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Geometric Quilting Designs
Peaks & Valleys
Angela Walters machine-quilted the solid cream area with diamond shapes and dense wavy lines, and she stitched triangles and radiating angles in the assorted print pieces.
Girly Swirls
Using a 3×12" straight-line long-arm quilting ruler to keep their lines perfect, Handi Quilter studio educators Vicki Hoth and Marie Eldredge stitched pairs of concentric lines behind the pinwheels so the pinwheels look like spinning fan blades. While most of the quilting was done in white thread, coral thread was used in some areas for contrast. They stitched a Greek-key design in the inner border and a continuous chevron in the outer border to finish the piece with a flourish.
See How: Geometric Designs
Learn three quick and easy techniques for creating geometric quilting designs that lend a modern feel to your quilt.
Straight and Arrow
Natalia Bonner machine-quilted loops and circles across the center of the quilt top and stitched parallel chevron shapes in the middle and outer borders.
Nordic Snowflakes
Angela Walters scattered star designs across the red tone-on-tone background and filled the remaining background area with swirl, pebble, and zigzag patterns.
Lorre Fleming machine-quilted an allover Orange Peel design on the quilt.
Double the Fun
Handi Quilter educator Vicki Hoth machine-quilted an intersecting grid design in the background of the quilt to balance the circle applique shapes.
Stamp of Approval
Tracey Fisher machine-quilted parallel lines about 1" apart in the solid blue pieces, extending the stitching out into the border. She stitched an Orange Peel design of interlocking circles in the assorted print squares.
Points of Pride
Machine-quilter Connie Gresham echo-quilted the blue print section of each block and stitched a curl-and-ray design in the remaining areas.


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Trying to track—let alone make sense—of recent developments around Iran is enough to make one reach for that stuff they just found lots of in Afghanistan: lithium. While the element is essential for a host of electronics, it is also a standard treatment for bipolar behavior.
Take the issue of Iran's missile force. The conservative International Institute for Strategic Studies (IISS) in London concluded that the threat the missiles pose to Israel, the U.S. or its allies has been vastly overstated. "While such attacks might trigger fear, the expected casualties would be low—probably less than a few hundred," the study found. Iran's Shehab-1 and 2 cannot even reach Israel, and it will be at least three years before the longer range Shahab-3B and Sejjil-2 are deployed. In any case, according to the study, the missiles are inaccurate.
But while the IISS was pooh-poohing the danger, U.S. Secretary of Defense Robert Gates told the Senate Armed Services Committee that Europe was threatened by "hundreds" of Iranian missiles, although Iran doesn't have a missile that can come close to hitting Europe. Gates was on Capitol Hill pumping the Obama administration's new sea and land-based " phased adaptive approach" to missile defense.
In the meantime, the U.S. was sending an aircraft carrier and almost a dozen support ships into the Red Sea. Rumor has it that the fleet will try to intercept Gaza aid ships organized by the Iranian Red Crescent Society. Several Israeli submarines are currently deployed in the Gulf of Iran as well, along with a newly arrived surface warship. While it seems extremely unlikely that the U.S. would actually try to halt the Iranian ships, U.S. State Department spokesman Philip Crowley said, " I don't think that Iran's intentions vis-à-vis Gaza are benign."
The London Times reported that the Israelis and the Americans had come to an agreement with Saudi Arabia to allow Israeli warplanes to cross the desert kingdom without being challenged on their way to bomb nuclear sites in Iran. While Riyadh called the story "slanderous, the Times was holding to its sources in the Israeli and U.S. militaries. And Tzahi Hanegbi, chair of the Knesset's Foreign Affairs and Defense Committee, said that "time was running out" for Iran.
As I said, people are talking very crazy these days in the Middle East.
If Israeli planes did decide to bomb targets in Iran, conventional thinking is they would hit enrichment facilities at Natanz and Qom, a gas storage unit at Isfahan and the heavy-water reactor at Arak. Planes might also target the light-water reactor at Bushehr. To do so, of course, would require crossing Jordanian and Saudi airspace, but there is very little either country could do about it. Challenging the Israelis in the air is a very bad idea.
Even with mid-flight refueling, it would be a stretch, but it would be hard to knock out Iranian targets using just their missile firing submarines. Unless, of course, the Israelis are willing to cross the Hiroshima-Nagasaki line and use nuclear warheads. It seems like madness, but then some people are talking pretty crazy these days.
In a recent Christian Science Monitor article, "Does Israel suffer from 'Iranophobia'?", reporter Scott Peterson examines the Israeli mindset and found some pretty scary things. "There's something utterly irrational and exceedingly disproportionate in Israeli understandings of the Iranian threat," says Haggai Ram, a professor at Ben Gurion University and author of "Iranophobia: The Logic of an Israeli Obsession."
"Iran is perhaps the most central issue [in Israel], yet there is really no critical debate about this," says Ram, and for those Israelis who do challenge the idea that Iran is an "existential threat" to Israel, "they are immediately rendered into these bizarre self-defeating, self-hating Jews, and seen as a fifth column."
According to Ram, "For Israelis, anti-Iran is a consensus. You don't have to be a neoconservative to wish for the destruction of Iran." Polls show that Prime Minister Netanyahu is growing in popularity, and that Israelis are circling the wagons on everything from the attack on the Gaza flotilla to the embargo of Gaza Strip.
Iranian President Ahmadinejad has also said that one day "Israel will vanish," but much of his bombast is for internal consumption and the need to divert people from the economic crisis at home. Netanyahu's comparison of Ahmadinejad to Hitler, and of the current situation to 1939, serves much the same purpose. Focusing on Iran keeps the world's eyes away from the ongoing occupation of Palestinian lands and the strangulation of Gaza.
How much of this is real is hard to sort out. The U.S. talks about Iran as a "threat," even though Iran has neither the military nor the economic capabilities to inflict serious damage on Americans. Iran can also talk about Israel vanishing, but can do nothing to actually facilitate that. Even if Iran acquired a nuclear weapon, to use it would be national suicide, and the Iranians have never exhibited a desire for self-destruction.
The danger is that rhetoric and bombast can create its own reality and lead to a mistake. The Israeli attack on the Turkish ship was just that. When people with nuclear weapons talk in apocalyptic language, it's something to pay attention to.

subset: commoncrawl


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Boston official: Video footage shows bomb suspect
BOSTON (AP) — In what could be major break in the Boston Marathon case, investigators are on the hunt for a man seen in a department store surveillance video dropping off a bag at the site of the bombings, a local politician said Wednesday.
Separately, a law enforcement official confirmed that authorities have found an image of a potential suspect but don't know his name.
The development — less than 48 hours after the attack, which left three people dead and more than 170 wounded — marked a possible turning point in a case that has investigators analyzing photos and videos frame by frame for clues to who carried out the twin bombings and why.
City Council President Stephen Murphy, who said he was briefed by Boston police, said investigators saw the image on surveillance footage they got from a department store near the finish line and matched the findings with witness descriptions of someone leaving the scene.
"I know it's very active and very fluid right now — that they are on the chase," Murphy said. He added: "They may be on the verge of arresting someone, and that's good."
The bombs were crudely fashioned from ordinary kitchen pressure cookers packed with explosives, nails and ball bearings, investigators and others close to the case said. Investigators suspect the devices were then hidden in black duffel bags and left on the ground.
As a result, they were looking for images of someone lugging a dark, heavy bag.
One department store video "has confirmed that a suspect is seen dropping a bag near the point of the second explosion and heading off," Murphy said.
A law enforcement official who was not authorized to discuss the case publicly and spoke to The Associated Press on the condition of anonymity confirmed only that investigators had an image of a potential suspect whose name was not known to them and who had not been questioned.
Several media outlets reported that a suspect had been identified from surveillance video taken at a Lord & Taylor department store between the sites of the bomb blasts.
The turn of events came with Boston in a state of high excitement over conflicting reports of a breakthrough.
A law enforcement official briefed on the investigation told the AP around midday that a suspect was in custody. The official, who was not authorized to divulge details of the investigation and spoke on the condition of anonymity, said the suspect was expected in federal court. But the FBI and the U.S. attorney's office in Boston said no arrests had been made.
By nightfall, there was no evidence anyone was in custody. No one was taken to court. The law enforcement official, who had affirmed there was a suspect in custody even after federal officials denied it, was unable to obtain any further information or explanation.
At least 14 bombing victims, including three children, remained in critical condition. Dozens of victims have been released from hospitals, and officials at three hospitals that treated some of the most seriously injured said they expected all their remaining patients to survive. A 2-year-old boy with a head injury was improving and might go home Thursday, Boston Children's Hospital said.
On Wednesday, investigators in white jumpsuits fanned out across the streets, rooftops and awnings around the blast site in search of clues. They picked through trash cans, plastic cup sleeves and discarded sports drink dispensers.
Boston remained under a heavy security presence, and some people admitted they were nervous about moving about in public spaces.
Tyler King, a personal trainer from Attleboro who works in Boston, said four of five clients canceled on him a day earlier because they were worried about venturing into the city. He took the train in, but "I kind of kept my head on a swivel."
Kenya Nadry, a website designer, took her 5-year-old nephew to a playground.
"There's still some sense of fear, but I feel like Boston's resilient," she said. "The fine men in blue will take care of a lot of it."
Police were stationed on street corners across downtown Boston, while National Guardsmen set up tents on the Boston Common and stationed tactical vehicles.
Dr. Horacio Hojman, associate chief of trauma at Tufts Medical Center, said patients were in surprisingly good spirits when they were brought in.
"Despite what they witnessed, despite what they suffered, despite many of them having life-threatening injuries, their spirits were not broken," he said. "And I think that should probably be the message for all of us — that this horrible act of terror will not bring us down."
President Barack Obama and his challenger in the last election, former Massachusetts Gov. Mitt Romney, planned to visit Boston on Thursday to attend a service honoring the victims.
The blasts killed 8-year-old Martin Richard, of Boston, and 29-year-old Krystle Campbell, of Medford. The Shenyang Evening News, a state-run Chinese newspaper, identified the third victim as Lu Lingzi, a graduate student at Boston University.


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WASHINGTON — With thousands of wind manufacturing jobs already gone — including 500 in Colorado — eight of nine members of the state's delegation say they are furiously working to try to save the wind-energy tax credit before it expires in six weeks.
The tax credit, which costs between $1 billion and $3 billion a year, helps support the wind-energy industry that fosters manufacturing facilities in 44 states and accounts for tens of thousands of jobs.
Sens. Mark Udall and Michael Bennet, along with a handful of other Republican and Democratic senators, have cleared the first hurdle in getting the extension passed through a Senate committee. It still needs approval from the full Senate and the House to pass.
"This is my thing because there are a lot of jobs that are already in place with nice benefits packages that we're at risk of losing," Udall said, noting that he recently met a man in Pueblo who had been freshly laid off from Vestas. "These are people's lives. … I'm going to keep fighting."
The tax credit has robust bipartisan support in the GOP-controlled House and the Democratic-controlled Senate, but it hasn't had much legislative success this year because it has been attached to less popular proposals or caught in the gridlock in Congress.
There have been at least a half-dozen attempts to get a "clean" — meaning no strings attached — vote on the measure but to no avail.
"I hope we take the lame out of lame duck and we pass the wind-production-tax credit as part of the broader conversation," Bennet said. "I don't have any doubt in the end that it's going to pass, but we're already seeing damage done."
Industry leaders say they started slowing future projects because they didn't know what was going to happen with the tax credit — which costs 2.2 cents per kilowatt-hour produced by large wind turbines.
Wind leaders have told Congress throughout the year that they are OK with a one- or two-year extension.
But against the backdrop of uncertainty, the American Wind Energy Association estimates about 4,000 jobs have been lost nationwide already.
"The 2013 market is looking really soft," said Rob Gramlich, a senior vice president at the association. "Now is the time. … We're ready to go; we've been waiting around on this the whole time."
On the House side, the three Colorado Republicans who support it have written letters to congressional leadership trying to get a vote on some of the proposed measures that would extend the credit.
Rep. Doug Lamborn, R-Colorado Springs, doesn't support it because he says he doesn't believe the federal government should pick winners and losers in energy development.
Rep. Cory Gardner, R-Yuma, talked to House Speaker John Boehner, R-Ohio, about it during a visit to his district on the Eastern Plains. Gardner said he has also worked to get an extension folded into the still-pending Farm Bill.
"We're searching for every possible answer to get this done," Gardner said.
Rep. Scott Tipton, R-Cortez, has a Vestas facility in his district that has already laid off people.
Tipton said that despite the tax credit's steep price tag, he supports extending it and finding a way to pay for it.
"It's not pretty. The financial situation is tough right now," he said. "But this is important to our country. We need to continue to pursue achieving American independence."
Allison Sherry: 202-662-8907, email@example.com or twitter.com/allisonsherry


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Saint Nectarios of Pentapolis
Nothing is greater than a clean heart, because such a heart is the throne of God. And what is more glorious than the throne of God? Nothing at all. God says of those who have a clean heart: 'I will dwell among them and walk with them. I shall be God to them and they a people to me' (2 Cor. 6, 16).
Source: pemptousia.com
Pemptousia and OCN have entered a strategic partnership to bring Orthodoxy Worldwide. Greek philosophers from Ionia considered held that there were four elements or essences (ousies) in nature: earth, water, fire and air. Aristotle added ether to this foursome, which would make it the fifth (pempto) essence, pemptousia, or quintessence. The incarnation of God the Word found fertile ground in man's proclivity to beauty, to goodness, to truth and to the eternal. Orthodoxy has not functioned as some religion or sect. It was not the movement of the human spirit towards God but the revelation of the true God, Jesus Christ, to man. A basic precept of Orthodoxy is that of the person – the personhood of God and of man. Orthodoxy is not a religious philosophy or way of thinking but revelation and life standing on the foundations of divine experience; it is the transcendence of the created and the intimacy of the Uncreated. Orthodox theology is drawn to genuine beauty; it is the theology of the One "fairer than the sons of men". So in "Pemptousia", we just want to declare this "fifth essence", the divine beaut in our life. Please note, not all Pemptousia articles have bylines. If the author is known, he or she is listed in the article above.


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As the value of bitcoins skyrockets, security researchers have discovered yet another piece of malware that harnesses the processing power of compromised PCs to mint the digital currency.
BTCs, as individual bitcoin units are known, have recently traded as high as $130, about four times their value from February. In Bitcoin vernacular, BTCs are "mined" by computers that solve cryptographic proof-of-work problems. For each correct block of data submitted, contributors are collectively rewarded with
50 25 bitcoins. Legitimate participants, who typically receive a percentage of the reward based on the number of blocks processed, often use powerful systems with multiple graphics processors to streamline the process.
But scammers spreading malware on Skype are taking a decidedly more nefarious approach. Their malicious code hijacks a computer's resources to mine BTC, according to a blog post published Thursday by a researcher from Kaspersky Lab. While the bitcoin-miner.exe malware harnesses only the CPU resources, which are much slower than GPUs in BTC mining, the attackers have the benefit of infecting many computers and then chaining them together to mint the digital currency. Unlike legitimate miners, the criminals don't have to pay the purchase price of the hardware or pay for the electricity to run them.
Bitcoin-mining malware has been circulating for almost two years now. Some versions actually tap infected computers' GPUs and can even run on OS X Macs.
The malware spotted by Kaspersky is most likely just a copycat phenomenon, but there's reason to think it hasn't been a waste of time for the people who created it. The bit.ly URL that had been hosting the malware was receiving more than 2,000 clicks per hour just prior to the Kaspersky blog post going live. That's a fair amount of distributed computing power.
"As I said, the campaign is quite active," Kaspersky Lab Expert Dmitry Bestuzhev wrote. "If you see your machine is working hard, using all available CPU resources, you may be infected."
Post updated to clarify Bitcoin reward system described in second paragraph.


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Do you have problems with your financial situation but need money urgently, and your friends or family members cannot help you? In this case, the only solution advance you have is to borrow cash from organizations specializing in loans. Nevertheless, to be approved for more conventional credits, you also ought to have a perfect credit history! So, how to act in case"I need a loan"? The best thing you can do in such situations is to apply for Greenleaf title loans. To get cash today, you are only required to provide general information and to use your vehicle as a pledge.
The essential point you ought to get aware of before sending the application for online loans is that lenders providing money this way are absolutely different from more conventional financial institutions.
The most obvious distinction between these two organizations is that in case you want to get cash via traditional lenders, you are required to visit the near office of a particular company. Before going there, you also need to prepare a set of documents to prove the information you provide. With cash loans online, the only thing you are obligated to do beforehand is to choose the most suitable lender. Nonetheless, since this type of credit is getting more frequently used by the citizens of Greenleaf in Wisconsin, there's an enormous number of organizations in the state that offer such an instant service. That's why it's better not to apply to just any first organization 'near me'because not all creditors can help you solve your financial problems.
If you want to feel absolutely protected while getting your loan, it's recommended to avoid an unsecured type. These are those credits that are provided by the lenders without any pledges. That's why they have lots of disadvantages, including:
If you have realized that you don't want to deal with all of these shortcomings, it's better to send your application for American title loans Greenleaf in Wisconsin WI. These credits are considered to be secured. It means that if a particular person wants to receive money with this method, he/she is obliged to use the car as collateral. Most of the people who run out of money are afraid to get car title loans because they think that they won't be able to drive their vehicles before they pay off the entire sum of their debt. Nevertheless, such thoughts are wrong. After being approved for title loans, borrowers are permitted to use their cars as they want and even exploit them for commercial purposes.
Moreover, you can use the funds for any purpose you want. After receiving cash on your active bank account, you aren't obligated to provide any bills to your lender.
All the companies specializing in providing Greenleaf title loans have only a limited list of requirements for the automobiles that can be used as collateral. The most frequent criteria are:
These requirements are standard for almost all organizations that provideGreenleaf auto title loans. Nonetheless, some companies are permitted to include more detailed criteria for this list. In case you want to avoid strict rules and receive cash from direct lenders without any problems, it's better to get aware of all peculiarities of a particular lender before you send your application. To get approved, you only need to go to the website of this organization and visit the section where it posts all legal materials. Among these official papers, you should choose the one called «Terms and Conditions.» This text will help you get aware not only of the requirements to the vehicle but also the rights you get when you are authorized for easy title loans Greenleaf in Wisconsin.
Since Greenleaf title loans are known as online alternatives, the only thing you ought to do to get approval from your lender is to fill out the form. In most cases, such an application is found on the main page of the website. To understand how to work with this online platform, you don't have to spend hours because most of the sites have user-friendly interfaces and client support. If you experience some problems, you can simply contact a group of professionals, and they will solve your issues fast.
Most applications don't require providing detailed information about the borrower. To get approved, you only need to write your:
Moreover, in most companies, it's needed to provide contact information, including a telephone number and email address.These details will be used to send the confirmation letter to the client after he/she has applied. It will help lenders know that the form has been filled out by a real human being, and all the required payments will be made on time.
As it's mentioned above, people who want to apply for American title loans Greenleaf in Wisconsin aren't obligated to go to the office of the lender they have chosen because the form is filled out via the website of this company.That's why the process of getting cash online doesn't take much time. Furthermore, it is quick because lenders don't check the information provided by the clients manually. All of the details are verified automatically. Thus, the chance of being approved via this alternative is much faster than other conventional options. Moreover, there's no credit check in most companies, and it's possible to get funds on your bank account even if you have a bad credit history.
So, the maximum time borrowers have to spend to wait for a positive decision from their lenders is only from 3 to 5 minutes. However, in case you send your application on one of the non-working days, the process can last longer. That's why if you want to speed up the procedure, it's recommended to fill out the form from Monday to Friday.
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That's why it's banned:
The best lenders refuse to cooperate with people who have already borrowed cash from other companies. That's why before approving a particular application, they pay attention to this information first.
Some people don't want to visit some Greenleaf title loans locations because they think that it can involve hidden fees. Nonetheless, the law forbids such charges, and if a particular lender acts illegally, there's a high risk that it will lose all of the documents permitting it to operate in the state or even in the whole country. That's why if you want to avoid unexpected charges, it's better to address only licensed lending organizations.
If you want to check whether your lender doesn't try adding hidden fees, the only thing you need to do is to visit your profile on the website of this company. By doing this, you will also find out when you are required to make payments. If you make it a habit, missing the due date will be impossible. The delinquency is forbidden by most of the lenders, and you will definitely receive new fees.
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Even though there are not too many requirements,every client won't get a positive decision. Some of the companies decline requests, and it can happen because of the following:
Being secured credits, car title loans Greenleaf don't have high interests. However, the rates are increased for the lower sums. For instance, if a particular borrower gets $2,000, the APR will be about 30%. But if a person applies for the loan that is more than $3,000, the rate will be decreased to 18%. That's why if you don't want to overpay, it's not recommended to get a smaller amount.
All processes with title loans in Greenleaf of Wisconsin are done online. That's why the only thing you are required to do to make payments is to open your account on the website and choose how you prefer to pay. There are two options:
The second type allows you to save money. In this case, you ought to pay off only those rates that are included in this very period.
There are lots of other options online. Nevertheless, almost all of these alternatives aren't as profitable as title loans in Greenleaf of Wisconsin. However, the worst thing you can do is to get a loan online in the company that works without any legal documents. To find out if a particular organization operates legitimately, you need to pay additional if it has such licenses:
Working with legit lenders, you can be sure that there won't be any hidden fees. Furthermore, in case you have problems with the organization itself, you will also be able to ask for the help of the government.
Although getting cash from online lenders doesn't take much time, you ought to think beforehand if there are other ways to solve your issues. These days, the government offers lots of social payouts.
Still, if car title loans Greenleaf in Wisconsin are the most suitable solution for you, it's challenging to choose the right company to work with. To avoid any further issues, better to ask professionals to assist. In this case, we are ready to help find the most beneficial creditor that will satisfy your financial needs. We pay attention not only to the organization itself but also to your economic situation and how much money you ought to get to escape from debts.
Applying does NOT affect your credit score!
No credit check to apply.


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Backpacking Action camp for High School Age boys in Royal Rangers
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The Readers' Writers: New York Times bestselling author Kevin J. Anderson
Kevin J. Anderson is a No. 1 internationally bestselling author with over 120 books to his credit. A multi-award-winning writer, he has been called upon to write spin-off stories for "Star Wars," "Dune," "The X-Files," "Batman" and "Superman," "Titan A.E." and "StarCraft." Comic book fans may be familiar with Anderson's "Star Wars," "Predator," "Justice Society" and "Star Trek" comics.
Though Anderson has co-authored several books, such as "Frankenstein: Prodigal Son" with Dean Koontz, "Clockwork Angels: The Novel" with Neil Peart from legendary rock group Rush, and the new "Dune" novels with Brian Herbert, Rebecca Moesta can lay claim to the greatest collaboration with Anderson, as she not only has co-authored nine novels and/or series with him, but agreed to marry him. They just celebrated their 21st wedding anniversary.
"Death Warmed Over" is the first in a new series introducing private eye/murdered zombie Dan Chambeaux, "Dan Shamble" to his paranormal clientele. Dan takes nearly every case that enters his "Unnatural Quarter" office. From witches suing their publisher for a misprinted spell that went horribly wrong, to a mummy wanting the museum to release him, to a werewolf ensnared in divorce proceedings, Dan tries to help his clients, all while trying to solve his own murder. The story is witty, original, and presents readers with an unbelievably believable world as only Kevin J. Anderson can.
Watch for the original novelette "Stakeout at the Vampire Circus" in November and the next Dan Shamble novel "Unnatural Acts" this January.
Q. In 1988 when "Resurrection, Inc." was published, you had little knowledge of what becoming famous would be like. Today, you readily attend conferences to meet established and potential fans. Thank you for that. What has been the greatest joy of becoming a famous author, and the greatest detriment?
A. Authors are the "invisible" sort of famous. I do know many truly famous people, from rock stars, movie and TV stars, producers and directors — but nobody recognizes me on the street. That's fine with me. Part of the job is to interact with fans directly, whether by Twitter (@TheKJA) or Facebook (The Official Kevin J. Anderson Page), or at numerous conventions, book signings, library talks, etc. I grew up as a fan and attended many such conventions as a fan, and I still feel at home there.
Q. Your wife Rebecca enjoys mysteries. Did she influence "Death Warmed Over"?
A. Rebecca influences everything I write; I talk with her about my projects as I'm thinking about them in the planning stages, she brainstorms with me as I develop the story and characters, and she critiques the draft manuscripts as she reads them. We watch many mystery TV shows, and know the expectations of the convoluted cases as well as the interesting characters. And what can be more interesting (or funny!) than a zombie private detective?
Q. Obviously, you savor the genres you write in. Still, writers frequently have a genre they would love to explore that their established fans might not be so keen about. What's yours?
A. I'm well known for my big complex science fiction and fantasy epics, such as the "Saga of Seven Suns," my "Terra Incognita" fantasy trilogy, the "Dune" and "Hellhole" books with Brian Herbert. Those are like "War and Peace" with gigantic stories and casts of characters … and I love sinking my creative teeth into them. BUT, in books like that I never get a chance to have fun or just be silly. I do have a good sense of humor (well, at least I think so), and the Dan Shamble series, as well as my "Blood Lite" anthology series of humorous horror, gives me a chance just to be funny, and it's so liberating. And ridiculous … but in a serious way.
Q. During your early struggles to be published, you once received a trophy as "The Writer with No Future." Do you still have it?
A. Definitely. It's right in my office. (Actually, it's on the toilet tank in the bathroom of my office.) I received it when I was able to produce more rejection slips, by weight, than any other writer at a large conference. I keep it to remind me of the value of awards — what matters most is what the fans and readers think.
Q. Your epic world-building enthralls readers. Yet, in an interview, you alluded to your preference to smaller scale and personal stories involving time travel – the "what ifs." Will we see more of those types of explorative tales from you?
A. I don't think it's an either/or proposition. I love to create a large canvas and a well thought-out original world, where all the details fit together and all the questions are asked. But a giant world in itself isn't interesting; you have to put interesting people [sic] with interesting problems into the story. I like looking at the whole thing from both the big picture and the small picture. Some of Dan Shamble's cases involve the possible extinction of monsters everywhere, but he still has to worry about spending enough time with his girlfriend (even if she is a ghost) and pretending to laugh at the really bad jokes his BHF (Best Human Friend) Officer McGoohan tells him. It's a good balance.
Q. Any parting comments for your readers and those who haven't yet read your work?
A. I have a lot of different stories, from big space operas to sprawling fantasy epics, to these very funny and light zombie PI novels. I write very quickly, and I keep myself interested by switching gears and writing different things. Try my steampunk "Clockwork Angels," or my epic "Saga of Seven Suns" … or, for a good time, try "Death Warmed Over." I'm amusing myself, and I hope to amuse readers as well.
DA Kentner is an author and journalist. www.kevad.net


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Push Pop Bubble Pop It Fidget Toy Four Squares Tie Dye White Purple Cyan
$7.90 (-51%)
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Push Pop Bubble Pop It Fidget Toy Four Squares Tie Dye White Purple Cyan. Actual color may vary, darkness of color may vary depends on batch of production as well as due to photography and screen differences.
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WizZon is an online shop selling intellectual and skill products. We sell magic cubes, Rubik's cube, professional speed cubes, speedcubes, Hanayama cast puzzles, jigsaw puzzles, puzzles, board games, yoyos, magic props, intellectual and skill toys, musical, sports stuff and many others. Our collection will grow. We are currently based in Brunei.
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Bury Pl. 9, Correiensis Amaryllis
Original Antique Print
25" x 18 1/2" (approximate)
Hand-colored engraving
A Selection of Hexandrian Plants
Priscilla Susan Bury's remarkable contribution, A Selection of Hexandrian Plants, Belonging to the Natural Orders Amaryllidae and Liliacae, depicts flowers with six stamens. Of elephant-size, it is the largest scale, most unusual and rarest of all 19th-century botanicals. Comprised of 51 aquatint engravings produced in ten parts from 1831 to 1834 by renowned London engraver, Robert Havell, Jr., these rich aquatint engravings are partly printed in color and partly hand-colored. Also the publisher of this work, Robert Havell produced Bury's folio at the same time that he was engraving John James Audubon's plates. John James Audubon was listed among the subscribers to this splendid 19th-century botanical folio. Only 80 subscriptions were sold.
Wilfred Blunt, author of The Art of Botanical Illustration, writes, "Mrs. Edward Bury…was the artist of the impressive Selection of Hexandrian Plants (1831—34), certainly one of the most effective color-plate folios of its period…. The "Hexandrian" flowers — lilies, crinums, pancratiums and hippeastriums — are executed in fine-grained aquatint, partly printed in colour, and retouched by hand."
In his work, Flower and Fruit Prints of the 18th and early nineteenth centuries, 1970, Gordon Dunthorne refers to Bury prints from this folio as "Finely coloured plates of perfect technique, very decorative and "modern" in feeling, of amaryllis, crinum, pancratium and lilies. Some plates show the bulb and stalk, leaves and blossom."
Mrs. Edward Bury (c. 1799—1870), née Priscilla Susan Falkner, was the daughter of a well-placed family. Exotic plants were grown in the hot houses at her family's estate, Fairfield, near Liverpool, where, as a young girl, she began painting flowers. The Victorian tradition viewed women illustrating flowers as "genteel, diverting and instructive study [so] that the fair sex could find amusement…." The talented Bury's "Hexandrian" watercolor flower "portraits", as she called them, were of lilies, crinums, pancratiums, and hippeastrums.
Priscilla Susan Bury was encouraged in her botanical painting pursuits by a local botanist, William Rowe, and her distinguished friends, the zoologist William Swainson and William Roscoe. She also received technical expertise from the staff at the Liverpool Botanical Gardens. Unlike her contemporaries, Pierre-Joseph Redouté or Pierre-Antoine Poiteau, Priscilla Susan Bury was not trained as a botanist or artist, yet she occupies a singular position in botanical art.
Every antique work of art that you purchase at our gallery or on our website is guaranteed to be authentic and of the finest quality. All of our prints include any conservation work required to assure that your acquisition is archivally stable and will last for generations when cared for properly.


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US orders shutdown of bus company in Calif. crash
LOS ANGELES — Federal regulators on Friday ordered a tour bus operator involved in a Southern California crash that killed eight people to immediately stop operating because its buses weren't properly maintained or inspected and its drivers weren't properly vetted for qualifications.
The Federal Motor Carrier Safety Administration said in a statement that it ordered all three buses operated by National City, Calif.-based Scapadas Magicas LLC in the U.S. to stop operating because they pose an imminent hazard to public safety.
The roadworthiness of the 1996 bus involved in the Feb. 3 crash has been in doubt after the driver said the brakes failed before it smashed into a sedan, flipped, slammed into a pickup and crashed on a road in the San Bernardino Mountains east of Los Angeles. The bus was carrying 38 people, including the driver and a tour guide, to Tijuana, Mexico.
Regulators said Friday that a post-crash investigation of the company's two other buses that had been operating in the U.S. found serious mechanical safety violations.
Inspectors said the company failed to have its vehicles regularly inspected before the deadly crash. When the buses were inspected, there were many violations, including multiple brake problems.
Vehicle maintenance violations were cited during 21 of Scapadas Magicas' 25 most recent vehicle inspections, and vehicles had to be placed out of service after 36 percent of the inspections, according to the order to cease operations.
In a January 2013 compliance review conducted by transportation regulators, breakdowns were identified in the company's safety management systems, but "Scapadas Magicas failed to take necessary action to remedy its safety management deficiencies," the order said.
Calls to Scapadas Magicas' offices seeking comment Friday night were unsuccessful.


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Audubon Bowen Ed. Pl. 126, Caribou or Reindeer
Hand-colored lithograph, 1845-1848
22" x 28" (approximate)
Audubon Bowen Ed. Pl. 126, Caribou or Reindeer
Original Antique Print
22" x 28" (approximate)
Hand-colored lithograph
The Viviparous Quadrupeds of North America, Bowen Edition
John James Audubon's last major accomplishment was the creation of The Viviparous Quadrupeds of North America which was produced in collaboration with his friend, the Reverend John Bachman (1790—1874), a Lutheran minister and naturalist, who wrote the accompanying text. In the summer of 1843, John James Audubon embarked with his son, John Woodhouse, on a final drawing expedition up the Missouri River to document and depict the four-legged mammals of North America.
Produced from 1845 to 1848 by the distinguished Philadelphia print maker, John T. Bowen, the set of 150 black-and-white lithographs was completely hand-colored. Lithography proved an excellent medium for depicting the tactile realism of the mammals' fur. These prints were published in imperial folio size, measuring 22 by 28 inches. Acclaimed as the definitive 19th-century work in the field of American mammalogy, many of the mammals were drawn by John Woodhouse Audubon with backgrounds contributed by Victor Gifford Audubon.
John James Audubon explored the American backwoods and wilderness to discover, record, and illustrate its avian life. America's most revered artist-naturalist, John James Audubon (1785—1851), is renowned for his extraordinary undertaking to record the birds of America. The images he created are icons of 19th-century art. The images he created are icons of 19th-century art. Fascinated by nature since childhood, it was not until 1819, when he was the father of two sons, that John James Audubon fully embraced the life of an artist-naturalist. In 1820, John James Audubon left his family in Cincinnati, embarking with a young apprentice, Joseph R. Mason. Mason worked with John James Audubon from 1820 until 1822, contributing mostly botanical elements to about 55 of John James Audubon's paintings. Later, the artists George Lehman, Maria Martin, and his sons Victor Gifford Audubon and John Woodhouse Audubon assisted John James Audubon with botanical and landscape backgrounds.
Every antique work of art that you purchase at our gallery or on our website is guaranteed to be authentic and of the finest quality. All of our prints include any conservation work required to assure that your acquisition is archivally stable and will last for generations when cared for properly.


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De-registering as a student
Upon graduation, or if you discontinue your studies, you must terminate your student registration at Leiden University. This is also known as de-registration. Make sure to do so as quickly as possible in case you are eligible for a partial refund of tuition fees paid.
Bachelor's and Master's students can de-register via Studielink by taking the following steps:
- Log into Studielink
- Choose the study programme for which you want to de-register
- Select the red button 'Terminate enrolment'
- Select your 'Reason' for termination, i.e. 'Graduation', or (if you are discontinuing) 'Termination of enrolment'
- If applicable, enter any 'Additional information' you think is relevant
You can ask that your registration be terminated at the earliest as of the first day of the following month. In some cases early termination of registration may mean you are entitled to a (partial) refund of tuition fees.
Please note that it is not possible to back-date the termination of your student registration, in other words you cannot de-register with retroactive effect!
Discontinuing your studies
You may choose to discontinue your studies at any point in the academic year except the months of June, July and August. You may wish to do so if, for example, you no longer want to follow the programme, you wish to avoid being issued with negative binding study advice, or circumstances are preventing you from studying. Make sure to de-register in Studielink via 'My enrolments' then 'Request for termination of enrolment', or by completing a 'Request for termination of registration form'.
Upon graduation you can request de-registration via Studielink 'on the grounds of graduation'. Your de-registration will then come into effect on the first day of the month following the date your graduation is recorded in uSis.
The date on which your student registration is terminated is not related to the date on which you receive your actual diploma. It is therefore wise to submit a request for de-registration 'on the grounds of graduation' as soon as you are informed that you have met all the requirements for graduation. There is no risk that your de-registration will come into effect too early, as your registration will only be terminated once your graduation is recorded in uSis.
In addition to de-registering in Studielink you are also responsible for cancelling student finance arrangements with DUO.
After graduation
Whether you are graduating or discontinuing your studies there are many options available to you once you leave university. You could, for example, become a Leiden University ambassador. You can find more information under 'After graduation'.


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White House Responds to Petition to Build a Death Star
We bet the White House is starting to regret that policy of responding to every petition that garners 25,000 signatures.
In a report cheekily titled "This Isn't the Petition Response You're Looking For" - the White House explains why the U.S. cannot build a Death Star, a planet-destroying space station inspired by the Star Wars films.
Disney buys LucasFilm, slates Star Wars 7 for 2015
Paul Shawcross, the chief of the Science and Space Branch at the White House Office of Management and Budget, broke it down. "The construction of the Death Star has been estimated to cost more than $850,000,000,000,000,000. We're working hard to reduce the deficit, not expand it... The Administration does not support blowing up planets... Why would we spend countless taxpayer dollars on a Death Star with a fundamental flaw that can be exploited by a one-man starship?"
Are you sad that there won't be a Death Star?
View original White House Responds to Petition to Build a Death Star at TVGuide.com
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Jolek printer parts, Jolek ink parts and Jolek toner parts for print machines are offered by Jolek - The Premium Cartridge Company. Jolek replacement printer parts from Jolek are a genuine cost effective replacement cartridge for your Jolek printer, Jolek multi function machines and Jolek faxes. All of our Jolek toner parts are re-manufactured to closely match OEM specifications or exceed Jolek original manufactured supplies output page performance allowable by after market chip technology.
Jolek - The Premium Cartridge Company manufactures the cartridges of choice to those who look for OEM quality at a discount. Jolek laser printer cartridges are manufactured using ISO certified components and are JVAT certified. Jolek manufactures their products with quality components and uses proprietary quality control methods, guaranteeing the best possible print quality. The results are the most competitive cost per page products on the market today.


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An Interview With Jason Wingreen: Part Two
May 21, 2010
Last week, the character actor Jason Wingreen discussed his role as a founder of New York's legendary off-Broadway theater, the Circle in the Square; his early film and live television roles; and his appearances on Playhouse 90, The Twilight Zone, and Wanted: Dead or Alive. As our interview continues, Wingreen recalls his work from the sixties onward.
What are some of the other TV parts you remember? You had recurring roles on a number of series.
I played in The Untouchables. I played Captain Dorset of the Chicago Police and I did seven episodes. What I remember mainly, and this is not entirely true but it seemed to be for the bulk of these seven shows, there's a murder, and Captain Dorset arrives to investigate and look around for clues, and along comes Eliot Ness and his boys, and we greet each other and I say, "Well, Eliot, this looks like a case for you and your boys!" And with that, off I go.
Then there was The Rounders, with Chill Wills. I played the town drunk in about six episodes of that. I grew up next to a saloon, and I've had my fill of drunks. Then there was 12 O'Clock High, of which I did four episodes as Major Rosen, the weather officer. I was the one who'd tell the general, played by a very good actor [Robert Lansing], that we couldn't fly, but at eight A.M. tomorrow morning I believe we will be able to get our planes in the air.
Then there was The Long Hot Summer. I played Dr. Clark, the family doctor. This was based on the feature movie, which was done with Orson Welles playing the lead. Edmond O'Brien played it on the TV series for a while. I did nine episodes, and the funny part was, when I got my first script, I looked at my role, and my character's name was Dr. Arrod Clark. That seemed strange to me, because my dog's vet was Arrod Clark. So I went to Frank Glicksman, who was the producer of the series, and I said, "Frank, my name here, guess what, that's the name of my vet!" And Frank says, "I know, I know. The author of this script promised his vet that he was going to get his name on the show."
There were a few episodes of that that are worth mentioning. One had to deal with the mother of the children of the family, who had split with the old man years ago and gone off elsewhere, but was not part of the series until this episode. They got Uta Hagen to play the role of the mother. A big star, big name. We're in rehearsal, we're going to shoot this particular scene of her arrival that afternoon – the introduction by the old man of her to the children. I was not in the scene, but I was certainly there to see this. I wanted to watch Uta Hagen working.
They start the rehearsal. Uta Hagen enters, and the father says, "Children, this is your mother." And a young actor named Paul Geary says, and this was not in the script, "Mother . . . Mother . . . ." Goes up to Uta Hagen, puts his hands on her throat, and starts choking her. He had to be dragged off by the grips! He flipped out. They dragged him off and stopped shooting. They got this guy off somewhere, they sent him home. He never acted again. They had to redo it again with somebody else, I guess, but I wasn't there. This was an actor who was high on something. They told me he was a young surfer, and wanted to be an actor, and became one. But he was on something, and "Mother, mother" is what hit him, and he went right at her.
And the funny thing about it was that when one of the producers who was on the set at the time came up to Uta Hagen to apologize for what had happened, she said, "Oh, that's nothing. Happens to me all the time!"
The other thing about The Long Hot Summer was Eddie O'Brien, who played the role [of the patriarch] to start with, for the first seven or eight episodes. I was talking to him one day on the set. We shot it at MGM. There was a lot of stuff left over from old movies, and we were right near the entrance to the Grand Hotel from the movie Grand Hotel. So we were standing out there in the sun, just chatting, and Eddie was not happy. Not happy at all. He said to me, "They made me a lot of promises. I was going to be very big on the series. They made me promises, and it's not working out. They're giving all the stuff to the kids. The kids are getting all the episodes."
I said, "Well, that's what it is. What can you do?"
He said, "I don't know. I don't know, but I'm not happy."
Anyway, one afternoon, we were shooting a scene. A man named Marc Daniels was directing. A family scene, sitting around a table, with Eddie O'Brien. They had to work on the lights before they could start to shoot. Marc Daniels says, "Let's run the lines a little bit while we're waiting."
So they started, and Eddie O'Brien is mumbling, just mumbling the lines. Marc Daniels says, "Come on, Eddie, let's make a scene out of this, you know? We're rehearsing."
Eddie says, "Oh, well, forget it. Let's take a break. We'll come back."
O'Brien gets up and he walks to his trailer, which was right there on the set, climbs into his trailer and closes the door. We're just hanging around, we're waiting, we're waiting. Then it's, "We're ready, let's shoot the scene now." So Daniels says to the second assistant, "Will you get Mr. O'Brien please? Tell him we're ready."
The guy starts over towards O'Brien's trailer. The door opens. O'Brien walks out. He's wearing his overcoat. Turns around, turns to the left, and walks to the stage door and walks out. Right in the middle of a rehearsal. That was his exit from the show! They tried to get him at home that night. He was married to Olga San Juan. She answered the phone, supposedly: "Eddie doesn't want to talk to anybody." He just plain quit.
We had to stop shooting, and I got called up several weeks later. They said they're going to reshoot it, so I came back and they did it. Dan O'Herlihy was playing the father now. That's how it is in the show business. He played it until it went off the air.
Then there were series on which you appeared many times, but never in the same role.
I did six episodes of The Fugitive, playing different characters each time. I did six Ironsides, and I did three Kojaks, directed by my friend Charlie Dubin. We met in college in 1938, and I just attended his ninety-first birthday party. I did three Bonanzas, different roles, two of them on a horse. A horse and I are not very friendly. I'm not a good man on a horse.
So westerns were not your favorite genre in which to work?
Westerns on a horse were not my favorite shows. Westerns off a horse were okay. I could play storekeepers and things like that in a western. Or a hanger-out at the saloon. I could play that very nicely. That was okay.
On series like those, would you get called back repeatedly because a casting director knew you and liked your work?
Exactly. The part would come up. They knew by this time, I had the reputation of being able to play different characters with different accents, different situations. I'm not blowing my own horn, but I was a talented actor. And easygoing. Very easy to work with. I gave nobody any trouble at all. I did what I was told, or asked to do, with a smile and a shoeshine. To quote Willy Loman.
I'd be called in for one day's work, in one scene, and have no idea of what came before or after. And it didn't interest me, particularly. I just concentrated on the character, and on the particular situation that that character was involved with. Small or large, or whatever it was. A line or two, or a speech or seven.
Would directors give you much attention, or leave you alone to do your thing?
They practically left me on my own. They knew who they had, the quality of my work and of my reputation, I suppose.
It's hard to know what to ask you about all those roles where you only had a few lines.
Oh, I loved 'em. I loved being there. I enjoyed it all. I don't mind two or three lines in just an ordinary television show. I liked to be on the set.
How would you approach a really small part, where your function was basically to deliver a piece of exposition?
I'd play the character. I'd play the character, always. I'm not worried about the plot. Plot means nothing to me in a play, because I'm not concerned with the plot, I'm concerned with the character. The character and situation will give me the clue as to how to play the part. And also, am I playing a Noo Yawk guy, you know, and I've got to do the accent? Or am I playing a doctor, or a professor perhaps? Or am I playing [he does the accent] a Russian? I played a Russian on Voyage to the Bottom of the Sea. With Ed Asner – Ed Asner and I and another actor, we're Khrushchev and two of his associates, we've escaped from a firing squad. It wasn't Khrushchev, but it was [based on him]. Ed Asner played the head of the Politburo, but he's being overthrown by other members and his associates. And we end up in a riceboat. I used to kid around about us: Three Jews in a boat. And I died in the arms of Richard Basehart. [In a thick accent:] "Admiral, admiral!"
That's not bad. Were you good at accents?
I was good at that one! Yeah, I could do an Englishman if I worked at it. Or I could play an Irishman, y'know. In Howard Beach, I lived next door to an Irish saloon. I played ball with the Irish and the Italian kids. I was the token Jew on the team. They liked me because I could play a good second base.
Did you have a good agent, who kept you working so much? You must have kept him (or her) busy.
I think I've probably buried all my agents, I mean literally, through the years. One was a very short young man, and he was living with an actor who played the role of Mr. Lucky on a series, John Vivyan. The second agent was a man named Leon Lantz. Leon Lantz, who was originally, I believe, from Hungary or Romania, was brought over to this country by Rudolf Schildkraut, the famous European actor who was the father of Joseph Schildkraut, the actor that became a very successful character actor here in Hollywood. Leon was recommended to me by someone. I went to meet him and he spoke with a very thick accent, and had a strange vocabulary. He said to me, "My name is Leon O. Lantz. 'O' for honest." And he never got my name right.
What did he call you?
He called me "Greenspring." It almost cost me a job once. My wife and I were living in a kind of an English castle up in the Valley, an apartment where you had to enter by walking up a staircase on the outside to get into the apartment. We had a dog, and my wife was out walking the dog. She must have been at least a good block away when the phone rang, and it was a former agent of mine. This lady called and said, "Dick Stockton at Fox called us. He thought you were still with us. He's got a job for you in a TV show."
I thanked her very much for the tip and I called Leon right away. I hear him call Fox on his other phone and he says, "Let me talk to Stockton." He gets Stockton and he says, "Stockton, this is Lantz. Listen, I understand you're looking for Greenspring." I heard that and I started screaming into the phone. I said, "Leon, it's Wingreen! It's Wingreen!" And I hear him saying, "Greenspring, Greenspring." Later my wife said she was a half a mile away and she heard me screaming.
Anyway, finally I got through to him and he made the deal. It was for a TV show. I went up to his office and I said, "For chrissake, when are you going to get my name right?" He says, "What are you complaining, you got the job, didn't you?"
You also did some writing for television in the early sixties.
I'd always wanted to write, of course. I wanted to be a sportswriter. There was a time there when the acting tapered off. Just a short period, but I felt I had something in me that would help me when the times are bad for acting. So I rented a room in the Writers and Artists Building on Little Santa Monica. It was a small building, and underneath it was the restaurant called the Players, which had been owned at one time by Preston Sturges. Upstairs were these rooms and a couple of studios for artists. Jack Nicholson had a room there. That was way back before Jack Nicholson became the Jack Nicholson. Dan Petrie and his wife had an office there, and Mann Rubin, a lovely writer. And I set myself up there in this little office to write.
I had an idea for a thriller piece, and there was a series at Universal at the time called Thriller. Boris Karloff was the narrator who introduced each one of them. I had an idea for one of those, and I wrote out a synopsis for the whole thing, with some suggested lines of dialogue. And then I called a man at Universal that I had worked for as an actor, Doug Benton. He said, "Well, leave it with me."
And I said, "Can I read it to you?" I didn't want to leave it with him. I said, "I want to read it to you," because I thought I could pep up some of those lines of dialogue, you know. Anyway, I read the whole right thing through to him. He was not the number one producer, he was the associate producer, and he said, "Well, leave it with me, and I'll show it to Bill Frye, and I'll get back to you."
So the next day I had an appointment at my dentist's. I'm in the dentist's chair and the dentist's nurse comes in and says, "There's a telephone call for Mr. Wingreen." So they bring the phone to me, and it was Doug Benton. He said, "Well, the father should be the first to know. We're going to do it, and Bill said you'll write the first draft." So, the first draft became the last draft, because I wrote it and they shot it. And another writer was born.
John Newland directed it. John Newland was an actor I knew in New York in the early days. He knocked around quite a bit in New York playing very tiny roles. In fact, he was almost like an extra. He came out to Hollywood and became a very successful director, and had a show of his own, actually, One Step Beyond. He hired me once to do an acting job on one of those. Anyway, he was the director of this episode of Thriller, and I asked if I could attend. He said, "Yeah. We'll run though it, we'll rehease it, and then we'll shoot it."
Actually, what I wanted to do was get a part in it as well, but the man who was actually producing it [William Frye] said, "No, we've got somebody else lined up." So I sat through their reading, and they started getting ready to shoot and John Newland said, "Well, now the writer has to leave."
I said, "I have to leave?"
He said, "Oh, yes. We don't want the writers to hang around and tell us to change a line or rewrite something. So you have to go now." So that was the closest I came to seeing that in actuality until it came on the air.
I did a couple of things with other writers. I wrote an episode of The Wild Wild West, in partnership. The title of the episode was "The Night of the Torture Chamber," and I wrote it with Phil Saltzman, who also had a room up in the Writers and Artists Building. Phil Saltzman became a pretty successful producer. Then I wrote, with another writer [Neil Nephew], who was married to Ellen Burstyn at the time, the Greatest Show on Earth episode called "The Last of the Strongmen." The producer of that was Bob Rafelson. Then I wrote, on my own, 77 Sunset Strip and The Gallant Men at Warner Bros.
Did you like writing as much as acting?
For 77 Sunset Strip, I got the assignment and the deadline to get the first draft was in a week. At the very same time, I get an acting job on a Bonanza. On a horse. On location. I got up at six o'clock in the morning. I drove up. On these shows, they don't pick you up, you get there. I had to drive up to Chatsworth for a seven o'clock call, to get on a horse. I do the day's work, get back, grab a bite, out to my office, to the typewriter. For a week, both places. When I was finished with those, I was ready for a sanitarium. That was the toughest eight days I think I ever spent in my life.
The question was, which did I like better? At that time, I didn't like either one of them! But acting was, for me, much easier. Writing did not come naturally. I wanted it to, but it didn't. The words didn't fall out out of me, and the ideas didn't pour out of me, either. I struggled to get the ideas and the words. The acting, at least the words were there for me and I could do anything with them. Didn't have to change them, didn't have to rewrite them, didn't have to worry about them being accepted or not.
Do you remember appearing in The Name of the Game in 1970, in an episode directed by Steven Spielberg?
Yes. I got the appointment at the producer's office and met Spielberg there. I went there, and there's this high school kid. I swear! I thought he was, like, seventeen years old. We talked a bit, and he said, okay, fine, we'll let you know. And I did get the job. I think I played a professor who was kidnapped or captured in some way by bad guys. Spielberg directed it, and I had very little contact with him at all. No conversation. Little did I know what and who he'd become!
You also worked on Star Trek around the same time.
That was an episode called "The Empath." That was just a job, that's all. I knew John Erman, the director, well. I had worked for John on a western. I had to fall off a horse for John Erman!
Tell me how you came to play Harry the bartender during seven seasons of All in the Family and then Archie Bunker's Place.
Paul Bogart was directing All in the Family, and the very last episode of the sixth season had a scene where Edith and Archie had an argument because he wasn't taking her out any more, and she was going out on her own that night. So where does she go? She goes to Kelcy's, and the story doesn't work if she's recognized by Kelcy. So the actor who was playing Kelcy gets the week off, and they need somebody else. And Paul was instrumental in recommending me for that role. It was just a one-shot. That's all it was supposed to be, just that one episode. So I did it. And it was a good part, too. There was some good stuff to do in that particular episode, I assume I did it very well, because after the hiatus my agent called and said, "They want you back."
I went back, and then I discovered that I was going to be playing that part from then on. So what happened to Kelcy? In fact, the actor who was playing Kelcy, his agent kept calling that first season, saying, "When is Bob going to be back on the show?" And unfortunately, no one in authority there had the guts to tell him that Bob's not coming back on the show. And that's show business.
Do you have any idea why they decided to make the change and bring you back?
Yes. I think Paul told me this, because Paul was involved in the eventual hiring of me again. I think, in that conversation about it with Carroll and Norman Lear, Carroll said, "I'm so tired of Bob's lousy jokes." And that was that. Apparently Bob [Hastings] was a joker at work, always coming up with jokes. And Carroll O'Connor says, "I'm tired of his lousy jokes." And that cost the man a career, and gave me another one.
So the All in the Family role was important in your career?
Tremendous. In my career and my life, it was seven years. With increasing money each season. It allowed me to retire, let me put it that way.
Did you enjoy the show, and the role?
How could I not like it? I loved it. It was wonderful. We worked from Tuesday on to the rest of the week. Monday, you had [off], to go to the bank and the laundry. We'd arrive on Tuesday morning, we'd sit around, read the script. We'd start laughing in the morning and laugh until five o'clock, when we'd quit. I mean, how could you not like it? I'm not sure Paul loved it that much, because he had to direct. The responsibility was on him. But just as an actor in the proceedings, I had a wonderful time. With Al Melvin, and Bill Quinn, the old-timer who played the blind man.
You shared many scenes with those two, who played regular customers in Harry's bar. Tell me what you remember about them.
Bill told me a couple of good stories during the time when we were together. Bill was a child actor, originally. He had worked with George M. Cohan when he was a child, and he was directed, as a young man, by Jed Harris in a play. Jed Harris was the man that had five shows on Broadway at one time. Apparently he was pretty tough, though. They were in rehearsal of the play, and there was a young ingenue, who was in the movie Stagecoach. Louise Platt. At one point during the rehearsal, Louise Platt was puzzled by a move or a line or something, and she said, "Jed – " And Jed Harris said, "It's Jed in bed. It's Mr. Harris here." They were later married.
So that's one story. Another story: Bill Quinn's daughter, Ginny, married Bob Newhart. It was a huge Hollywood wedding, in a Catholic church in Los Angeles. It was packed with top Hollywood names, big names. During the big moment when Bill Quinn leads his daughter down the aisle to give her away in marriage to Bob Newhart, as they passed a certain part of the house on their way down, there was an outburst of laughter from someone in the audience. Which certainly was not the customary thing to happen at this solemn occasion.
So after the wedding was over, there was a big reception. Everybody milling around. Bill Quinn's there, and a friend of his, Joe Flynn, comes dashing up and says, "Oh, Billy, I'm so sorry. That was me who did that! I couldn't help myself."
Bill Quinn says, "What the hell! What happened?"
Joe Flynn says, "Well, I'll tell ya. When you and Ginny started down the aisle and got past the row where we were sitting, this guy next to me said, 'Look who they got for the father!'" That's a wonderful line, isn't it? That's a Hollywood line. You'd have to be an actor to appreciate that.
I have to ask, was Allan Melvin the same in real life as he was on screen? I mean, his sort of dense Brooklyn mug persona?
He was more intelligent than that. Allan wrote little poems, little couplets of sorts, and they were very funny. Like limericks, but not quite limericks. Some of them were very intelligent and very, very funny. Never published.
Allan and I became very close friends. Allan and his wife and my wife and I would go to dinners and parties together, and we traveled together a couple of times. But Allan also was, and I hate to say this, somewhat bigoted as well. Racially. Based on what, I don't know. His upbringing, maybe. We used to avoid those conversations, but it crept out here and there. I would say that's probably one of his unfortunate failings. But we didn't dwell on that.
What kind of relationship did you have with Carroll O'Connor?
A very, very close, warm relationship. And I'm sure he was preeminent in agreeing to keep me on the show. To get me on the show and stay on the show for all those years, and to have some good scripts written for me, too.
Were there episodes of All in the Family that revolved around your character?
Yes, there were a couple that did. When I was alone at the bar one night, and a young woman comes in, and she's going to be meeting a man who never shows up. And it turns out that we go off together. And in a later scene, we come down in a bathrobe and pajamas. At least, I do. So there was that one, but mainly, of course, I was background.
I'll tell you where I got my name. I was Harry from the beginning, but in one script, one of the writers said, "This is something where we need a second name for you. Have you got one that we could use?" Well, when I did that Broadway show, playing a soldier in Fragile Fox, I was named Snowden. And I thought, well, that guy, a typical New York guy, Snowden, after the war would go back to New York and become a bartender. So I said to the writer, "Yeah, Harry Snowden." And then Carroll could make jokes with it. Call me Snowball. Or Snowshoes: "Hey, Snowshoes, get over here." One of his typical malapropisms.
I was Harry Snowden, Harry the bartender, for seven years. My son, who is now a full professor at Princeton, was very funny about that. Many shows I was there with very little to say, and my son once said, when he found out what kind of money I was making: "You can make all that just for saying, 'But, Arch . . .?'"
Later in the eighties, you appeared frequently on Matlock as a judge.
Actually, like Paul Bogart got me into All in the Family, Charlie Dubin was the one who got me into Matlock. He recommended me to the producer for the first one. It was a good one, it had some good stuff in it. Then I did eleven episodes, playing Judge Arthur Beaumont. Whenever they needed a judge that said more than "Overruled" or "Sustained," when they had a judge who had some dialogue to deal with with Andy Griffith or anyone else, they called on me. They called me their number one judge. And then Andy took the show down to his home in North Carolina, and I was not asked to go down there. If they needed judges, they got them down there.
What was Andy Griffith like?
Well, you know how I told you that Al Melvin was somewhat bigoted? Andy Griffith was greatly bigoted.
Really. I was present when Andy Griffith was told that there was a scene they were going to do which was originally written out of the script of that episode, [featuring] Matlock's right-hand man, who was played by a very good young black actor whose name escapes me. And Andy Griffith was given the information by one of the producer's assistants there that the scene was going to be not eliminated, it was going to be redone, reshot, and some lines would be given back to the black actor. Griffith, very loud, not caring who was on the set at the time – they had visitors of all sorts when they were shooting – said, in a good loud voice, "Oh, sure. Okay. Go ahead, go ahead. Give it to the nigger. It's okay. Give it to the nigger." Does that tell you something?
That's disappointing. I'm a big fan of Griffith's work.
Well, it had nothing to do with his work. Do you know what I say? Do not confuse the actor with the role. I played Hitler once!
[It should be noted that Andy Griffith publicly supported Barack Obama during the 2008 presidential election. – Ed.]
I can't close without asking about Star Wars, and the role it has played in your life.
Well, I was sent by my voice agent for a reading for Yoda [in The Empire Strikes Back]. They gave me the lines and I had to improvise an accent and a delivery of the lines, and I did, to the best of my ability. Of course, I didn't get the job; Frank Oz got the job. But, as I learned later, they were very impressed with my reading, and there were these four lines of dialogue for Boba Fett. And as a reward to me, they offered me the role. They didn't know Boba Fett was going to become an icon.
Then I went to record it, on a stage in Hollywood, on one afternoon in 1980. I met Gary Kurtz, the line producer, and Irvin Kershner, the director of The Empire Strikes Back. They showed me the scenes where the lines would be delivered, where Jeremy Bullock walked and spoke. I didn't have to lip synch because he had a mask on. You could say them any time, and I fit them in. I watched it, I got a feeling of what the character was, and then we shot the stuff. I did the four lines a couple of times. Kershner came out of the control room once, made one suggestion, and I did it. And that was the day's work. I think the actual work, aside from the hellos and goodbyes and all that, could have been no more than ten minutes.
Now, after saying goodbye, I'm leaving. Gary Kurtz was with me, walking me out. Well, sitting in the dark, in the back, in a room right near the exit, is George Lucas, whom I had not met when I came in. So Gary Kurtz introduces me to Mr. Lucas, and I said to him, "I don't believe we've ever met."
He didn't get up; he remained seated. And he said to me the words that I still don't know what he meant. He said, "No, but I know Boba Fett." That was it. And then I left.
Now, I'm not imitating the sound of his voice, or even the delivery, because it wasn't anything that I could pinpoint. It wasn't like, "I know Boba Fett, and you're not it." Or, "I know Boba Fett, and you did a terrific job with it." It wasn't that at all. It was just, "No, but I know Boba Fett." To this day, I don't know what he meant.
But I do know it's my voice on there, and I got paid. Apparently Lucas has me replaced in this latest thing that he did, in the director's cut. Because of the continuity or something. It doesn't mean anything to me. I don't give a damn about what he does with the role, or doesn't do with the role. But the thing about it is, the thing that really bothered me and everybody else who has been involved with him in these productions, is that there are no residuals. This was done on an English contract, and at that time English studios were not paying residuals. And as far as ancillary rights, Lucas tied them all up in your contract. So my voice has been used in action figures, and I have a little helmet that my son and daughter-in-law bought me on eBay and gave me as a birthday present, where if you press a little button my voice says, "Put Captain Solo in the cargo hold." That's my voice, and I don't get a single penny for that. So I have no love for George Lucas.
And you also didn't receive screen credit on The Empire Strikes Back.
No screen credit, right. So how did it come that people suddenly discovered who I was? My sister's grandson was in a chatroom on the internet, and he happened to mention to some friends of his that his grandmother's brother did the voice of Boba Fett. The word got around, because then I got a phone call from the editor of the [Star Wars] Insider magazine. He said, "Is it true that you did the voice of Boba Fett?" I said, "Yes, I did. That's my voice up there. I have the contract, too."
He said, "Can I check with the Lucas people, and then I'd like to have an interview with you for the magazine." He did, and that's what did it. That would have been in the year 2000. That's what started the whole thing that's given me this cottage industry that I've got here.
So these days, do you get an avalanche of Boba Fett fan mail?
An avalanche, and it doesn't stop. Almost every day brings something. The other day, I signed a photo of Boba Fett for a little girl in Poland. It gives me something to do with my life. Otherwise I wouldn't do very much, except existing.


text:
- Brand: MILUS
- Model: ERIDANA
- Reference: ERI309
- Material: WHITE GOLD
- Box: YES
- Papers: YES
- Condition: UNWORN
- Comments:
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Fall TV Preview: Not much to get excited about on networks
NEW YORK | There's something antiquated about the custom long known as the Fall TV Season.
It was born of a bygone era (and still harkens back to it) when fall signaled all things important in America: the much-anticipated return to school, the resumption of football and the grand unveiling of next year's car models.
It was an era of the Big Three. And not just General Motors, Ford and Chrysler, but also ABC, CBS and NBC, which each autumn launched their new shows with the stated intention of airing these dramas and comedies through much of the season to come.
This was an orderly, narrowly consigned TV world. So the Fall Season represented for viewers most of what they could expect to see in prime time for months ahead, at least until the "summer replacement" shows arrived the following June.
"Midseason" (a term even Fox boss Kevin Reilly said recently he'd love to ban) wasn't part of the lingo back then.
Nor, of course, were terms like "cable networks," HBO, Hulu or Netflix.
A half-century later, the Fall Season persists - a festival of premieres by not three, but the five self-designated broadcast "majors" (which somehow includes the little-watched CW), with, some years, no discernible dividing line between the fall crop and the winter harvest.
And no acknowledgment that outside this magic garden, bumper crops of other network shows are always blooming, stealing viewers (and a large share of Emmy love).
With all those caveats in mind, then, make way for the Fall Season.
Many of more than two dozen new series may already be familiar, at least by name, to viewers, since the networks have been flogging them all summer.
They are familiar to TV critics, too, who got early copies of many of the new shows as long ago as June (with the proviso from the networks that some of these episodes were "non-reviewable," since they were subject to be altered in small or large ways before their premiere date - or even reshot completely).
At some point before each show's premiere date, a version designated "reviewable" will be furnished to critics.
This doesn't necessarily help. For a critic to make a sweeping assessment of any TV series' potential on the basis of a lone episode, or even two or three, is as reasonable as writing a tell-all biography of someone after meeting at a speed-dating event.
So there's a possibility that CBS' "The Crazy Ones" will ultimately reveal itself to be hilarious, and not one of the lamest new comedies on the schedule (as an initial viewing might suggest). A comedy set at an advertising agency, it brings back Robin Williams to TV sitcoms after "Mork & Mindy" 40 years ago (which TV's most-sought-after viewers, as well as many present-day network execs, aren't old enough to remember).
"The Crazy Ones" isn't really a comedy. It's a mystery: Who thought it, and bringing back Williams as its star, was a good idea?
NBC (whose motto could be borrowed from a cable network hit, "The Walking Dead") has brought back another sitcom veteran with what seems like happier results: Michael J. Fox in a self-named comedy. Addressing the real-life health problems (and triumphs) of this breakout star of "Family Ties" in the 1980s, "The Michael J. Fox Show" strikes a fresh, funny tone amid the flood of new comedies.
NBC has further relied on its once-stellar past by reviving the successful cop show "Ironside," this time with Blair Underwood, not Raymond Burr, as the intrepid detective in the wheelchair.
Fantasy is fueling many new shows.
NBC's "Dracula" stars Jonathan Rhys Meyers in a reimagining of the vampire as a proto-environmentalist. In this guise as a 19th-century American industrialist, Dracula wants to develop cheap, alternative energy in defiance of his enemy, Big Oil.
There's also Fox's set-in-modern-day "Sleepy Hollow" (complete with a headless horseman), ABC's very cool, comic-driven "Marvel's Agents of S.H.I.E.L.D.," and ABC's storybook spinoff, "Once Upon a Time in Wonderland," which explores the psyche of tumbled-down-the-rabbit-hole Alice, complete with CGI rabbit voiced by John Lithgow.
CW's "The Originals" is a spinoff of "The Vampire Diaries," while the same network's "The Tomorrow People" is a sci-fi series about a genetically advanced race that also happens to be young and sexy, and the paramilitary group of scientists who see this band as a threat to the status quo. And Fox's "Almost Human" is a police drama set 35 years in the future, when human officers work alongside humanlike androids.
From HBO's "Game of Thrones" to PBS' "Downton Abbey," historical costume drama is big on TV. Youth-skewing CW is jumping on that trend with "Reign," which focuses on Mary Stuart, who, better known as Mary, Queen of Scots, had been queen of Scotland since she was six days old, but, as the series begins, is a verrrry attractive teen (with babalicious ladies-in-waiting).
Another costume drama, of a sort: ABC's very funny comedy "The Goldbergs," which revisits the childhood of creator Adam Goldberg in the distant, "simpler" time of the 1980s.
Rare on the lineup is a straight-ahead, humanist comedy-drama. This fall there's only one: ABC's "Lucky 7," a potentially charming and engaging series about a group of New Yorkers who share a winning lottery ticket, and the effects of that windfall on their lives.
ABC's promisingly titled "Betrayal" is a soap that involves a murder, a marital affair, and a powerful family at war with itself.
CBS' "Hostages" puts Toni Collette in the middle of a political conspiracy: She plays a surgeon ordered to assassinate her patient, the ailing president of the United States, to save her family held captive.
Possibly the season's most surefire hit is NBC's "The Blacklist," which stars James Spader as one of the FBI's most wanted fugitives who surrenders to the FBI with a mysterious offer: to help them catch the terrorists he used to enable.
Moving back home is an all-too-common trope in several new comedies.
ABC's "Back in the Game" finds sexy Maggie Lawson as a former all-star softball player who, post-marriage, returns with her son to move in with her irascible father, himself a washed-up baseball player (played by James Caan).
"Family Guy" mastermind Seth MacFarlane's live-action Fox comedy "Dads" focuses on two best friends and business partners whose fathers move back in. Its raunchy humor has already ruffled critics' feathers (and elicited a promise from the show's creators to give it the necessary tweaks), but its problems are more fundamental: It isn't funny.
On CBS' grim-in-spite-of-itself "Mom," newly sober single mom Christy is suddenly inflicted with the return of her formerly estranged mom (Allison Janney), who, to say the least, didn't serve as much of a parental example: "While other mothers were cooking dinner," Christy reminds her, "you were cooking meth."
On NBC's "Sean Saves the World," Sean Hayes plays a divorced dad with an overbearing mom (played by Linda Lavin) and a weekends-only 14-year-old daughter who moves in with him full time, complicating his life.
On CBS' "The Millers," Will Arnett stars as a recently divorced local TV news reporter whose outspoken mother moves in with him while his dad moves in with his sister.
But broken marriages are always ripe for laughs. On CBS' promising "We Are Men," three divorced men bond and offer dating advice to a young pal who was left at the altar by his betrothed.
On the comedy "Trophy Wife," Pete (played by Bradley Whitford) has two broken marriages behind him when he lucks upon lovely Kate (Malin Akerman), who, on becoming Pete's third bride, suddenly finds herself in a sort-of blended family with three stepchildren and two ex-wives - a big cast and complicated dynamics that surely have ABC dreaming may qualify this show as a hit akin to "Modern Family."
A strong contender for silliest new show - which means it might be first to go, or, on the other hand, run for years - is "Enlisted." It's a military comedy set in the not-so-funny modern age of war, with three brothers stationed on a small base in Florida. If there's an issue of taste (are wars still being fought suitable for comedy?), this sitcom somewhat navigates it. Whether "Enlisted" is actually funny is another matter entirely.
Fox's cop comedy "Brooklyn Nine-Nine" arrives as perhaps the season's biggest disappointment, not because it isn't funny but because it doesn't measure up to the comedic brilliance of its star, former "Saturday Night Live" player Andy Samberg, nor does it do right by its other leading man, the acclaimed dramatic actor Andre Braugher.
Arguably the most depressing new sitcom: NBC's "Welcome to the Family," which attempts to mine laughs from a Stanford University-bound whiz kid who learns his bubble-head girlfriend, who barely got out of high school, is pregnant with his child.
College plans for both of them are off, marriage and parenthood are on, and both sets of in-laws-to-be are distraught.
"The world's most irresponsible person is now going to become a parent!" moans the pregnant girl's dad.
This is funny? Or is it just sad?
And what about ABC's comedy "Super Fun Night"? Its plus-size creator-star Rebel Wilson ("Pitch Perfect," "Bridesmaids") plays Kimmie, a lawyer who hangs out with her two best girlfriends every Friday night, to the exclusion of the rest of the world and its inhabitants - at least, until they decide to spice up their social lives.
But Wilson obliterates the comedy by overplaying it, using her heft as a comic blunt instrument. Like Kimmie, she just tries too hard to please.
It's a familiar condition among the broadcast networks in their latest round of an aging tradition. For the Fall TV Season, there are too many new shows, with too many of them trying too hard to please.


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Personalized To My Beautiful Wife Sunflower Blanket From Husband To My Wife You Are A Sunflower Blanket
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Personalized To My Beautiful Wife Sunflower Blanket From Husband To My Wife You Are A Sunflower Blanket
All blankets are made upon customers' wish to order and handcrafted to high-quality standards. This design also can be an awesome present for grandparent day, parent's day gift, birthday gifts, Happy New Year, Christmas gifts, Mother's Day, Father's Day, Thanksgiving, Halloween, Fall, Holidays, Birthdays, Memorial Day, Valentine's Day, or who loves blankets
Fleece blanket:
The fleece blanket features a lightweight, pill-free microfiber fleece that is not only supremely soft but warm & cozy.
Full Print Top With White Underside
Machine Wash, Tumble Dry Low
Care instructions:
Each blanket features a premium suede polyester print for beautiful color vibrancy.
The cozy underside is constructed from an ultra-soft microfleece fabric to keep warm and comfortable.
Perfect for snuggling while watching TV on the couch, relaxing on a sofa, or reading in bed.
Machine washable with cold water gentle cycle and mild detergent.
Sherpa blanket:
Poly Microfiber
Faux wool underside
Customizable front; back is a solid color (white)
Care instructions:
NOT INTENDED FOR CRIB USE – Machine Wash Separately in Cold Water – Delicate Cycle – Do Not Bleach – Tumble Dry Low – Do Not Iron or Press with Heat – Do Not Dry Clean
All products are made-to-order and proudly printed with the best screen-printing or print-to-garment processes available. As such, they do not include embellishments such as rhinestones or glitter.
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Once again we have some great events. It all started last evening with Lipa's free concert at Pomegranate,
Monday, February 28th
Meet and Greet Susie Fishbein
Meet, Greet and Join Celebrity Chef, award winning cookbook author Susie Fishbein for a Cooking Demonstration Series at Pomegranate (1507 Coney Island Avenue – corner of Avenue L – Brooklyn, New York 11230; Tel: 718.951.7112). She will be demonstrating fish cooking techniques:
- Miso Glazed Cod
- Cod, Potatoes and Sun dried Tomatoes
- Blackened Red Snapper
- Snapper in Parchment
The demo will start at 11:30am
Lévana's Dinner and a Show
This week it will be held in Lévana's house at: 210 West 101st Street, Apartment 9L (in Manhattan, between Amsterdam Avenue and Broadway). The subject of tonight's class will be: THE LEAN LATIN FEAST. She will demonstrate the following:
- Tilapia with green tomato sauce
- Spicy pumpkin corn soup
- Chicken breasts with chipotle sauce
- Cabbage, cucumber and jicama salad with "yogurt" cilantro sauce
- Sangria
The Demo runs from 7:00 to 9:00 followed by dinner, classes cost $45.00 for one session, $120.00 for 3 sessions or $200.00 for 5 sessions and a signed cookbook. Make your reservations at: http://www.levanacooks.com/kosher-cooking-classes/weekly-classes/