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April 22, 2011
"Sidney Lumet was wonderful. He does homework like no other director, and he is the warmest guy. Everybody was 'my love,' and 'you gorgeous wonderful thing,' and rehearsals were filled with kissing and hugging and wild exclamations of joy. Actors have never been more loved than when they were loved by Sidney Lumet."
– Reginald Rose, in Jeff Kisseloff's The Box: An Oral History of Television, 1929-1961
He was supposed to last forever. His fraternal twin among the live television-era directors, Arthur Penn, was frail and mostly out of the limelight during his final decades; but Sidney Lumet kept making movies, and seemed to be everywhere. His last movie, Before the Devil Knows You're Dead, came only four years ago. A good one to go out on, it found new wrinkles in the worn-out caper genre (was that suburban mini-mall jewel heist the cinema's first?), and reimagined faded ingenue Marisa Tomei as a fortysomething sex symbol and a sought-after actress.
More than that, Lumet was a boon to the film historian: modest, accessible, efficient, always willing to sit for an interview. No surprise that he turned out to be one of the subjects who sat for a video obituary for the New York Times. When he didn't show for a widely publicized screening of 12 Angry Men introduced by Sonia Sotomayor last fall – the new Supreme Court justice has often cited Lumet's debut film as an inspiration – I knew we were in trouble.
I've already written this next part so many times, in obituaries for Penn and for others, that I don't want to belabor it again. But let's lay it out before we plunge in: Lumet's early career in television has been, and will continue to be, ignored, glossed over, or reported inaccurately in the tributes. The Times wrote that Lumet directed the live television version of 12 Angry Men as well as the film. But the former belonged to Franklin Schaffner, a fact that Lumet pointed out at every opportunity, and yet it took the paper of record eight days to notice and correct that.
Most of the shows themselves are locked away in the vaults or lost. We don't even have a good list of them. The obits threw around a total of 200 live broadcasts (Lumet's own estimate?) but at the moment the Internet Movie Database lists only about fifty. The on-line catalogs of the Paley Center and the UCLA Film and Television Archive, and my own unpublished research, contribute a few more, but that still leaves the majority unidentified.
Rather than dwell on that, I want to take a close look at a few of Lumet's live television dramas that are accounted for and extant. Since his death on April 9, I've been watching some of Lumet's segments of the dramatic hour sponsored alternately by Goodyear (The Goodyear Playhouse) and Alcoa Aluminum (The Alcoa Hour); specifically, six of the twelve segments that Lumet directed for this umbrella anthology, a linear descendant of the Philco-Goodyear Playhouse (which yielded "Marty"), between the fall of 1955 and the spring of 1956. Lumet's Goodyears and Alcoas were among his first hour-long dramas after a period of directing less prestigious (but no less formally challenging) half-hour genre shows. They were also his final works for television prior to stepping onto the set of 12 Angry Men in June 1956.
"Sidney didn't like talking to the actors on the loudspeaker, so he would tear down the spiral staircase to the stage, talk to the actor, and tear back up the staircase. O. Tamburri, our TD [technical director], once said to me, 'If Sidney does that a little faster, he's gonna screw himself into the ceiling.'"
– Philip Barry, Jr., associate producer of The Alcoa Hour / The Goodyear Playhouse, in The Box
"The Mechanical Heart" (November 6, 1955), Lumet's Goodyear Playhouse debut, is a prototypical mid-fifties anthology drama. It concerns a mid-level toy manufacturer, Steve Carter (Ralph Bellamy), who operates on a razor-thin margin and faces bankruptcy when a complicated three-way deal unravels. The only way he can see to survive is to steal the sole major client of a small-time competitor (Jack Warden), who considers him a friend. The script, by a minor writer named Alfred D. Geto, is an obvious knock-off of Rod Serling's "Patterns"; it considers some of the same ethical dilemmas faced by corporate climbers in the postwar boom, but with little of Serling's intensity or ambiguity.
Lumet's chief contributions to "The Mechanical Heart" are to shape the performances, and then to avoid distracting from them with fancy cutting or camera movements. Many key scenes (like the one pictured below) play out in long takes with a stationary camera. Lumet's self-effacing staging is not an absence of style, but an aesthetic choice not to foreground content over technique. At this point in their careers, Lumet's approach can be placed at an opposite pole as that of John Frankenheimer, another live television wunderkind who was busy exploring the technical possibilities of the medium – unusual lenses, showy camera moves, rapid cuts – without always worrying whether the material justified them.
Prominent among the supporting cast of "The Mechanical Heart" are three of the future 12 Angry Men (two more than Schaffner's version contained), and all of them – Edward Binns, Jack Klugman, and Warden – do terrific work. Viewers who remember Klugman from his hambone Quincy days, or even his full-throttle guest spots on The Twilight Zone and Naked City, just a few years after this piece, will be startled by his restraint in "The Mechanical Heart." When Carter suggests a shady maneuver to Klugman's character, the company accountant, he replies, "But Steve . . . I don't know." The obvious choice would be to inflect the line with uncertainty or unease, but Klugman offers it as a simple statement of fact: his character literally doesn't know what his boss should do.
One can sense Lumet working with the actors to make intellectual, rather than instinctive, choices in interpreting the material. Warden's habit of repeatedly wiping the back of his neck with his handkerchief is such a choice. The gesture conveys his character's nervous, underdog status, and adds a bit of atmosphere – it's hot and humid in those midtown offices in the summer – and of course Warden would reuse it in 12 Angry Men. A more ambiguous touch comes in a later scene in which Klugman's character again questions Carter's ethics. "What's the matter, Greenfield?" Bellamy sneers, with an ugly emphasis on the man's name, and Greenfield comes back with just, "Aww, Steve." Klugman delivers that simple line with a note of weary disappointment, then moves into an uninflected recital of some financial details. The implication of anti-semitism probably wasn't spelled out in the script and, indeed, Lumet is so constitutionally unsuited to beating any idea to death that one can't be entirely certain it exists within the show, either.
Lumet's second Goodyear show was a light comedic caper called "One Mummy Too Many" (November 20, 1956), with Tony Randall as an American air conditioner salesman in Egypt who stumbles into a mystery of stolen sarcophagi. Lumet probably had to take whatever script fell into his slots on this series, but the change of pace undoubtedly suited him, just as he would later take pains to avoid being pigeonholed in any particular cinematic genre. Referring to the 1968 black comedy Bye Bye Braverman (which I find hilarious, but which many, including Lumet, thought too heavy), Lumet said that he took a long time to figure out how to direct comedy, and didn't succeed with it until Murder on the Orient Express. But "One Mummy," which bears some tonal similarities to Lumet's hit 1974 film, is an agreeable trifle in which the three stars – Randall, Eva Gabor, and Henry Jones – effectively pass the fun they seem to be having along to the audience.
Lumet experiments with formal strategies for creating humor in "One Mummy," especially in his use of depth of field to convey to the audience a punchline to which the characters remain oblivious. In one scene, Gabor's ingenue explains to Randall's milquetoast hero that the theft of a crate will mean his certain demise; in the background, unseen by either of them, porters enter and remove the crate in question. Another bit of slapstick, constructed in the same way, can be encapsulated in a single frame requiring no caption.
"The Trees" (December 4, 1955) is a lesser entry in another quintessential genre of early live television, the tenement drama. It's perfect for Lumet, whose films famously teemed with the eccentric street life of Manhattan. Jerome Ross's sentimental story concerns a neighborhood effort to raise money to plant trees along a slum sidewalk, which is threatened by the actions of, among others, a young hoodlum (Sal Mineo) and a genteel older woman (Frances Starr) angling to sell out and move to the suburbs. Lumet again favors long takes, but this time with a more peripatetic camera, which roves back and forth between rival camps that group and regroup on opposite sides of the street. The primary challenge of 12 Angry Men would be choreographing the movements of the twelve actors within a confined space, and "The Trees" shows Lumet experimenting with ways to fill the frame with people, grouping and regrouping his large cast in clusters that emphasize the cramped nature of the urban setting.
"Man on Fire" (March 4, 1956) fumbles a good, topical idea through miscasting and an underdeveloped script (by the West Coast team of Malvin Wald and Jack Jacobs). It's a proto-Kramer vs. Kramer, a study of a successful divorced man (Tom Ewell) who cracks up when he loses custody of his only son. The role called for a sensitive, versatile actor like Warden or Klugman or George Grizzard (another Lumet favorite, the star of his final Goodyear, "The Sentry"); instead, Lumet found himself saddled with Tom Ewell, an unlikely stage and film star thanks to the recent hit The Seven-Year Itch.
The inexpressive Ewell, whom Lumet had known but not necessarily admired at the Actors Studio (he relates an encounter with Ewell there in mildly derogatory terms in his Archive of American Television interview), is a sponge for all the free-floating self-pity in Wald's and Jacobs's treatment; in his hands a character who should have been sympathetic turns repellent. It's the only wholly unsuccessful performance in any of the six Lumet shows discussed here – although, in general, Lumet seems to have responded to Alcoa/Goodyear's habit of hiring Hollywood stars by turning his attention more to the supporting casts, comprised of actors he had used dozens of times on Danger or You Are There. (In "Man on Fire," the one effective scene belongs to Patricia Barry, the wife of Alcoa/Goodyear's associate producer. Usually a polished ingenue, Barry shows a vulnerable side that I had not seen before when as she gently fends off a sloppy pass by Ewell, who plays her boss. Barry's character, a career girl, explains that she has several boyfriends, none of whom she loves, and supposes she'll marry one of them because it's what's done. Lumet seems more engaged by this speech, and Barry's wistful reading of it, than anything else in the show; as a director, he always picked his battles.)
Lumet had attended the Actors Studio briefly, but he detested Method affectations. If there is a single unifying element among his live television work, it is the consistent naturalism in the performance styles, down to the smallest bit parts. Any deviation from that principle tended to occur at the top. Lumet's results with imported stars were mixed: a failure with Tom Ewell; a split decision on Ralph Bellamy, who tears into "The Mechanical Heart" with an atypical intensity but little nuance; and a stunning success with the ingeniously reteamed '30s Warner Bros. contract players who headlined his next segment.
"His big theory, since most people had ten or twelve-inch sets, was close-up, close-up, close-up. I would argue with him a lot, because if everything's going to be close-up, there's no point of emphasis. When you really need it . . . you've used it up."
– Sidney Lumet, referring to Alcoa/Goodyear producer Herbert Brodkin, in his Archive of American Television interview
"Doll Face" (March 18, 1956), set entirely in an Atlantic City hotel, concerns a faded beauty queen (Glenda Farrell) who returns to the current edition of the pageant that crowned her back in 1930. In tow are her surly adult daughter (Nancy Malone) and genial husband (Frank McHugh), who conveniently is vying for a promotion at a business conference held at the same hotel. This script, also by Jerome Ross, contains as many cliches as "The Trees," but it offers greater emotional possibilities for Lumet to explore. Lumet tamps down his actors, per usual, and ensures that each of the three main characters – any one of whom could turn grotesque, as Ewell's distraught dad does in "Man on Fire" – is recognizably human and sympathetic. In "Doll Face" Farrell is not restrained, but she also does not turn the title character into a caricature (as a more obvious casting choice, like Shirley Booth or Joan Blondell, might have). No one overacts in any of these early Lumet shows. In part that reflects Lumet's skill in working with actors, but it is also a consequence of his formal choices. Farrell benefits enormously from Lumet's theory of the close-up; when he finally deploys them at the climax, her character's distress as she is made to see herself as others see her is quite moving.
In "Doll Face" Lumet repeats a composition from "One Mummy Too Many" almost exactly: a person leans into the foreground from the left, directing the viewer's eye to action in the middle distance toward the center and right of the frame. In "One Mummy" the effect was comedic; here it is expository (the man at left pops in to shush loud revelers).
In the space of four months, Lumet's playful use of depth of field in "One Mummy" has evolved into a powerful, coherent compositional strategy for "Doll Face." In a careful ballet of performers and cameras, the three principals group and regroup themselves into three-dimensional tableaux, again and again, each time with a different actor occupying the foreground, middle, and background space. "Doll Face" is essentially a three-character family drama, and Lumet uses dimensionality to signify the shifting emotional dynamic between father, mother, and child. It is the same kind of conceptual – a skeptic might say schematic or overly intellectual – strategy that Lumet would later apply to his filmmaking, as with (to use Lumet's own example from the Times video obit) the selection of a red building as a location in Prince of the City to presage, almost subliminally, a coming bloodletting.
Chronologically, I have skipped over "Tragedy in a Temporary Town" (February 19, 1956), which is both the most famous of the Alcoa/Goodyear hours and the most directorially accomplished of the Lumet efforts in this survey. Another civics lesson from Reginald Rose, "Town" is typically pedagogic in its argument but less compromised by censorship than most. Lumet would have brought his best to the table before he even opened the script, for it was he who had produced Rose's first teleplay on Danger in 1951. In the five years hence, each had risen to the top ranks of his profession in the New York television world, and it would be Rose who would handpick Lumet to direct his screenplay for 12 Angry Men.
A heated study of mob violence in an itinerant, working-class community of dam builders and their families, "Tragedy in a Temporary Town" has little to say on the subject of lynching (spoiler alert: it's bad) that wasn't already covered in The Ox-Bow Incident. But when you parse Rose's narrative as an allegory for McCarthyism, its sly cynicism and political courage become more evident. Just as American communism was an empty threat and HUAC a hysterical overcorrection, so respectively are the attack on a teenaged girl in "Town" (a man barely touches her shoulder before running off) and the hyperactive shantytown kangaroo court that forms in response. This penny ante inquisition is ridiculous on his face. The girl never saw her attacker's face and heard him say only one syllable, so the doofus vigilantes require every male in camp to utter the word "Hey" and press the young woman to try to make an impossible identification. The poor girl (Betty Lou Keim) is more thoroughly victimized by her defenders than by her putative attacker.
Rose scores his other major rhetorical point in his depiction of the ostensible and none-too-subtly named hero Alec Beggs (Lloyd Bridges), who is scarcely better than his opposites. Beggs abstains from the mob shenanigans but also declines to stick up for the Puerto Rican family who are marked from the beginning as inevitable scapegoats. When Beggs finally screws up his courage to confront the mob and disperses them in shame, it's only after they have achieved their bloody catharsis by beating the shit out of the innocent Puerto Rican boy (Rafael Campos) with a thick stick of firewood. Beggs's ineffectual liberalism and hypocrisy point a finger at various players on different sides of the blacklist, and the provocative casting of Lloyd Bridges (a HUAC friendly witness) must have resonated with Lumet (a narrow escapee of the blacklist, compelled at one point to grovel before clearance thug Harvey Matusow). Lumet was too professional to have tormented Bridges with his informer status, but still one would love to know just how much of the script's subtext was articulated between star and director.
"Town" finds Lumet at his most expressive and illustrates a movement toward a somewhat bolder compositional style. Many of his images here (above and below, for instance) are more painterly than anything attempted in "The Mechanical Heart" or "One Mummy Too Many." Lumet orchestrates complex crowd scenes, photographing some with a bird's-eye camera, all of which must have given Herbert Brodkin fits. The episode's nighttime setting all but compelled Lumet toward dramatic extremes of light and shadow. Lumet illuminates the lynch mob finale in part with the actual headlights of the vigilantes' automobiles. Earlier, amid the harsh blacks and whites, there is one moment where Lumet flouts half a dozen tenets of television lighting and achieves a backlit effect unlike anything I've observed in a kinescope (or even a filmed episode).
During his climactic speech ("you're all pigs"), Bridges begins to demolish the scenery – literally – carrying his intensity beyond the level upon which he and Lumet had agreed during rehearsals. But Lumet has built the tension so effectively to this point that "Town" can withstand such a volcanic release. As in some of Lumet's other Alcoa/Goodyears, the supporting cast appears to be working in a different register – more detailed, more restrained, consciously (even self-consciously) resisting obvious choices. At first I had a hard time figuring out why Milton Selzer, usually one of Lumet's underplaying ringers, is so atypically twitchy in as one of the nastier vigilantes. Then it occurred to me that actor and director probably agreed that Selzer should play the character as a closeted or self-hating homosexual – something that's not in the text at all, and only perceptible one screen if you're looking for it. Jack Warden, quietly upstaging Bridges, plays the lynch mob leader with a maddening calm and a visible irritation towards the more voluble hotheads. There's a moment where Warden's character asserts his authority by placing a hand on Beggs's chest; Bridges casually removes it and Warden barely reacts. The gesture tells volumes about both characters: they will not lose their cool over unimportant things.
"Town" offers the clearest examples of Lumet's strategy of expressing concise ideas through concrete filmmaking choices. His control extends beyond acting and camera movement all the way down into costuming and sound design. One of my favorite elements in "Town" is the baggy black V-necked sweater that Warden wears; a good fit for Kim Novak's Bell Book and Candle closet, it's the absolute opposite of what you'd expect a redneck brute to be caught dead in. The earlier Alcoa-Goodyear segments are marred by cliched symphonic scores (by Glenn Osser, moonlighting as "Arthur Meisel"); in "Town" Lumet, weaned on Tony Mottola's minimalist guitar scores for Danger, managed to banish Meisel and eschew almost all musical accompaniment. For much of "Town," the only background noise is the ambient sound of crickets. The most powerful element of the final image, in which Beggs's son carries off the maimed boy, is its utter silence.
Note Milton Selzer's effeminate gesture (center), and Jack Warden's sweater (right).
"People always think that the smaller a thing is, the simpler it is. It is quite the reverse."
– Sidney Lumet, in a 1965 interview with Robin Bean
Like Lumet, John Frankenheimer released his first feature film in 1957. But The Young Stranger was a flop, and Frankenheimer retreated back to television to lick his wounds. Meanwhile, the thirty-three year-old Lumet collected an Oscar nominationand became a hot property in multiple media. He made three more movies before the end of the decade – but returned to television, as Frankenheimer had, whenever he wasn't shooting one of them. He must have loved it enough to incur the slight risk that, even with the nomination, he'd be tainted as a television guy. Lumet got the prestige assignments, of course: back to work for Herbert Brodkin to fight over close-ups on Studio One and then Playhouse 90; literary adaptations for David Susskind on the retooled Kraft Theatre and then Play of the Week; a legendary two-part Reginald Rose teleplay about Sacco and Vanzetti. He stopped in 1960 with an adaptation of the stage version of Rashomon, and more importantly, a four-hour "Iceman Cometh" that recorded Jason Robards, Jr.'s legendary Off-Broadway performance and earned raves.
But the movies beckoned, and live television was a dying medium anyway. Like Frankenheimer, Lumet made his exeunt in 1960, bequeathing a final socially conscious script that he had developed with Reginald Rose, Play of the Week's "Black Monday," to Ralph Nelson. (I'm not counting the autumnal return for a few episodes of 100 Centre Street, even though I'm sort of curious about them.) The films remain underrated and many of them are overlooked – Lumet has yet to fully emerge from the ghetto of "Strained Seriousness" into which Andrew Sarris dumped him in The American Cinema back in 1968. The tendency to ignore, or damn with faint praise, directors who were catholic in their choice of material and mise-en-scene – Huston, Kazan, Lumet – persists. Along with, or more than, the established classics, I'm partial to That Kind of Woman, Fail-Safe, The Hill, The Deadly Affair, and Lovin' Molly. Some of those are no less scarce than the television episodes I've written about here. Seek them out.
2 Responses to "Sidney"
April 22, 2011 at 6:09 pm
Thank you Stephen, that was a vastly more appropriate, rewarding and enthralling piece on this great director that any of the mainstream press have managed.
July 2, 2015 at 2:35 pm
My name is Sheila welcome I am from Barbados, I met Jerome Ross at his apartment in 2011September I was on vacation in the U S A and a good friend took me to see Mr Ross, we chat he told me his age and that he was a movie writer and smile, such a peaceful old man, I took pictures with him


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The Big Valley – Vanderpool, Texas
Copyright © 2012 Jeff Lynch Photography
Shot taken with a Canon EOS 5D Mark III with GP-E2 unit attached, set on aperture (Av) priority using an EF 24-105mm f/4L IS USM lens and tripod mounted. The exposure was taken at 60mm, f/14 for 1/20th of a second at ISO 100 using a Singh-Ray warming polarizer filter. Post capture processing was done in Adobe's Lightroom 4.
Click on the image above for a larger version.

subset: commoncrawl


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Fans who braved the cold and volatile weather at Nationals Park Saturday were rewarded with the Nats' first victory of the season — a dramatic affair that included a hail storm and two weather delays, spectacular defensive plays, heroics, and a rare suicide squeeze.
While new regulars Rick Ankiel, Danny Espinosa, and Jayson Werth were giving long-suffering Nats fans new reasons for hope, Teddy Roosevelt again failed to deliver in the 4th-inning presidents race, falling short after being paired with Abraham Lincoln in yet another team race — this time aboard tandem bicycles.
Teddy and Abe had the lead heading into the right field corner, but failed to negotiate the turn and watched as George and Tom passed them to take the tape in the season's second race.
Within moments of walking off field in defeat, Teddy sent a message to his Twitter followers:
"That's it!!", he wrote. "That is the last time Abe loses a race for me! Tomorrow I'm challenging him mono e mono!" (sic).
Sounds like we can expect fireworks Sunday in the final game of the series.
Video courtesy of YouTube member lfahome


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Recently, this blog was chastised on chowhound.com for not having any photos of Basil's pizza in either of my reviews of this superb restaurant (here and here), even though its menu offers a full array of mouthwatering pizzas. I had to agree the particular commenter was absolutely right, which gave me the perfect excuse to return to Basil (270 Kingston Ave; Brooklyn, NY 11213; Telephone: 718.285.8777) for the omitted shots. Ahhh, the things we do to keep our readers happy.
This past Thursday I made my way to the restaurant anticipating a superb pie. I entered their doors at 4:00pm to a front room overflowing with early diners, and was directed to the recently opened backroom. It's a comfortable large room featuring two fireplaces that generate a warm and cozy atmosphere.
In spite of the early hour, there were some people there already. I ordered a Pizza Margherita a la Genovese, it came with home made mozzarella (made in house from curd), fresh San Marzano tomatoes (most chefs consider these the world's best for sauce) and pesto.
I accompanied the pizza with a delightful glass of 2007 Ramon Cardova Rioja. Made fully from Tempranillo grapes from old vines around the Spanish village of Haro, in La Rioja, this bright ruby red wine paired perfectly with the pizza, totally complementing and enhancing its taste; a marriage made in heaven.
As I finished this superbly made dish, I got to to speak to Basil's new Italian Executive Chef, Andrea Milazzo.
After graduating from the very exacting culinary school in Alassio, in Italy's Liguria region on the gulf of Genoa, – Savona Province, Chef Andrea went to work in Montecarlo for world famous Alain Ducasse's Le Roi Louis XV restaurant at the Hotel de Paris (regularly listed on the Conde Nast Traveller Gold List). After a while he left for Munich, Germany, where he operated his own establishment for 8 years.
A few weeks ago he accepted the position of Executive Chef at Basil. When you speak to Chef Andrea, his passion for food becomes all apparent. I asked him what is his main criteria in creating a new dish or a variation of an old classic, his quick response was: "I follow my senses!" To determine how good his senses are, I asked the Chef to prepare me a special dish – regardless of price – that I would take home; even I was unprepared for the resulting masterpiece…
He made me Gnudi alla Toscana. Gnudi (nude) are close cousins to gnocchi but more tender. Whereas gnocchi are made from semolina, wheat flour, bread crumbs or potatoes, gnudi are made from Ricotta cheese.
Watching the Chef at work was like being a spectator at a George Balanchine choreographed ballet, the graceful, elegant and precise moves coupled with the facial expressions, all bespoke of truly inspired artistry at its highest levels.
Before starting the preparation of the dish, Chef Andrea had me inspect all the ingredients. Starting with the superbly aromatic in-house made truffle oil (truffles are infused for two weeks into pure Tuscan olive oil, the result is great scent and a very distinctive flavor), the fresh tomatoes, spinach and cheese all combined for a beautiful symphony of taste and aroma, well worth many an encore. Bravo Chef Andrea! Bravissimo!!!
Preserving or Policing the Dilemma?


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Reprintas at 1 July 2009
Anand Satyanand, Governor-General
At Wellington this 3rd day of June 2008
Present:His Excellency the Governor-General in Council
Rates Rebate (Specified Amounts) Order 2008: revoked, on 1 July 2009, by clause 4(a) of the Rates Rebate (Specified Amounts) Order 2009 (SR 2009/117).
Changes authorised by section 17C of the Acts and Regulations Publication Act 1989 have been made in this reprint.
A general outline of these changes is set out in the notes at the end of this reprint, together with other explanatory material about this reprint.
This order is administered by the Department of Internal Affairs.
Pursuant to section 3(2) of the Rates Rebate Act 1973, His Excellency the Governor-General, acting on the advice and with the consent of the Executive Council, makes the following order.
1 Title
2 Commencement
3 Amounts substituted
4 Consequential amendments
5 Saving
This order is the Rates Rebate (Specified Amounts) Order 2008.
This order comes into force on 1 July 2008.
Section 3(1) of the Rates Rebate Act 1973 is amended by—
(a) omitting from paragraph (a)(ii) "$20,000" and substituting "$21,180"; and
(b) omitting from paragraph (b) "$500" and substituting "$530".
Clause 3 of the Rates Rebate Order 2006 is amended by revoking paragraphs (a) and (b).
A ratepayer's entitlement to a rebate for a rating year ending on or before the commencement of this order, and the amount (if any) of that rebate, must be determined as if this order had not been made.
Martin Bell,for Clerk of the Executive Council.
Issued under the authority of the Acts and Regulations Publication Act 1989.
Date of notification in Gazette: 5 June 2008.
2Status of reprints
3How reprints are prepared
4Changes made under section 17C of the Acts and Regulations Publication Act 1989
5List of amendments incorporated in this reprint (most recent first)
This is a reprint of the Rates Rebate (Specified Amounts) Order 2008. The reprint incorporates all the amendments to the order as at 1 July 2009, as specified in the list of amendments at the end of these notes.
Relevant provisions of any amending enactments that have yet to come into force or that contain relevant transitional or savings provisions are also included, after the principal enactment, in chronological order.
Under section 16D of the Acts and Regulations Publication Act 1989, reprints are presumed to correctly state, as at the date of the reprint, the law enacted by the principal enactment and by the amendments to that enactment. This presumption applies even though editorial changes authorised by section 17C of the Acts and Regulations Publication Act 1989 have been made in the reprint.
This presumption may be rebutted by producing the official volumes of statutes or statutory regulations in which the principal enactment and its amendments are contained.
A number of editorial conventions are followed in the preparation of reprints. For example, the enacting words are not included in Acts, and provisions that are repealed or revoked are omitted. For a detailed list of the editorial conventions, see http://www.pco.parliament.govt.nz/legislation/reprints.shtml or Part 8 of the Tables of Acts and Ordinances and Statutory Regulations, and Deemed Regulations in Force.
Section 17C of the Acts and Regulations Publication Act 1989 authorises the making of editorial changes in a reprint as set out in sections 17D and 17E of that Act so that, to the extent permitted, the format and style of the reprinted enactment is consistent with current legislative drafting practice. Changes that would alter the effect of the legislation are not permitted.
A new format of legislation was introduced on 1 January 2000. Changes to legislative drafting style have also been made since 1997, and are ongoing. To the extent permitted by section 17C of the Acts and Regulations Publication Act 1989, all legislation reprinted after 1 January 2000 is in the new format for legislation and reflects current drafting practice at the time of the reprint.
In outline, the editorial changes made in reprints under the authority of section 17C of the Acts and Regulations Publication Act 1989 are set out below, and they have been applied, where relevant, in the preparation of this reprint:
•omission of unnecessary referential words (such as "of this section" and "of this Act")
"of this section"
"of this Act"
•typeface and type size (Times Roman, generally in 11.5 point)
•layout of provisions, including:
•position of section headings (eg, the number and heading now appear above the section)
•format of definitions (eg, the defined term now appears in bold type, without quotation marks)
•format of dates (eg, a date formerly expressed as "the 1st day of January 1999" is now expressed as "1 January 1999")
"the 1st day of January 1999"
"1 January 1999"
•position of the date of assent (it now appears on the front page of each Act)
•punctuation (eg, colons are not used after definitions)
•Parts numbered with roman numerals are replaced with arabic numerals, and all cross-references are changed accordingly
•case and appearance of letters and words, including:
•format of headings (eg, headings where each word formerly appeared with an initial capital letter followed by small capital letters are amended so that the heading appears in bold, with only the first word (and any proper nouns) appearing with an initial capital letter)
•small capital letters in section and subsection references are now capital letters
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•running heads (the information that appears at the top of each page)
•format of two-column schedules of consequential amendments, and schedules of repeals (eg, they are rearranged into alphabetical order, rather than chronological).
Rates Rebate (Specified Amounts) Order 2009 (SR 2009/117): clause 4(a)


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Today's Music: Delta Spirit – People C'mon
"Engage, warp factor 9."
"Jump to lightspeed."
"Prepare the hyperdrive."
If you read or watch science fiction, all of those phrases are familiar to you. In fact, variations on that theme are so well known, that we are complicit in ignoring the fact that it can't be done.
We let ourselves be fooled by mystical explanations of "anti-matter" and "holes in the space-time continuum".
Until now.
White's work is based on the math and ideas of Miguel Alcubierre, who came up with the equations for warp drive. But he thought it would take an energy source the size of Jupiter to do it.
While working on the equations one day, White realized that if the shape of the field generator was changed, it could be done with an energy mass of about 1600 pounds.
That's less than the weight of the bookbag I used to carry!
Here's the oversimplified version of how it works:
The engine (referred to as an Alcubierre Drive) would warp the space around it. The space behind would be expanded, pushing the craft forward. The space in front would be contracted.
That's it.
Now here's the kicker: The speed of light is an absolute. Nothing can go faster than it.
But because of loopholes in Einsteins theory of relativity, the light barrier isn't broken relative to the changed shape of space.
The practical upshot is that a trip to Alpha Centauri (4.3 light years away (that's 4.3 years of constant travel at the speed of light!) could be done in…wait for it…two weeks.
I've waited on line at the DMV for longer than that.
So practically, what does that mean? Well, nothing really. It's all still theoretical.
White is in a lab right now, trying to generate micro disturbances in space to see if they are measurable.
The math holds up, but it remains to be seen if (and how well) it can be applied in real life.
I hope it can. I bet there's great skiing on Pluto
But I only have a few days off…
The first article I saw, from io9, The article from Time.
And an abstract of White's paper, with a link to the pdf of the whole thing.


text:
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Ellen Waldman recenly posted her thoughtful article, "Mindfulness, Emotions, and Ethics: The Right Stuff?" (Nevada Law Journal, Vol. 10, No. 2, 2010) on SSRN. Here's the abstract.
* * *
What role do emotions play in ethical decision-making? Philosophers have long debated the question, disagreeing about both the nature of "the good" and how best to achieve it. Rationalists ground one's capacity for virtue in logic and deliberate cognition, while moral intuitionists look to one's capacity for feeling deeply. Immanuel Kant, for example, maintained that right conduct flowed from a sense of duty that functioned independently of emotion. Conversely, David Hume argued that all right action involved sentiment and that reason, stripped of passion, could not impel ethical choice.
Philosophers are not alone in their fascination with the question. Psychologists also have delved into the relationship between emotion and moral development, creating varying models of maturation that either embrace or reject emotion as a critical component of moral discernment. Today, debates in the "soft sciences" of the mind spill into the "hard sciences" of the body. Interest in the biological bases of emotion invigorates neuroscience, and developments in functional magnetic resonance imagery (fMRI) promise methods for mapping the synaptic pathways that induce affective states. Although we can now detect activity in portions of the brain associated with emotional experience, it remains unclear whether those electrical surges push us in "right" or "wrong" directions.
In the mediation world, scholars and practitioners frequently treat emotion as the unruly step-child of the problem-solving mind. Professor Leonard Riskin characterizes emotion as a potential negotiation saboteur and offers "mindful practice" as a useful corrective. He argues that mindful mediation can help negotiators gain better control over their wandering minds and negative emotions, and achieve more satisfying, interest-based solutions.
This essay celebrates Riskin's call to arms while suggesting some limits to what mindfulness can achieve in the ethical realm. It examines in more detail the relationship Riskin posits between mindful practice and ethical decision-making. It discusses recent developments in neuroethics that imply a prominent role for emotions in establishing ethical restraint. It also surveys a growing body of evidence that suggests the directive power of our emotions remains largely hidden from and impervious to the control of our "reasoning" selves. Lastly, it examines what Riskin has, in an earlier work, described as the ethical "hard case" in light of recent explorations into the emotional wellsprings of deontological versus consequentialist thinking. Although the mediation community need not wade deeply into the debates currently roiling social psychologists, it is useful to reflect on the genesis of our ethical commitments and whether they continue to serve the field's long-term goals and interests.
* * *
You can download the article for free, here. For a sample of related Situationist posts, see "The Situation of Legal Ethics," "Blind to our Situational Blindness," "Mood and Moral Judgment," "Law, Psychology & Morality – Abstract," "Situating Emotion," "The Motivated Situation of Morality," and "Moral Psychology Primer."


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Freak out!
(h/t Bryant Denny)
UPDATE: Somewhat remarkably, Grantham (more likely the school in response to panicked inquiries) felt the need to issue a formal response to the rumors.
"This time of year there are a lot of rumors involving coaching openings. Because of the terrific recruiting class we are assembling and the juniors that have communicated to me their desire to come back to Georgia I felt it important to address some of these current and any future rumors. I've had discussions with Coach Richt and (AD) Greg McGarity and we are on track to finalizing details on a contract extension. My family enjoys Athens very much. I love the passion and excitement of our fans. We have the program headed in the right direction and I want to be a part of bringing Georgia a championship. My desire is to be at UGA for a very long time. Go Dawgs!"


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Morning Minutes: Jan. 17
Word of the Day
Exemplary ig-ZEM-pluh-ree (adjective) Deserving imitation especially because of excellence; commendable; serving as a warning; serving as an example, instance or illustration - www.merriam-webster.com
Website of the Day
Whether you're a kid learning multiplication tables, a college student studying for exams or a professional trying to learn Spanish, this online memorization tool allows you to create flashcards, multiple choice questions and matching tests so you can study at your own pace.
Number to Know
730: Approximate number of cities in the U.S. that have streets named after the Rev. Martin Luther King Jr.
This Day in History
Jan. 17, 1961: President Dwight D. Eisenhower delivers a televised farewell address to the nation three days before leaving office, in which he warns against the accumulation of power by the "military-industrial complex."
Today's Featured Birthday
First lady Michelle Obama (49)
Daily Quote
"I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character." – Dr. Martin Luther King Jr.


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text:
A five game losing streak is a pretty scary thing for Nationals fans, but on Friday night at Nationals Park, the Nats racing presidents upped the ante, emerging from the centerfield starting gate wearing "Jason" masks to honor Friday the 13th.
Whatever they did, it worked, as Nats pitcher John Lannan helped break the streak and send all the bad luck the way of the Arizona Diamondbacks.
After the race, the presidents attempted to display a message for the Diamondbacks, but didn't manage to coordinate the signs. More to follow…
Video courtesy of YouTube member shmaggie23.
Photo courtesy of Cheryl Nichols/Nats News Network


text:
handrail brackets for pipe railing post brackets
- Meterial:Stainless Steel 304/316
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- Position:Bridge Railings / Handrails, Deck Railings / Handrails, Porch Railings / Handrails, Stair Railings / Handrails, Other
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handrail brackets for pipe railing post brackets
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Foshan Broad Ocean Hardware Co.,Ltd. is a privately owned and export-oriented manufacturer. Our production range inlcude investment casting, fabrication, CNC machining and assembly, and our quality products are being exported to United states, Canada, Austrailia, Demark, Korea and many other countries since 2006.
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[contact-form-7 id="3767" title="Product feedback"]


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I have told you about the original Harmans of Byaduk and their time in Cambridgeshire, their journey to Australia, and their life beyond. What I haven't told you about is the family members that were left in England.
Yes, Joseph and Sarah Harman had children that did not make the voyage to Australia, thus never getting the opportunity to live the long and prosperous lives of their siblings.
For most of the children, it was death that robbed them of the life-changing experience. For Mary Ann, the eldest living daughter, it seems marriage and children sealed her fate.
The children of Joseph and Sarah that did not travel to Australia were:
James: Born 1827, Cambridgeshire, Died 1827, Cambridgeshire
Mary Ann: Born 1829, Melbourn, Cambridgeshire; Died 1873, Poplar, London.
Alfred: Born 1833, Melbourn, Cambridgeshire; Died 1851, Melbourn, Cambridgeshire
Arthur: Born 1842, Melbourn, Cambridgeshire; Died ?
Ann: Born 1847, Melbourn, Cambridgeshire; Died ?
Betsy/Elizabeth: Born 1849, Melbourn, Cambridgeshire; Died ?
James was first born of Joseph and Sarah but he died as a baby. Alfred was the fourth born child and he appears on the 1841 England Census. His death was registered in January 1851 thus missing the 1851 England Census.
It was that census in 1851 that Arthur, Ann and Betsy appeared, all born after the 1841 England Census. The question is, what happened to them between 1851 and 1854 when Joseph and Sarah and three children sailed for Sydney? I have not found death or marriage records for these three children.
Second born child and eldest daughter, Mary Ann was married in 1847. Her husband was James Loats, who was living with his family in the same street as the Harmans, Drury Lane, Melbourn. After their marriage, they continued to live in Drury Lane in their own house.
At the time, none of the family would have even heard of Australia let alone considered making it their home. However, on three occasions from 1852, Mary-Ann said goodbye to family members beginning their journeys to Australia. It began with James and his new wife Susan sailing on the Duke of Richmond in 1852. Then the three boys, George, Jonathan, and Reuben.
In 1854, the last goodbyes came when her parents sailed. Around this time Mary Ann was living in London. Maybe she was at the docks.
Mary Ann and James had 10 children that I can match on the various census and vital records. The first three children were born in Melbourn, with the remaining seven born in London. James was working as a labourer at a coke oven. Mary Ann died in 1871 at just 43 leaving four children under 10. Aside from her brother Reuben, all the siblings that immigrated to Australia lived to around double that age.
Recognition of the Harman family is clear with the names of the Loats children. Julia again proves a popular Harman name, possibly the earliest record of that name in the family.
Betsy/Elizabeth: Born 1849, Melbourn, Cambridgeshire
Julia: Born 1851, Melbourn, Cambridgeshire; Died 1856
Harriet Sarah: Born 1852, Melbourn, Cambridgeshire; Marriage: Charles George Hazell, 1874 West Ham, London; Died:
Mary Ann Harman: Born 1854, Camberwell, London
Wilfred: Born 1857, Camberwell, London; Died 1857 Camberwell, London
Julia Mary Ann: Born 1858, Rotherhite, Surrey; Died 1900 Holburn, London
Laura: Born 1861, Bromley Middlesex
Grace: Born 1864, Bromley Middlesex
Joseph Harman: Born 1867, Poplar, London
Jesse: Born 1868, Bromley, Middlesex
I had always hoped I might find an Australian link through the Loats line, especially as I know of the name from the Hamilton area. I have found two links.
Firstly, aboard the Duke of Richmond with Susan and James Harman was Thomas Loats, the brother of James. Thomas settled in the Western District. It makes me wonder how close James and Mary Ann may have come themselves to settle in Australia. What stopped them?
Secondly, thanks to the granddaughter of Joseph and Sarah Harman, Harriet Sarah Loats, I have found a link taking a Harman descendant where none have gone before. However, this post has gone on long enough and I will need to dedicate a whole post to my exciting find. Stay Tuned! (That might be a clue).


text: Christmas Haiku Inexplicable. That the author casts Himself in such a small role. Share this:TwitterFacebookEmailPinterestLike this:Like Loading... Related Published by Bobby Ball I love poetry. But I'm picky. No one pays me to read and write poems. It's more of a labor of love. I guess that puts me in good company. This is a project to discover why some poems strike you deep, deep down, while others leave you cold. I've got some ideas, and I'm eager to learn. I'll show you some of mine. Maybe we'll learn something new. View all posts by Bobby Ball


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Here's more detail from Dan Steinberg's D.C. Sports Bog about today's snowed-in unveiling of the new Screech.
Much is made of Screech's "offseason growth spurt" which resulted in a slimmer, more nimble bird.
Nationals in-game host Clint Kouhry tells Steinberg that Screech should give Teddy Roosevelt some advice on how to slim down. "That guy's been trying forever."
It's safe to say we can expect more gymnastics from the Nationals mascot in the coming season.
The Nationals announced that Screech will make 31 appearances in 31 days to "show off his fresh-feathered look." Tomorrow, March 3 along with members of the Nat Pack, "Screech" will distribute pocket schedules to fans at the Metro Center Metrorail Station from 9:00am to 11:00am, and at Farragut North Metrorail Station from noon to 2:00pm. Screech will also make stops at the March Mania basketball tournament in Arlington, on Saturday March 7, the University of Virginia baseball game on Saturday, March 14, and the Harris Teeter in Reston on Monday, March 16. More scheduled appearances will be announced weekly throughout the month of March.
Photo courtesy of The Washington Nationals


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Highest Awards
Bronze. Silver. Gold. These represent the highest honors a Girl Scout can earn.
All three awards give you the chance to do big things while working on an issue you care about. Whether you want to plant a community garden at your school and inspire others to eat healthily for your Bronze, advocate for animal rights for your Silver, or build a career network that encourages girls to become scientists and engineers for your Gold, you'll inspire others (and yourself).
Also a given: as you earn one of Girl Scouting's highest awards, you'll change your corner of the world—and maybe even beyond. The possibilities are endless.
Want to see what others have done to earn their award? For inspiration, check out examples of Bronze, Silver, and Gold Award projects via Girl Scouts of the USA's Map It: Girls Changing the World.


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Winning affords teams a number of things. Namely, it absolves them of many of their mistakes made along the way. For one night, at least, the Bills can be absolved from some of their misguided decisions.
Buffalo managed to secure their first division win against Miami thanks to a sound defensive effort and another phenomenal return from Leodis McKelvin. C.J. Spiller had another productive evening on a night when neither offense was capable of building much momentum.
However, the one thing that stood out to many fans were the dubious playcalls made in specific situations by Chan Gailey. His third and short playcalling was particularly questionable on drive ending plays:
– 3rd and 1 from the BUF 33 – Tashard Choice wildcat run, no gain. Punt
– 3rd and 3 from the MIA 14 – Empty set, incomplete pass intended for Donald Jones. Bills FG
– 3rd and 1 from the MIA 16 – Empty set, incomplete pass intended for Scott Chandler. Bills FG
– 3rd and 3 from the MIA 17 – Fitzpatrick sacked. Bills FG
– 1st and goal from the MIA 4 – Three pass attempts, one defensive pass interference penalty and three incompletions. Bills FG from the MIA 1.
– 3rd and 1 from the BUF 44 – C.J. Spiller run for -1 yard.
The final play listed came in the fourth quarter when the Bills were milking the clock. Now, that was probably the right playcall and it just didn't get the job done. But it is perplexing to think that Gailey would call six pass plays on short yardage situations in the red zone. Maybe the specter of Spiller's goal-line fumble against New England still haunts the coach. Maybe Fred Jackson's absence caused Gailey to go in a different direction. However, these are exactly the situations that fans and media have pointed to as shortcomings with Gailey's attitude towards the run game.
Spiller did finally get his touches and he responded with a sterling 130-yard effort. He probably could have punched one in the end zone had some of the playcalling decisions been changed, but that is all 20/20 hindsight. Much like the ill-advised wildcat throw, if any of those plays work Chan Gailey would have looked like a genius. At the end of the day the team is playing to win and Gailey's play calls were made with an aggressive mindset. Yet the obvious argument is to ask why the team's most dangerous play doesn't have the ball in his hands in those situations.
Either way, the Bills came away with the win. Spiller provided further evidence that he is the team's most dynamic weapon and Jarius Byrd probably booked his ticket to Honolulu. The defense looked stout and there is suddenly hope than an unlikely 5-1 run could sneak the Bills into the playoffs.
Next Sunday's date against the Colts will do a lot more to show where the Bills stand for the stretch run.
Byrd Cliché
Call him the Byrd Man, a Ball Hawk or any other avian-related term. Jarius Byrd has proven to be Buffalo's most valuable defensive player this season. Not only has he learned to be effective in run support, but he has a nose for the football and simply makes plays. The Bills should drop a blank check at his locker and ensure that he will be a defensive cornerstone for a better part of a decade.
Finding him a viable partner should also be an offseason priority. Da'Norris Searcy is starting to see more time in the secondary and is showing his hard-hitting pedigree. However, he is still kind of raw. Personally, I think an upgrade to George Wilson needs to be found. Aaron Williams has safety written all over him, but I doubt he could put on the necessary weight to play strong safety in the NFL. Whether Searcy continues to progress, or a free agent is signed, getting another solid safety would do a lot to shore up the secondary.
End Returns
Mario Williams certainly looks healthy, no? Another sack (against a rookie) and a pair of tackles for loss buoyed his performance and was part of a very impressive showing from the Bills defensive end unit. Shawne Merriman finally did the Lights Out dance in a Bills uniform and Kyle Moore continued to impress. Moore is probably a shoo-in for a roster spot next season with a defensive end depth chart consisting of Mario Williams, Mark Anderson, Chris Kelsay and Kyle Moore.
Wildly Ineffective
To date, there has been one effective use of the wildcat. That came with the package's inception at Foxboro when the Dolphins and Ronnie Brown took the Patriots to school. Since then it has devolved into a single wing, quarterback draw formation. Buffalo specifically signed Brad Smith to run their wildcat, yet the formation seems to have three plays (jet sweep, QB draw and interception).
The wildcat is effective when there is a viable run/pass option. However, the pass has been completely taken off the table. Even teams with quarterbacks that run the package rarely throw. Tim Tebow and Colin Kapernick rarely air it out. Perhaps Chan Gailey should give Smith a few more looks in terms of roll outs and passing plays in the formation. Maybe then it would serve as an effective change of pace to the Bills base offense.
Obvious Statements
Taking the game out of Ryan Fitzpatrick's hands does wonders for Buffalo's winning percentage. The Bills didn't force Fitzpatrick to work any magic and it paid off. While Chan Gailey put a little too much faith in him in the red zone, Fitzpatrick didn't need to be a factor in the game… Seems like there was a good reason that John Potter was kept around. Rian Lindell's inability to kick touchbacks was evident and it hurt the Bills in the worst way. Potter's release was expected and necessary, but Lindell's ineffectiveness as a kickoff man is borderline criminal… Speaking of special teams, is there any way Bobby April can come on (after the Eagles staff is inevitably cleaned out) as a kick coverage specialist? Bruce DeHaven owns in the return game, but his coverage units seem to be lackluster. Bobby April is a special coach and I'd love to see him back in Buffalo.
MVP: Jarius Byrd LVP: Penalties
It was over when: Bryan Scott picked off Ryan Tannehill after Jarius Byrd's interception resulted in a three and out.


text: September 7, 2019 Mandee INTRO about the process Enter your gift card(s) We accept physical and electronic gift cards for hundreds of popular brands. Get your payout Enter the balance on your card for an instant payout offer. Or choose the payout you want. Get Verified and Get your Cash! Once you and your gift card(s) are verified we will process and send you your cash! Exchange your unused gift cards for CASH! Generic selectors Exact matches only Exact matches only Search in title Search in title Search in content Search in content Search in excerpt Post Type Selectors Search in posts Search in posts Search in pages Search in pages Hidden Hidden Mandee


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Tag Archives: Gustave Caillebotte
The boating party
For Marnie, with thanks for many happy memories, and for your long-standing support of this blog. Sail on, silver girl. I am thinking about boats today, for several reasons. One is the fact that a good friend of ours who … Continue reading
Posted in Family history, Seine, Toronto Tagged Edouard Manet, Georges Seurat, Gustave Caillebotte, mary cassatt, Paris flood, Pierre-Auguste Renoir, Sevres, Turgot map 5 Comments
A closer look at Parisian streets
Over the past week, I have been pondering a comment made by Adam Roberts, the author of Invisible Paris (one of our favourite blogs), about our post on courtyards. He confessed to having mixed feelings about these interior spaces and … Continue reading
The balcony scene
The painter Gustave Caillebotte and his brother, photographer Martial Caillebotte, loved balconies. They frequently painted and photographed people standing on ornate balconies overlooking wide boulevards, gazing down at the passing scene below.* And sometimes they set up an easel or … Continue reading
Keeping warm in a wintry Paris
Last week snow was falling, snow on snow, in Paris. The international press (when it hits the Toronto papers you know it is Major News) even reported that the Eiffel Tower was temporarily closed because of it. Unimaginable! Well, actually, … Continue reading


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Pillars Of Creation - Nasa - James Webb - First images - Deep Field - Canvas Print .
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Quick tip this morning before I get to peeling roasted chiles. A few weeks ago Rick discovered something that should have been quite obvious.
In the past, when we've done some canning, Rick takes the boiling water out and dumps it on the weeds growing between the cracks of the sidewalk to kill them. One day we realized this water would kill not just the weeds poking through the cement, but the weeds in the garden too! (Duh!)
Be careful with this – boiling water will kill any plant, good or bad. But if you need an easy, cheap, chemical free weed killer – boiling water will do the trick!
Any other obvious tricks out there that we don't know yet? I'm sure there are a billion. Please share them here!!
Sometimes it's the little things.


text: Robotics Education & Competition FoundationInspiring students, one robot at a time. Toggle Navigation Home Login/Register Login Register Login with Google Challenges 2023 Challenges 2022 Challenges 2021 Challenges 2020 Challenges 2019 Challenges 2018 Challenges 2017 Challenges 2016 Challenges 2015 Challenges 2014 Challenges 2013 Challenges 2012 Challenges 2011 Challenges 2010 Challenges 2009 Challenges Competition Home 2017 Challenges VEX Robotics Photography Challenge Entries Competition 0 kylekirkwood5953 Entry ID #: 3940 Created: Wed, Jan 11, 2017 8:31 PM Files There is nothing here. Links / Videos There is nothing here. Robotics Education & Competition Foundation 1519 INTERSTATE HIGHWAY 30 W Greenville, TX 75402 Email: firstname.lastname@example.com Privacy Policy © Robotics Education & Competition Foundation. 2023.All rights reserved. Robotics Programs RobotEvents Home VEX IQ Challenge VEX Robotics Competition VEX U TSA/VEX Robotics Competition BEST CREATE Foundation Botball FIRST VEX Robotics Competition New to Robotics? VEX IQ Challenge VEX Robotics Competition VEX U VEX Robotics World Championship Find Local Teams & Events Event Registration Event Results The VEX Competition Alumni Association


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NIE page: Word hunt
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* InDesign users: The KidzBuzz logo is an .eps file that will appear with a white box around it, but if you view the document in "overprint preview" you will see it will not print that way.
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Using environmental data management services saves you the expense of investing in costly software development and off-the-shelf applications. Because a working system already exists, there is no time spent on design and development. You can start using an enterprise-level database system immediately. You can choose whether to staff the project yourself, with on-site training or remote technical support as you need it, or you can let us take care of the project for you, allowing you to focus on the other parts of your job.
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For environmental data management to be successful, data must be collected in such a manner as to ensure legal defensibility and documentation of acquisition. Our system has been architected from the ground up to maintain traceability of every database record back to a known and accountable data generator. We provide internet tools that will allow each user, whether in the field, laboratory, or other organization, to screen their own data.
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Mexican fiesta dip
Makes 8 cups (12 appetizer servings)
No cooking required for this layered dip, with all the ingredients that taste so good on a tostada. Dig in with tortilla chips or sticks of your favorite vegetable, such as jicama, celery, or cucumber.
1 can (16 ounces) refried beans
1 cup prepared salsa
2 cups shredded pepper jack cheese
2 fully ripened Mexican avocados, halved, pitted, peeled, and diced
2 tablespoons fresh lime juice
1 tomato, finely chopped
Stir together the beans and salsa in a medium bowl. Spread the mixture in a 9-inch square dish or in a 2-quart serving bowl. Sprinkle evenly with the cheese.
Toss the avocados with the lime juice in a small bowl. Scatter the avocados and tomato over the cheese.


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Olympic gold medalist dies after America's Cup sailboat capsizes in San Francisco Bay
SAN FRANCISCO — Andrew "Bart" Simpson had already garnered an Olympic gold medal in sailing in 2008 and a silver at last year's games when Artemis Racing came calling with a chance to win yachting's top prize — the America's Cup.
"Moving the family to San Fran for 6 months is pretty hectic!!!," Simpson tweeted in March. "The cup should be fun though!!"
On Thursday, the British sailor drowned when Artemis' high-tech catamaran capsized and trapped him underwater for more than 10 minutes while on a practice run in the bay.
Simpson, 36, served as the Swedish team's strategist.
"The entire Artemis team is devastated by what happened," CEO Paul Cayard said in a statement on the team's website. "Our heartfelt condolences are with Andrew's wife and family."
Cayard didn't take questions during a brief news conference Thursday evening and didn't return telephone calls.
British newspapers reported that Simpson is survived by a wife and an infant child.
Artemis Racing said doctors "afloat" with the team and on shore were unable to revive Simpson after he was freed from the wreckage. The other sailor suffered minor injuries, and the rest of the crew of about a dozen people was accounted for and taken back to their dock in Alameda.
Officials said winds were blowing between 15 and 20 knots (17 to 23 mph) when the boat capsized. The National Weather Service later issued a small-craft advisory, warning inexperienced mariners to stay off the bay and indicating winds of between 21 knots and 33 knots.
The Artemis boat flipped near Treasure Island, which is bisected by the Oakland-San Francisco Bay Bridge. The armada of rescue boats and helicopters were visible from the roadway.
Simpson and the unidentified injured sailor were brought to shore at the St. Francis Yacht Club in San Francisco, where paramedics performed CPR on Simpson. He was pronounced dead a short time later.
This is the second time a sailor has died during training for the America's Cup. In 1999, Martin Wizner of the Spanish Challenge died almost instantly when he was hit in the head by a broken piece of equipment.
No deaths have been recorded during the actual racing since its inception in 1851.
Simpson and his partner Iain Percy won an Olympic gold medal for England in 2008 in the Star class of sailing. The duo was expected to repeat in London in 2012 but was upset by a Swedish team and settled for silver.
Percy is Artemis' director and the boat's tactician. The team announced Feb. 23 that Simpson was joining Artemis to "provide weather and tactics support" to the crew.
Artemis Racing has had its share of upheaval in the buildup to the 34th America's Cup. Late last year, skipper Terry Huthinson of Annapolis, Md., was released. He was replaced by Nathan Outteridge of Australia, who won a gold medal at the London Olympics.
The team has had technical problems, as well. Last fall, Artemis said the front beam of its AC72 catamaran was damaged during structural tests, delaying the boat's christening. A year ago, Artemis' AC72 wing sail sustained serious damage while it was being tested on a modified trimaran in Valencia, Spain.
This also wasn't the first America's Cup boat to capsize on the hard-blowing San Francisco Bay. Oracle's $10 million boat capsized in 25-knot winds in October, and strong tides swept it four miles past the Golden Gate Bridge. No one was injured, but the rough waters destroyed the 131-foot wing sail, and the boat was sidelined until a new sail shipped from New Zealand was installed in February.
Stephen Barclay, CEO of the America's Cup Event Authority, said officials were investigating Thursday's accident. He said it was unclear what effect the death will have on the America' Cup races, which are scheduled to run from July to September.
It was too soon to answer questions about the safety of the high-tech boats on the San Francisco Bay, Barclay said.
"Obviously a catamaran is more prone to capsizing than a mono-hull," he said. "Whether boats are safe or unsafe, we're not going to speculate on those things."
In addition to sailors wearing crash helmets and life vests, chase boats carry doctors and divers, Barclay said.
"There are lots of precautions that are taken, and some of those are as a result of Oracle's mishap last year," he said.
The boats participating in the latest America's Cup more resemble a space craft than the traditional sloops that historically competed for the trophy.
Financed by billionaire Larry Ellison, Oracle Team USA won the 2010 cup and made several changes to the races this year in an attempt to make the staid competition more fan- and TV-friendly.
While much faster and more exciting than the sloops, the catamarans have proved hard to handle. The wing sail looks and acts like an airplane wing, improving the yacht's speed and maneuverability. The 7-ton boat's hulls are lifted out of the water and it skims along the waves on "foils," reducing the drag on the boat and increasing speed dramatically.
Coast Guard Lt. Jeannie Crump said the agency did not know the extent of the damage to the Artemis boat. A commercial salvage boat would tow the vessel to Clipper Cove, between Yerba Buena Island and Treasure Island, Crump said.
She added that Coast Guard officials weren't sure what caused the boat to capsize. The Swedish team has two boats, she said.
Associated Press writers Terry Collins, Sudhin Thanawala and Garance Burke contributed to this report.


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Forum: Point 3: Managing Thoughts, Feelings and Behaviors
This point is the introduction of basic concepts of REBT. Many of our behaviors are influenced by the way we see the world. Like our addictive behaviors, our thinking also can become automatic. This point offers techniques that can help you change your automatic thinking patterns. As you begin to think about the world differently, your emotions and behaviors also will change.


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The Nationals' apparent decision to vary the location of the presidents race finish line in 2012 isn't just confusing for the spectators at Nationals Park. Apparently Teddy Roosevelt is a bit out of sorts over it as well.
After alternating the location for the first two games, the Nationals gave the reasonable impression that the pattern might continue, so when the gates opened for Saturday's 4th inning presidents race, Roosevelt took off for the 3rd base line.
After realizing he'd run the wrong way, Teddy slammed on the breaks and reversed course, but by then, he was a distant 4th with no chance to catch George Washington.
Abe Lincoln, however, cut the outfield corner to pass George at the turn, and in a tight 3-way finish, edged out his competition to take the tape.
"Honest" Abe's history of cheating is well-documented, but presidents race finish line judge Screech once again ignored Abe's transgression, and awarded the victory to Abe.
The race capped a busy day for Teddy and the rest of the racing presidents.
After completing a rare late night presidents race doubleheader in extra innings last night, the team was up early to participate in this morning's National Cherry Blossom Festival Parade.
Video below courtesy of YouTube member lfahome.
Parade photo by Sarah Guthrie.


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Charter schools benefit students from poor families, black students and Hispanic English-language learners more than their peers in other groups, a study shows.
Overall, charter school students are faring better than they were four years ago, surpassing those in traditional public schools in reading gains and keeping pace in math, according to the National Charter School Study by the Center for Research on Education Outcomes at Stanford University.
The study, released Tuesday, updated and expanded upon 2009 findings comparing student performance on standardized reading and math tests. The 2013 study included 25 states, the District of Columbia and New York City, the nation's biggest city, which was considered separately from upstate New York because of its huge number of students. Together, the studied places enroll 95 percent of the nation's 2.3 million charter school students.
"The results reveal that the charter school sector is getting better on average and that charter schools are benefiting low-income, disadvantaged and special-education students," CREDO Director Margaret Raymond said.
Researchers did not look into why specific groups benefited more, but charter schools' greater freedom to direct resources toward specific needs was seen as a factor.
The average charter school student showed reading gains equivalent to those that would be expected from an extra eight days of school compared to traditional school students, the study said. Math gains were about equal among the two groups. The results were much improved from the 2009 study, when charter students lost the equivalent of seven days of learning in English and 22 days in math.
"We think that the level of improvement is really noteworthy given that it's only been a few years," Raymond said.
The gains were helped by the closure of 8 percent of the schools included in the 2009 analysis because they were underperforming, she said.
The report calls closing low-performing schools "the strongest tool available to ensure quality across the sector."
American Federation of Teachers president Randi Weingarten said the findings show that charter schools have failed to live up to "the leaps and bounds that were promised" in student performance.
"We should use the CREDO findings as an opportunity to pause and ask ourselves why we keep pitting charter schools against neighborhood public schools—a strategy that has created little more than a disruptive churn," Weingarten said.
When broken down into groups, the study showed that black students gained the equivalent of 14 days of learning by attending charter schools but that black students living in poverty saw even greater benefits, the equivalent of 29 days in reading and 36 days in math. Hispanic English-language learners saw even higher gains, though Hispanics in general scored similarly to Hispanics in traditional public schools.
White charter school students posted lower growth scores in reading and math than traditional public school peers, the study found. But noting a trend toward specialty charter schools in affluent white communities, the reading and math scores alone may not paint a full picture of the schools' performance, researchers said. Students may have started out above average and showed smaller gains in those subjects while gaining in other areas such as language or arts, they said.
The study analyzed student data from Arkansas, Arizona, California, Colorado, D.C., Florida, Georgia, Illinois, Indiana, Louisiana, Massachusetts, Michigan, Minnesota, Missouri, Nevada, New Jersey, New Mexico, New York, New York City, North Carolina, Ohio, Oregon, Pennsylvania, Rhode Island, Tennessee, Texas and Utah.
On the Internet:


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Liberty Ross Divorcing Husband After His Fling with Kristen Stewart
Liberty Ross filed for divorce from her director-husband Rupert Sanders on Friday, TMZ reports.
RIP Jelena and TomKat! Check out the most shocking celebrity splits
The split comes six months after Sanders' fling with Snow White and the Huntsman actress Kristen Stewart went public. Though Stewart has since reconciled with her boyfriend Robert Pattinson, who she was dating at the time, it appears there's no such happy ending for Ross and Sanders.
Ross has requested joint custody of the couple's two children, spousal support and attorney fees. In a response to the divorce petition, Sanders also asked for joint custody. However, he did not request spousal support and wants to split the cost of attorney's fees with Ross.
View original Liberty Ross Divorcing Husband After His Fling with Kristen Stewart at TVGuide.com
Other Links From TVGuide.com


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2012 was a good year for Prenda Law. The law firm raked in at least $1.9 million by sending thousands of letters alleging that Internet users had illegally downloaded pornographic films.
In August of that year, Prenda was feeling so good about itself that it made a particularly bold move. The law firm actually sued two of the nation's biggest Internet service providers, AT&T and Comcast, frustrated that the ISPs wouldn't hand over subpoenas seeking the identities of some 6,600 people. The bizarrely worded complaint alleged that the ISPs had "aided and abetted" hackers who gained entry to porn websites owned by Lightspeed Media, an adult content company that was then a Prenda client.
But it was really all about discovery—that is, getting the names of users. As AT&T's lawyer explained to the judge:
As elsewhere, Lightspeed and its attorneys would have this Court act as the instrument for its collection activity on a grand scale without regard to whether Lightspeed has asserted any viable claims, and without regard to the substantive and procedural rights of the ISPs or their subscribers… Presumably, Lightspeed is merely searching for any sort of relief that could result in the collection of more settlements before any judicial scrutiny and adversarial debate in this Court.
Even back then, close Prenda watchers saw a lawsuit against such large targets ending badly. Suing AT&T and Comcast was a "strategic blunder," as Prenda was provoking "sleeping giants" who really didn't have a dog in the fight until that point, noted Ars writer Tim Lee.
The move showed signs of backfiring early. The judge quickly agreed to AT&T's request to stay discovery. Meanwhile, by early 2013, Prenda's business was collapsing. The firm was ultimately hit with serious sanctions in a Los Angeles case. With discovery stayed and trouble on the horizon elsewhere, Prenda predictably lost interest in the case. It dismissed the suit in March.
That wasn't the end of it, however. In the original complaint, Lightspeed had accused a particular user, Anthony Smith, of hacking its websites. Prenda dropped the case, but Smith's lawyers went on the counterattack. Two weeks after the case was dismissed, Smith filed a motion asking for attorneys' fees. Lightspeed and Prenda had pursued lawsuits as a lark, Smith said, using "unreasonable and vexatious" litigation to simply get the names of people they could threaten.
Prenda had "no valid claims to stand behind" and the whole lawsuit was "a pretext for pursuing non-parties" that warranted sanctions.
Seven months later, Smith's motion has been approved, and Prenda will be punished by having to pay attorneys' fees—yet again.
"The litigation smacked of bullying pretense," wrote US District Judge G. Patrick Murphy in yesterday's order, which asks for a precise fee request to be submitted by next week. "Plaintiff raised baseless claims despite knowledge those claims were frivolous and pressed for a meritless 'emergency' discovery hearing."
This is the fifth known case in which Prenda has been ordered to pay fees. The first, second, third, and fourth instances total more than $176,000, not including interest. In this case, Smith's lawyers, Dan Booth and Jason Sweet, have estimated their client's fees to be about $70,000.


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Daylight Saving Time started on the weekend here and I'm so sleepy... I love this time of the year – the feeling of longer days, especially on the weekends, is fantastic – but the first week is a tough one. :S
A slice of this insanely tender bread – one of Nic's wonderful recipes – is certainly a great way of starting one's day, even if the sun hasn't come up yet.
The cheese flavor is very subtle, so spread some butter, jam, Nutella or whatever strikes you fancy. Next time I make this recipe I'll sprinkle some parmesan over the bread before baking it. Yum!
Parmesan potato bread
224g/8oz baking/russet potatoes
2 tablespoons (28g) unsalted butter, room temperature
1 cup (240ml) milk (low fat is fine), room temperature
1 tablespoon active dry yeast
1 tablespoon sugar
2 teaspoons salt
½ cup (120ml) water
4-5 cups (560-700g) all purpose flour – I used 4 ¼ cups
1 cup (100g) Parmesan cheese, grated
1 egg + 2 tablespoons water (for egg wash)
Peel potatoes and cut into even chunks. Boil potato pieces in a small saucepan until tender. Drain cooking liquid and completely mash potato (a ricer works well here) until smooth. Transfer potato to a large mixing bowl and stir in butter and milk, mixing until well combined.
Stir active dry yeast and sugar into the potato mixture. Let stand for 5-10 minutes, until mixture is slightly foamy. Add in salt, water and 3 cups (420g) of flour. Mix until smooth, either stirring with a wooden spoon or using the dough hook attachment on an electric stand mixer. Stir in parmesan cheese and gradually add in additional flour in ¼ cup (35g) increments until dough comes together and pulls away from the sides of the mixing bowl. If using an electric mixer, continue to knead at medium speed for about 5 minutes until dough is smooth and elastic. If mixing by hand, turn the dough onto a lightly floured surface and knead for 5-7 minutes, until dough is smooth and elastic.
Place dough in a lightly oiled bowl, cover with plastic wrap and let rise for 45-60 minutes, or until doubled in size.
Turn dough out onto a lightly floured surface and gently deflate. Divide in half, shape into long, oval loaves and place on a baking sheet generously sprinkled with cornmeal or lined with non-stick baking paper (if using regular baking paper, brush it lightly with butter or oil) – you can made small slits on the surface of each loaf.
Cover with a clean dish towel, and let rise for 45 minutes.
Meanwhile, preheat the oven to 190ºC/375ºF.
Stir together egg and water with a fork and lightly brush mixture over the risen loaves.
Bake for 30-40 minutes, until bread is a dark golden brown and the bottom sounds hollow when tapped. An internal read thermometer inserted into the center of each loaf will read 90-93ºC/195-200ºF.
Transfer loaves to a wire rack to cool.
Cool completely before slicing.
Makes 2 large loaves