, escape from him, and engage in testy debates about whether they should just go ahead and kill ol' Fish Face. Oh, and every once in a while Julie Adams is in peril.
If I sound too down on this movie, it's because this episodic, plodding pace seems stitched together too lazily, which Universal started doing too often around this time. Their philosophy apparently became, why bother creating something truly new when there are so many unique tidbits from earlier films we can pick and choose from? Why compose an original score when there's a whole library of monster music at our disposal? Why not pad out the scenes with a few innocuous shots from previous movies (I noticed this last night when I watched The Invisible Ray for the first time--many of the laboratory shots are taken from The Bride of Frankenstein. So I guess they'd been doing this since 1936.)? It all feels too hacked together, with no interest in character development. This was the first movie where I really had absolutely zero interest in the characters other than the monster, and even the Gill Man fails to generate nearly as much interest as the Frankenstein Monster, Wolf Man, and the like, save for his bitchin' costume.
And that costume is pretty ridiculously fabulous. Gill Man is the only monster in this set not created by Jack B. Pierce, and in a way the suit symbolizes everything Pierce rejected that got him canned: rubber and prosthetics that take away any human aspect to the face. And while they should have taken out the fake eyes in the land shots and allowed an eerie human gaze to peek out, the new makeup/costuming department creates a truly unique, disturbing, and still sympathetic monster in the Gill Man suit.
The featurettes were interesting enough, especially hearing about the uncredited Ricou Browning and Ben Chapman who played the Gill Man in water and on land, respectively. A lot of time is devoted to the sequels, that got tawdrier yet more sympathetic to the Gill Man as they went along.
While late 2012/early 2013 hasn't been great for me employment-wise, it's been pretty cool where monsters are concerned. I had a blast in October when I won tickets from the very generous Millie at ClassicForever to the Frankenstein/Bride of Frankenstein double feature TCM hosted in theaters nationwide. Hope they do that again this year. When all else fails, there are monsters.
Play us out with the full version, Tracy and Donald Glover:
Happy Valentine's Day, I guess? Too bad I can't find that "Monster Mash"/Valentine's Day Simpsons clip! Can't have everything, unfortunately. But monster movies will do for now.


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Common Gateway Interface (CGI) programs run on the server and generate a response to return to the requesting client. CGI programs can be written in the C, C++, Java, and Perl languages and as shell scripts. CGI programs are invoked through URL invocation.
Web Server complies with the version 1.1 CGI specification.
For more information about using CGI with Web Server, see Chapter 2, Server-Parsed HTML Tags


text: CUPE is committed to equality, justice, full inclusion and the right to self-government for all Aboriginal peoples. We have a proud history of supporting First Nations, Inuit and Métis peoples. We work to increase the participation of Aboriginal peoples in our union, and to promote and defend their rights broadly.


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It's been a minor quibble, but a persistant one; Time Inc. magazines—including Sports Illustrated, People, and Entertainment Weekly—have been available on the iPad for some time, but as individually siloed apps. You couldn't group them in Newsstand, but more importantly you couldn't subscribe through iTunes. Basically: The most efficient way to get an iPad subscription was to buy a print subscription.
This was dumb. It has been fixed. You can now subscribe to dozens of Time Inc. magazines through your iPad.
But why, you're asking, did it take this long to do something so obvious? And you're right to wonder! Publishing powerhouses Hearst and Condé Nast embraced the iPad from the very beginning, and have seen modest successes with the platform. But fully embracing the iPad model comes with a price. While iPad magazine subscription costs tend to be higher than their print equivalents (which are often on permasale), by going through Newsstand publishers have to fork over both 30% of that revenue and, more importantly, their subscribers' demographic information. You know, the stuff advertisers pay the big bucks for.
Time Inc., though, has apparently had enough of going it alone. And good thing, too. Even if the ringmaster is demanding, it's better to be under the big tent than left out in the cold.
Here's the full list—with links—of the magazines you can subscribe on your iPad to without getting an aneurysm:
All You
Coastal Living
Cooking Light
Entertainment Weekly
People en Español
People Stylewatch
Real Simple
Southern Living
Sports Illustrated Kids
Sports Illustrated
This Old House


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U.S. Equal Employment
Opportunity Commission
LOS ANGELES - The U.S. Equal Employment Opportunity Commission (EEOC) will announce the settlement of a lawsuit against a major employer involving national origin discrimination against over 100 Thai farm workers in Hawaii at a Los Angeles news conference on Nov. 18. In 2011, EEOC announced the filing of lawsuits against Global Horizons, a California-based labor contractor, and eight farms in the states of Hawaii and Washington [EEOC v. Global Horizons, Inc. d/b/a Global Horizons Manpower, Inc. et al. Case No. CV-11-00257-DAE-RLP (Hawaii) and EEOC v. Global Horizons, Inc. d/b/a Global Horizons Manpower, Inc. et al, Case No. 2:11-cv-03045-EFS (Washington)]. The settlement to be announced involves one of the eight farms named.
|EEOC news conference to announce the settlement of a discrimination lawsuit against a major employer involving over 100 Thai workers.
|Monday, Nov. 18, 2013
10:30 a.m. PST (1:30 pm EST)
|EEOC Los Angeles District Office
Edward R. Roybal Federal Building
255 E. Temple Street, 4th Floor, Main Conference Room
Los Angeles, Calif. 90012
|David Lopez, EEOC General Counsel
Rosa Viramontes, Acting District Director, EEOC Los Angeles District
Anna Park, Regional Attorney, EEOC Los Angeles District
A class member in the lawsuit is expected to make statement.
|The dial-in number to join the press conference via telephone for media representatives in the U.S. but outside the L.A. area is 1-866-619-5058. The passcode is 4449658.


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- Home
- Multi-Colored Puzzle Glass Ornament
Customer Reviews
Average Rating:
(based on 14 reviews)
October 23, 2014
"I plan to give this, as a gift, to a puzzle lover. It is beautiful."
December 14, 2014
"The puzzle piece is the symbol for autism awareness. I bought one for me and one for a friend."
By Trisha Pollick
Boyertown, PA
December 16, 2014
Boyertown, PA
December 16, 2014
"So beautiful. I love it so much!! I'm using it to represent my son who is autistic."
January 01, 2015
"Gave it as a gift. It caused tears of joy."
January 01, 2015
"The puzzle represents autism. I bought 2, one for my family, one for a friend."


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Thoughts from a big spaz who has lots to spaz about.
posted by Cristina @ 11:15 PM
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This blog is dedicated to and written for my boys.
Tyler and Chase, mommy loves you more than anything. You are my little miracles sent from God and I love watching you grow. I cherish every moment I spend with you, every hug and kiss you give me. You are my perfect little angels and I couldn't imagine my life without you. Thanks for teaching me so much... Love, your mommy
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I am just wondering what others are listening to in this day and age. I would like to find out who you think are some good guitarists to listen to. I aint lookin for the same ole same ole, but more of the obscure names that maybe many have not heard of. For instance, lately I have found Ulco Bed to be amazing. He plays in Candy Dulfer's band. And there is also the Youtube sensation known as Tina S, she is fantastic.
So put some names out there, lets see whats shakin


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ISLAMABAD: Pakistan and China have embarked upon an extensive programme for infrastructure development in Pakistan.
Sources in the Ministry of Planning and Development told Radio Pakistan that a number of projects are at different stages of planning and execution.
Funding for them would be made by China Development Bank, Export Import Bank of China and other financial institutions.
These projects include Karakorum Highway Phase-II from Raikot to Islamabad. This four hundred eighty-seven kilometers portion will be built at a cost of three hundred seventy-nine billion rupees.
Multan-Sukkur section of Karachi-Lahore Motorway would be constructed at a cost of two hundred forty-six billion rupees. The project is likely to be initiated this year.
There is also a plan for Rehabilitation and up gradation of one thousand seven hundred thirty-six kilometres long Karachi- Lahore-Peshawar railway track. It will cost 3.65 billion dollars. All these projects will be completed by the end of 2017.
A dry port would be constructed at Havelian at a cost of forty million dollars.


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MIDDLEBURY — Porter Hospital officials weren't sure how state regulators would react to their proposed fiscal year 2012 operating budget of $65.9 million. It's a spending plan that requires less than a 2-percent increase in net revenues but necessitates a 10.3-percent rise in the rates the hospital needs to charge for procedures.
MIDDLEBURY — Addison County Superior Court is being asked to resolve a property assessment grievance filed by the owners of one of the most valuable properties in Middlebury. Town officials said as much as a penny on the local tax rate could be riding on the outcome of the case.
RUTLAND — Former elementary school teacher Will Parini, 29, of Starksboro pleaded guilty to possession of child pornography last Thursday at the U.S. District Court in Rutland.
An FBI investigation, which stemmed from an investigation in Texas, led to Parini's arrest in March. He was charged with possession and distribution of child pornography. At the time he was a music teacher at Bristol Elementary School and Robinson Elementary School in Starksboro.
The full text of this article is only available to online subscribers.
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BRISTOL — A blaze of as-yet unknown origin destroyed an A-frame house at 239 Birch Ledge in Bristol — just off of Route 116 — during the evening of Wednesday, Oct 12. Bristol Fire Department officials confirmed that no one was injured in the blaze and surrounding homes remained untouched, though the structure belonging to John and Tonya Willard was labeled a complete loss.
According to Bristol Lister Claire Scribner, the house had been vacant for some time.
VERGENNES — Vergennes City Manager Mel Hawley is talking with two existing Vergennes businesses that may be interested in a loan from a $79,000 city fund to help them expand, Hawley told Vergennes aldermen at their Oct. 11 meeting.
Hawley said in a Thursday interview he could not yet identify the firms, but said "both businesses are growing businesses."
VERGENNES — Although Vergennes Police Chief George Merkel said earlier this month he hoped to be able to complete by late last week a report on the death of a Vergennes resident during a Sept. 28 armed robbery, he confirmed on Thursday that the Chief Medical Examiner's Office will not complete its part of the work until mid-November.
While the town might lose some property tax revenue from the Lodge, it will be gaining some from the former Addison County Courthouse at 5 Court Square. That's because the property will, for the first time ever in its lengthy history, be subject to property taxes this year.
The old brick courthouse was built in 1883 on land originally owned by one of Middlebury's founders, Gamaliel Painter. The old courthouse became the property of Middlebury College once the structure was replaced by the current Frank Mahady Courthouse, built nearby in 1995 and 1996.
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Sebelius hearing: More bad news
Kathleen Sebelius got through the latest Obamacare hearing Wednesday, but her message to Senate Democrats was a bit of a downer: Expect more bad news.
The Health and Human Services secretary told the Senate Finance Committee that the Obama administration is on track to fix the sputtering federal enrollment website. Well, maybe not on track exactly — "not where we need to be."
Story Continued Below
And she warned the committee that the first enrollment numbers, to be released next week, will be low. The administration has been saying that all along, but given the severity of the website's troubles, it may be impossible to set the bar too low.
Sebelius again struggled to walk back President Barack Obama's promises that "if you like your plan, you can keep it," as Republicans blasted away at the administration's credibility now that people with individual insurers are getting cancellation notices.
( PHOTOS: 10 Sebelius quotes about Obamacare website)
Here are the takeaways from Wednesday's hearing:
1. Sebelius bets it all on "fix the website"
Every time there was a pointed question — why don't you take the website down, how are you going to take care of people who need coverage Jan. 1 — Sebelius's answer was always the same: We're just going to fix the website.
By the end of the month, Sebelius said, the website should be "working smoothly for the vast majority of users."
That set a clear goal for the Obama administration, but it also raised the risks considerably if it can't declare the website fixed by then — because it's increasingly clear that there's no backup plan.
When Finance Committee Chairman Max Baucus (D-Mont.) asked why the administration wouldn't just shut down the website for a couple of weeks and "get it done right," Sebelius said the experts — both inside and outside the administration — tell her that wouldn't do any good.
( Understanding Obamacare: POLITICO's guide to the ACA)
"We've been advised that you don't gain that much by taking the site down for a week or two. It's better to do this on an ongoing basis," Sebelius said.
She also said administration officials discussed that possibility early after the launch, but the experts "have done a series of diagnostics … and determined from the outset that HealthCare.gov is fixable. It's not fatally flawed."
Sebelius kept up the "we'll just fix it" mantra even when Sen. Ben Cardin (D-Md.) asked about an especially urgent problem: how to help people who need health insurance by Jan. 1, especially if their old policies are being canceled. They'll have to sign up by Dec. 15 for the coverage to take effect at the beginning of the year, and that's just a couple of weeks after the administration says the website should be working smoothly.
Sebelius boasted about the workarounds, saying there are now 12,000 call center representatives who "can take a consumer through the entire process, from start to finish." But the main goal, she said, is still the same.
"Step No. 1, 2, 3, 4, 5 and 6 is really to get the website fixed as quickly as possible," Sebelius said.
( PHOTOS: Sebelius testifies on Obamacare rollout)
2. They may already be falling behind
For someone who bet so much on a successful "tech surge," though, Sebelius acknowledged that the rescue effort right now is "not where we need to be."
It was an almost offhand comment, but it could prove to be significant toward the end of the month if the administration still isn't ready to declare the website fixed.
Sebelius told Baucus there have been "a couple of hundred functional fixes that have been identified," and that there has been "priority grouping" for the most important ones — especially the reporting problems that have left insurers unsure whether they're getting the right information on their new customers. Jeff Zients, the former Obama administration economic adviser who is running the repair operation, has called the list of repairs a "punch list."
And Sebelius said there has been real progress, especially in making the site run faster and making sure customers are "seeing far fewer error messages and timeouts." But she hinted she still wasn't satisfied.
"I would say we're into the list. We're not where we need to be. It's a pretty aggressive schedule to get to the entire punch list," Sebelius said.


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David Franklin was the youngest child of Joseph and Rhoda (Cary) Franklin, my maternal 2nd great-grandparents, making him my great-granduncle. He was the mayor of Magnetic Springs, a village in Union County, Ohio; I have not yet found any information about his term in office. I did, however, find that he served as assessor in 1910. The date of birth in his obituary is likely inaccurate. Although the information in the obituary and his death certificate are the same, the informant was someone named Arthur Petty, whose relationship to David Franklin is unknown. The month and year of David's birth were reported as January 1867 in the 1900 federal census and that year is consistent with his age as reported in every federal census on which he was enumerated.
"Former Magnetic Mayor Succumbs
Death Follows Operation at Jane Case Hospital — Funeral is Held Sunday Afternoon
David Franklin, 67, of Magnetic Springs, died Thursday, December 29, at the Jane M. Case hospital, Delaware, following an operation for hernia, to which he had submitted three days previous to his demise. He was formerly mayor of Magnetic Springs and was engaged in business there for many years.
Mr. Franklin was a son of Mr. and Mrs. Joseph Franklin, and was born in Ohio, October 15, 1865. He was never married.
Funeral services were conducted by Rev. Kimbal Sunday afternoon, January 1, at two o'clock in the Winter chapel. Burial was made in Maple Dell cemetery, in charge of Lloyd Winter & Son."
[Source: "Former Magnetic Mayor Succumbs," Richwood Gazette, 5 Jan 1933, p. 1, col. 5; digital images, NewspaperARCHIVE (http://access.newspaperarchive.com : accessed 17 May 2012).]
© 2012 Denise Spurlock


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We've heard from driver-partners everywhere that you'd like the option of contacting us by phone whenever you need help or have a question about driving with Uber.
We want to be there for you—whether you're on the road or off. So thanks to your feedback, we're introducing 24/7 phone support.
Available now:
Available today to all drivers and delivery partners in San Francisco, Houston, Tampa Bay, Boston, Las Vegas, Los Angeles, New York City, New Jersey, Chicago, Miami, Washington D.C., Philadelphia, San Diego, Seattle, Denver, and Austin.
Coming soon:
Available to all drivers and delivery partners in the U.S. and Canada by December 2017. Spanish language coming in September 2017.
Open your Uber Driver app
Tap Help
Tap the blue phone icon
Tap Call Support


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1. Log In to the Residence Portal (if you've lost your User ID and Pin#, contact email@example.com. DO NOT make a new account!)
2. Complete the online Application Form for the semester that you plan to return to Baker House. Summer and Academic applications are separate – you will need to apply to each separately.
3. Pay the $50 Application Fee online by credit card.
4. Submit your application and wait to hear from the Housing Operations Office.
5. Eligible applicants will receive by email a Room Offer Acceptance Agreement (ROAA). ROAAs are sent out on a first-come, first-serve basis.
6. Within TWO WEEKS of receiving your ROAA, pay the $500.00 Room Offer Acceptance Fee online via the Residence Portal.
7. Pay your Residence Fees through the Residence Portal.
Academic Year First Installment Residence Fees are due July 31st
Summer Residence Fees are due April 30th
8. Be sure to complete your Residence Portal profile by August 1st (Academic term only) so that we can match you will the best possible roommate for your personality!
9. On Move-In Day, move in and enjoy your new home!
Academic Year Move-in Date - International Students: TBD
Academic Year Move-in Date: TBD
Summer Move-in Date: April 29, 2018