When asked Wednesday if the financial comfort provided by his six-year contract extension could dull his maniacal work ethic, 49ers quarterback Colin Kaepernick offered a standard pro-athlete line: It's not about the money.

"I don't think my motivation is money-driven," Kaepernick said. "I think it's driven by the success I can have on the field. Not necessarily for myself, but with my teammates."

Athlete tripe, right? Perhaps not in this case.

Kaepernick's extension, which is worth up to $126 million, is actually quite team-friendly when the details are laid out. According to multiple reports, only $13.073 million of his $61 million in so-called guarantees is fully guaranteed at signing. His base salaries from 2015 to '17 - and a portion of his 2018 base salary - are guaranteed for injury only, meaning the 49ers can part ways after any season with few financial ramifications if his career nosedives.

In addition, $24 million from 2015 to 2020 is tied up in de-escalators and per-game roster bonuses. Kaepernick will forfeit $125,000 for every regular-season game in which he is inactive. He'll lose $12 million if he has no season in which he plays 80 percent of the snaps while either starting in a Super Bowl or being named a first- or second-team All-Pro.

Those details help explain what Kaepernick meant on Wednesday when he said his seemingly budget-busting deal still gave the 49ers flexibility to sign other players, which was a point of emphasis for him. Wide receiver Michael Crabtree and Pro Bowl left guard Mike Iupati are both contract-extension candidates and Kaepernick counts only $3.76 million against the 2014 salary cap.

"That was something that my agents and the organization worked out," Kaepernick said of the contract structure. "And they felt like this was something they would be able to get other players with."

Kaepernick is represented by Scott Smith of XAM Sports, an agency that counts Kaepernick and Eagles linebacker Connor Barwin as its only bigger-name clients. Did the 49ers take advantage of Smith's lack of experience in negotiating such a significant contract?

It's possible, but Joel Corry, an NFL agent for 16 years, notes it's also conceivable Smith was carrying out his client's wishes.

"I think the deal is more favorable for the 49ers than to Kaepernick," said Corry, who now covers NFL contract and salary-cap issues for CBS. "But you don't know what the objective was for Kaepernick. I've seen some rumblings that he wanted to have a deal that made it possible for them to retain other talent on the team. And if you're the agent, you're supposed to achieve your client's objectives. You work for the client, not the other way around.

"So it could be a situation where Kaepernick gave the agents those type of objectives and parameters. And the agent is just executing the deal that Kaepernick wanted. I don't think a lot of agents would want to do a deal that is this team-friendly just because other agents use deals against each other in recruiting. Even though on paper the numbers looks great, structurally it's not as impressive as we first thought."

Corry noted the Kaepernick's $13.073 million guarantee at signing and the pay-as-you-go structure of the deal gives him very little protection. For example, quarterbacks such as Green Bay's Aaron Rodgers, Baltimore's Joe Flacco and Atlanta's Matt Ryan all received at least $42 million fully guaranteed at signing.

Kaepernick's relatively little up-front money is a unique part of such a deal. And, perhaps, so was his motivation in agreeing to it.

"Most players aren't too concerned with cap ramifications for the other players," Corry said. "Most players are looking out for No. 1. And that's their first, second and third priority."

Vernon Davis wants a new deal of his own.

A look at the fine print of Kaepernick's deal. B7

Colin Kaepernick's six-year contract extension is worth up to $126 million, but the fine print suggests the deal leans in favor of the team:

-- It includes an NFL-record $61 million in "guarantees," but only $13.073 million (his signing bonus, 2014 base salary and workout bonus) is fully guaranteed at signing. He will count $3.76 million against the 2014 salary cap.

-- His base salaries from 2015-17 - and a portion of his 2018 base salary - are guaranteed for injury only. That is, Kaepernick can't be released if he is hurt, but the 49ers can part ways for any other reason without paying him his base salary for that season. His base salaries become fully guaranteed on April 1 of each year. His $39.8 million in base salary from 2019-20 is nonguaranteed.

-- Starting in 2015, it includes $2 million annual de-escalators that could lower the value of his deal by $12 million if he doesn't have a season in which he plays 80 percent of the offensive snaps while also starting the Super Bowl or being named a first- or second-team All-Pro. Kaepernick can eliminate the de-escalators as soon as 2014 by having such a season.

-- From 2015-20, Kaepernick has $12 million tied up in per-game roster bonuses. That is, he will lose $125,000 for each regular-season game in which he is inactive.

-- Kaepernick was required to purchase a disability policy that pays the 49ers $20 million if he suffers a career-ending injury.

Eric Branch is a San Francisco Chronicle staff writer. E-mail: ebranch@sfchronicle.com Twitter: @Eric_Branch

Summary: When asked Wednesday if the financial comfort provided by his six-year contract extension could dull his maniacal work ethic, 49ers quarterback Colin Kaepernick offered a standard pro-athlete line:  According to multiple reports, only $13.073 million of his $61 million in so-called guarantees is fully guaranteed at signing.  Wide receiver Michael Crabtree and Pro Bowl left guard Mike Iupati are both contract-extension candidates and Kaepernick counts only $3.76 million against the 2014 salary cap.  Kaepernick is represented by Scott Smith of XAM Sports, an agency that counts Kaepernick and Eagles linebacker Connor Barwin as its only bigger-name clients.  Did the 49ers take advantage of Smith's lack of experience in negotiating such a significant contract?  Explaining the deal Colin Kaepernick's six-year contract extension is worth up to $126 million, but the fine print suggests the deal leans in favor of the team:  -- It includes an NFL-record $61 million in "guarantees," but only $13.073 million (his signing bonus, 2014 base salary and workout bonus) is fully guaranteed at signing.  -- His base salaries from 2015-17 - and a portion of his 2018 base salary - are guaranteed for injury only.  -- Starting in 2015, it includes $2 million annual de-escalators that could lower the value of his deal by $12 million if he doesn't have a season in which he plays 80 percent of the offensive snaps while also starting the Super Bowl or being named a first- or second-team All-Pro.


UPDATED 06/12/2014 at 08:35 AM EDT • Originally published 06/10/2014 at 04:15 PM EDT

Arrendelle from Frozen (left) and Middle River Manor

Getting the royal treatment isn't just for

Here are five locations where guests can live like kings – or at least princesses.

The sultan's palace from Aladdin (left) and a villa in Marrakech

Walt Disney Studios / Homeaway

The Sultan forced his daughter Jasmine to live a life of seclusion within the walls of his palace in Agrabah, but if that castle was anything like

, there would have been plenty to keep her busy. The four-bedroom home includes a heated pool and detoxifying steam room and sleeps 10, so there is certainly room for any mysterious new princes in town.

Triton's castle from The Little Mermaid (left) and Casa Caracol

Walt Disney Studios / Homeaway

Complete with a 180-degree view of the Caribbean Sea,

is probably the closest to living like Princess Ariel that a landlubber can get while vacationing in Mexico. There's even a private pool to practice flipping your fins in, though you might not get too far.

Powhatan's lodge in Pocahontas (left) and the Mynachlog-ddu Cabin

Walt Disney Studios / Homeaway

Those wanting to ask the grinning bobcat why he grins may get an answer to their question while staying in

at the foothills of the Preseli Mountains of the United Kingdom. Just like Pocahontas, guests can spend the day near the water, with great spots for whale-watching right off the

The cottage in Snow White and the Seven Dwarfs (left) and Glengarriff Cottage

Walt Disney Studios / Homeaway

Surrounded by two acres of tropical gardens and lawns,

is the perfect place to live out any Snow White fantasies without the fear of a witchy neighbor peddling her poisoned fruit. And it appropriately sleeps eight! Just make sure not to bunk with Sneezy.

Arrendelle from Frozen (left) and Middle River Manor

Walt Disney Studios / Homeaway

while driving may be enough. But for those who want to ride their bikes around the halls of Arrendelle like Anna,

proves a worthy surrogate. And with eight bedrooms, the Manor is not a place one would mind being cooped up until the coronation.

Tatooine in A New Hope (left) and El Gouna Castle

UIG / Getty; Courtesy Homeaway.com

Summary: An estate in Florida reminiscent of the home of Frozen's Princess Elsa and Princess Anna is just one location where guests can live like Disney royalty


07/12/2014 at 03:40 PM EDT

The NBA draft didn't go the way anyone expected for Baylor University star player Isaiah Austin – least of all him.

just days before the June 26 draft, ending his pro career before it started.

Now, he's decided to partner with the

to help educate people about the condition that can cause a rupture to the heart's aortic artery during high-energy activities, such as playing basketball.

"To have all this dropped on me at the age of 20, five days before the draft, is something really tough that not a lot of people can deal with," Austin told PEOPLE, in advance of a press conference Saturday announcing his new role with the organization. "But I feel like because of this situation I owe it to people around the world to help spread the awareness of it so more people find out about it."

Marfan syndrome is a life-threatening genetic disorder that affects the body's connective tissue. "When I first got diagnosed, I had no idea exactly what it was," Austin said. "I'm still learning."

In his case, doctors noticed that he had an irregular heartbeat. "I really just thought they were going to say that I was really athletic, that I have a really athletic heart, and that that's the reason why they thought my heartbeat was irregular," he said. "But I'm glad that they found out the information that they did because it did save my life."

With his NBA dreams dashed, Austin plans to inspire in other ways. "I'm going to share my story with as many people as I can to help spread the awareness of Marfan syndrome and to help show people that no matter what obstacle that they're facing in their life, that they can get through it if they have positive energy and if they have faith in God," he said. "I really just want to share my testimony with as many people as I can."

As for the future, he's going back to Baylor to finish his studies. "One of my main priorities in my life right now is to get my degree," Austin told PEOPLE. "I always promised my family that I would do that. I feel like this is the right time."

Summary: Austin's advice for people suffering from the genetic disorder? "Don't be scared"


Every startup needs financing and a market to succeed. So, too, for the Islamist extremist group ISIS—or simply the Islamic State, as it calls itself—whose fighters stormed across the Syrian border into Iraq in June and seized the country’s second-biggest city, Mosul, before moving on to the outskirts of Baghdad. Now ISIS, an outgrowth of the U.S. military’s deadly Sunni foes in Iraq a decade ago, is the tycoon of the jihadi world. Having taken over oilfields in war-torn northeastern Syria last year and reportedly earned tens of millions selling antiquities, it landed a giant infusion of cash by seizing about $425 million from a Mosul bank.

But ISIS’s real upside lies in exploiting one precious commodity: oil. The group nabbed three more fields in Iraq, tapping into pipelines and looting oil storage facilities in its new territory. Then it filled trucks and sold crude for the cut-rate price of $26 a barrel to Iraqi traders, who resold it to Kurdish smugglers at a 100% markup. ISIS quickly developed its smugglers’ network—to which it now sells about 100 truckfuls of oil daily for around $9,000 each—netting nearly $1 million a day, according to truckers and officials who detailed the bonanza to the industry newsletter Iraq Oil Report. Not bad for a group with just about 10,000 fighters. Said one Kurdish intelligence officer: “This is a very profitable business.”

READ: How Iraq’s ISIS crisis could lead to a Kurdish oil boom

ISIS’s business seems secure for now. Since Iraq (OPEC’s second-biggest producer) still pumps nearly 3 million barrels a day in the country’s south, hundreds of miles from ISIS turf, the Baghdad government is likely to do little on its own to stop the group’s illicit oil trading. Iraq has appealed for outside military assistance to crush the ISIS insurgency. But meanwhile ISIS’s profits ensure that many people, even Iraqi soldiers, are benefiting. “Everyone is making money out of thi,” Shwan Zulal, managing director of London-based Carduchi Consulting, tells Fortune. “They’re selling oil very cheaply, so there is a lot of incentive for traders to buy, “ he says. “And once it’s in a truck it’s very difficult to track it, and you can make it to the international market very easily.” So far it’s been enough to keep this startup terrorist group’s cash flowing.

This story is from the August 11, 2014 issue of Fortune.

Summary: Why extremist group ISIS is the world’s most frightening “startup.”


Gorgeous momma-to-be #HaydenPanettiere on #Emmys red carpet with @peoplemag pic.twitter.com/AuaQAepjEU

glowed on the Emmys red carpet Monday as she showed off her growing baby bump in a plunging silver gown.

star is pregnant with her first child with fiancé Wladimir Klitschko,

"I feel like I was born to be a mother," Panettiere, 25, said in

's May issue. "Sometimes people speak about [having kids] like, 'Your life ends – you're never going to be able to do anything again!' And I'm like, 'What are you talking about?' "

The actress, who stands just 5'2," has said she thinks her kids will "be normal height."

"That's how we met," Panettiere told

of her 6'6" fiancé. "I said, 'You're huge.' He said, 'You're tiny.' "

Summary: The pregnant actress walks the Emmys red carpet


The design guru from Motorola has a metal briefcase in his hand. It's not actually chained to his wrist, but it might as well be. It's full of top-secret concept models for future mobile devices. The man's name is Tim Parsey, and he talks of "lovely object value" while also emphasising his corporation's humility and social conscience. I am allowed to touch and coo over a few of his babies - shiny and curvy like today's phones, only more so. I feel I need one now.

We are at Mobile, a new exhibition of "international mobile phone culture" in London's Brick Lane. It consists entirely of Motorola products, so it is just as well that the company has a pioneering history. In the beginning was the military-green, portable two-way radio known as the Handie-Talkie, of which 100,000 were produced for the US army by the end of the second world war. The civilian version of the 1950s is a black Bakelite monster that looks like half a payphone ripped out of a booth, receiver cradle intact.

Further exhibits include the first car radios and the radio transponder from the Apollo 15 lunar rover, but the basic handset silhouette remains the same up until the Dynatac "brick" phone of the late 1980s, much beloved of those who enjoyed lampooning City traders. From then on the mobiles get smaller and cuter, right up to the current model with the rotating flip, which is more aesthetically intriguing than functionally useful, and already betrays a kind of techno-nostalgia with its old-fashioned, reversed-out LED display.

Advertising materials on the walls demonstrate changing attitudes to technology. A second world war poster pictures a helmeted GI talking into his radio, with the legend "Handie-Talkie signals the attack!" By the 1950s a businessman is pictured carrying a radio phone that is, incredibly, "smaller than a briefcase". An early 1960s radio pager is illustrated with a picture of a medical nun, smirking mysteriously to herself as she decants some foul brew into a beaker.

For the Pulsar II mobile telephone of the 1970s, men with dodgy porn-star moustaches lounge around looking purposeful in cars or on building sites. Later on, another porn man gazes in wonder at a Dynatac glowing on some kind of dripping industrial vice. Happy foreign children begin holding their pagers up to the camera in the early 1990s, and the first StarTac is advertised to Japanese customers against the background of a golf course. There is a blissful throwback in a 1994 advert for a slimline pen-shaped pager, as a suited businessman slips it into his inside jacket pocket with the worrying advice, "Dress for Access". This is the first hint that the mobile was going to become a fashion trinket, or, as the man from Motorola says, "a toolkit to express yourself".

The Dynatacs of the 1980s gloried in a loathsome brown-and-beige colour scheme, but in 1989 the successor model, the Microtac (with the first flip-open mouthpiece) turned to black, with words printed in the kind of curvy "futuristic" lettering that looks so Fisher-Price these days. Small pager devices of the mid-1990s were constructed out of brightly coloured translucent plastic, in homage to Apple's iMac computer. Phones themselves, however, remained various shades of grey and black until around 2000, when the silver revolution happened. Why everything became silver a few years ago - not just mobile phones but also cars, hi-fi systems, TVs and laptop computers - is an underexplained event in cultural history. Why did silver supplant the short-lived fad for "champagne" colouring of electronic goods, and will the understated black ever make a comeback?

The idea that your choice of mobile phone is a fashion statement is one of those self-fulfilling capitalist memes: the idea behind it, obviously, is to persuade people to change their phone more often than they need to. The exhibition glances only briefly at the industry in Japan, where customising of mobiles really is a whole subculture of its own. Huge, multicoloured bunches of tassles and tags hooked on to the mobiles of Japanese girls transform a utilitarian device into an ostentatious display of social connectedness.

The exhibition's major shortfall is inevitable: the ways in which mobile phones really have affected our lives - the asynchronic virtual world of voicemail and text messaging, and the casualisation of social arrangements - are not phenomena that can be visually demonstrated. Mobile phones only mean anything when they are switched on and being used.

Dotted around the exhibition space are translucent display boards on which are written inspiring stories of how life is improving in developing countries: apparently mobile phones are helping to solve the problem of nonexistent communications infrastructure in Afghanistan or Bangladesh. A discreet little touch-screen computer invites visitors to play a texting game, where falling words must be "translated" into text before they hit the ground. Your correspondent only managed a pathetic fifth on the high-score table, and naturally blames the rules. The requirement that every word must be stuffed into a vowel-free three-letter space is already obsolete, with the ubiquity of predictive text, which allows the rapid input of normally spelled words. "Txt" as a language was historically tied to a short period of technological inadequacy, and its time is already past.

But what does the future hold? Projected on to one wall of the exhibition space is a baffling document entitled The Device Formerly Known as the Cell Phone: The Search for the Next Species. It is a sort of genetic tree diagram, packed with made-up quotes from youth: "I'm the fastest at finding the best MP3s," says one, "and I share them immediately with my friends." We are not, presumably, meant to infer that Motorola encourages music piracy.

Also festooned over the tree are made-up words describing the uses to which customers would like to put their mobile communications devices: they must be "multable", "tvable", "wholeable", "boomable" and "softable". I take my chunky silver handset out of my pocket and gaze at it sadly: there's no way I can mult or soft or boom this thing. Ah well. Maybe next year.

· Mobile is at the Glass Gallery, Old Truman Brewery, London E1 (020-7770 6016), until November 23.

Summary: What can 'international mobile phone culture' mean? Is it all about macs, moustaches and handheld bricks? Steven Poole went to a Motorola exhibition to find out.


Given that it contains the traces and treasures of all our millennia, a year might not seem a very long time for the British Museum. It's long enough for its story to have been quietly transformed, however. Twelve months ago, the tales coming out of the world's greatest theatre of memory were of strikes and redundancies and funding crises; of keepers of ethnography and curators of Sumerian artefacts somewhere near the end of their considerable wits.

A year on, as the museum celebrates its 250th anniversary - and wraps itself in a jaunty red bow - the narrative seems to promise happier plot twists: there is realistic talk of the institution being debt free by next spring; of its avoiding compulsory redundancies; and of a reaffirmation of its unique place as 'not simply a world heritage site, but as the site of world heritage'.

The man who has begun to effect these changes, and who confidently makes these claims, is Neil MacGregor, who came here with an almost messianic reputation from the National Gallery last September. In his office to the west of the museum's great pediment he sits on the edge of a sofa, and talks with almost palpable intellectual excitement about the challenges of his new role. Listening to him you begin to wonder what all the fuss might have been about in the first place

'You have to remember,' he says, 'the context of the original discontent. Partly it arose from a very human sense of loss. The British Library and the British Museum had been joined for 248 years, and it was like splitting Siamese twins to move the books to St Pancras.'

Added to that was the fact that the £120 million work on Sir Norman Foster's magnificent covered Great Court had been going on while the museum stayed open. 'It was rather like having plasterers in your house, among your most precious things, for five years,' he suggests, wincing in sympathy. 'The emotional and physical energy of just coping with all of that change left the place exhausted, and because of that exhaustion it is, in effect, only now that we are beginning to understand what has been achieved. The tremendous possibilities that the Great Court gives us. The fact that for the first time we have the chance to reorganise and expand into the new spaces. People here are just realising the opportunity and the liberation of that.'

This renaissance will be set in stone later this year with the opening of the new Wellcome Galleries in September; and the restored King's Library in November, which will place 'probably the most perfect neo-classical space in the country alongside perhaps the most perfect twenty-first century space in the country'.

And while the sense of purpose within the halls and vaults of the museum has been steadily nurtured over the winter, mixing memory and desire, MacGregor has also seized an opportunity to remind everyone on the outside what the Museum is capable of; its place 'at the very centre of our understanding of the world'.

From the very beginning of the looting and desecration of historical sites in Iraq he realised that the museum, which had maintained exceptionally close links with Iraqi archaeologists and curators through the years of dictatorship and embargo, should have a key part to play in any eventual restoration and recovery operation.

He is unerringly modest about his own role in the post war emergency and realistic about the enormity of the task involved. Still, it was partly his sense of urgency that moved the subject of antiquities up the political agenda; his furious phone call to Downing Street that argued the need to put tanks at key historical sites, and his energy that has formed - Security Council take note - a properly multinational task force (including the experts from the Louvre and the Hermitage) to attempt to preserve the remnants of the ravaged sites.

The central problem at the moment, he says, is the same hindrance that is facing all aspects of the reconstruction: namely that none of the key Iraqi experts have been reconfirmed in their positions by the governing American administration. They, like the police chiefs and the fire marshals, exist in a state of limbo while their proximity to the Baath party is investigated. In the meantime things are only getting worse. Sites are being destroyed in a futile search for gold; porous borders allow artefacts to be easily smuggled from the country.

In the face of this catastrophe, MacGregor unearths a single shard of comfort. The positive thing to have emerged from the tragedy, he argues, is an almost universal sense that what was being lost was not distant artefacts in a foreign land but very much 'our own heritage, a history that the whole world shared. And what that proved,' he says, visiting a constant theme, is that we are more than ever becoming 'world citizens', aware that human history and human emotion hold constant beyond national and temporal boundaries. The vital purpose of his museum, he believes, is to allow us to confront the evidence of that shared history as directly as possible.

This emotional engagement with the cultural memory was awakened in Neil MacGregor himself when, as a child, he was taken around the museums of Glasgow on Saturday afternoons by his father, a doctor. 'I started with ship models and stuffed elephants and progressed until I discovered the whole world,' he says. His dad brought him to see the Rosetta Stone at the British Museum, his first trip out of Scotland, when he was eight. At that time the stone was uncovered and you could touch it. He recalls the electric thrill at running his finger over the surface.

That sense of boyish wonder has stayed with him, and it is a formidable ally in his ability to convey the special magic of his institution. He says he tries to spend a good part of each day just looking at the museum's exhibits, ideally in the company of the relevant expert. 'Even without explanation, though, there is enormous affective potential in the objects themselves. You may know nothing about Ramesses II,' he says giggling, '- and I, in fact, do know nothing about Ramesses II - but you do know when you are face to face with that great head that you are face to face with the real thing, and there is considerable, possibly life-changing power in that.'

I wonder if his ambition was always to have this job, and he laughs and suggests it was way beyond his wildest dreams. He is here only, he insists, through a series of happy accidents. The first of these saw him studying in Paris in 1968, when he not only realised that 'everything, all aspects of culture, everything that was said or written or made had a wider significance, a political significance', but also that the life mapped out for him by his background - he was called to the bar at the age of 27 - was not the life he wanted.

How close to the barricades was he?

'Oh, quite close,' he says, 'there was no other choice.'

His rebellion thereafter was mostly confined to his study of the history of art at the Courtauld, where Sir Anthony Blunt described him as the 'most brilliant pupil he ever taught'. That led him into teaching, and to the editorship of the Burlington art magazine.

In this capacity, so the story goes, he was invited by the board of trustees of the National Gallery to give an opinion on suitable candidates for the vacant post of director. So charmed were they by his conviction and erudition, however, that, though he had never worked a day in a museum, or even bought a painting, he was offered the job himself.

I wonder if it was more or less daunting than that experience to come here to the British Museum.

'Much more to come here,' he says quickly, 'because intellectually it is so overwhelming. If you think of all the scholarship you are responsible for, it could certainly keep you awake at night.'

You doubt that it does, however, and the reason for this is that MacGregor, now 58, seems so clear in his understanding not only of his own role, but also of the pressing need to apply the principles on which the museum was founded a quarter of a century ago: namely that its riches were not the province of princes or politicians but freely available to all the people of the world.

It was this same conviction that led him to refuse to apply admission charges to the National Gallery and so watertight was his argument that 'visitors were not customers, they were owners' that he effected a sea-change in government thinking on the subject.

Though, like all the most serious men, he appears to take himself not in the least seriously, you have the refreshing sense that Neil MacGregor would not know how to dumb down even if he wanted to.

When I ask how he measures success, he says without hesitation that the first and most important priority is the intellectual rigour of what the museum displays.

'That has to be the primary aim of everything we do. We have to set ourselves the highest standards and constantly live up to them. After that there are many tests like attendance figures for example,' he says, 'and I suppose if we are getting five million visitors a year we are doing something right, but to measure the impact of things like public education, or the influence this museum can have on our idea of what it means to be a citizen is of course not an exact science.'

One of the useful ideas that is re-inforced by moving daily among artefacts many thousands of years old, he says, is that you realise daily your extremely minor significance in the scheme of things. This has what might be called the the Ozymandias effect on management style: the knowledge that 'a museum of this kind cannot only be run with the concern of the day to day', he says, 'it must be run not on accountants' time but on trustee time. With as much an eye on the legacy for unborn generations to come as for the here and now.'

Behind all of this lies a faith that the appetite for history and archaeology and in particular for the understanding of other cultures has never been more profound or more necessary. With this in mind he hopes that the museum will show itself to be ever more relevant to current events 'not in a newsy way, but to offer a depth of history to what we see going on around us'.

He plans, for example, a major Persian exhibition for two years' time. 'So close are our links with our colleagues in Tehran,' he says, 'that they are willing to lend us almost anything that can be transported. I think it is only when you see the objects of that first empire, and the subsequent seats of power that have always occupied that land, that you begin to see the current situation in a proper context.'

I suggest that President Bush might be persuaded to wander round...

He pauses for a moment, then bursts into his infectious laughter. 'Of course,' he says, beaming, 'I could not possibly comment.'

Five must-sees: a dash around the museum

1. The Rosetta Stone Found in Egypt, the stone dates from 196 BC. It is inscribed with texts in both pictorial language and Greek, allowing hieroglyphs to be deciphered for the first time.

2. The Lewis Chessmen Made in Norway in the twelfth century and found on the Isle of Lewis, the walrus ivory set survived perfectly intact.

3. Bust of Ramesses II Dating from 1213 BC and brought back to the museum from Egypt in 1818, the huge statue, weighing more than 7 tons, inspired Shelley's poem on the transience of power, 'Ozymandias'.

4. 'Ginger' The preserved body of an adult man found in Egypt and dating from 3400 BC. The hair, which gives the body its nickname, and the fingernails are perfectly preserved.

5. Sutton Hoo Helmet Excavated from the burial mound in Suffolk and dating from the seventh century AD, a unique ornamented piece of Anglo-Saxon armour, complete with face mask.

Summary: For Neil MacGregor, director of the British Museum in its 250th year, the challenge of running the world's finest heritage collection is to consider the future as well as the past.


As the Sixties' sunshiny focus on wealth, health, optimism and youth eclipsed post-war austerity, the art world entered a convulsive period in which it became more or less mandatory for artists to question everything, including what constituted a painting or a sculpture.

This month an exhibition at Tate Britain and a series of programmes on BBC4 celebrate the egalitarian, zany, poppy, counter-cultural, multi-faceted art of the Sixties. Some of the artists who were working then - David Hockney, Bridget Riley, Anthony Caro - remain household names. Others, apparently important and influential at the time, are now all but forgotten.

Does it matter? Much of the art of our own time is deliberately ephemeral; we seem to have lost faith in the continuing importance of our public artefacts. And we will be dead before we can find out what will survive of us anyway.

But with the artists of the Sixties we have a story with more shape, an inkling of what will be prized. And it is an interesting story because it's clearly not simply the quality of the work that makes the difference. 'A lot is to do with personality,' concludes Vanessa Engle, who, as producer of the television series, interviewed some 100 artists. Some had early access to dealers who supported their careers, and so to networks of collectors and critics; others, for a variety of reasons, but 'often because they couldn't relate to dealers, or were bloody-minded, cussed, or self-destructive', did not.

Many of those who are now unfamiliar seemed crucial to the ferment at the time. And it was a ferment: everything once taken to be implicit was up for reassessment. Painters were experimenting with surface, texture, colour and form. The so-called New Generation, led by Anthony Caro, were bringing sculpture down off plinths and on to the floor, and painting it bright colours. Caro's students at St Martin's responded by challenging the notion that a sculpture had to observe unities of time and space: Bruce Maclean made one piece that was half on the roof and half on the pavement. Hamish Fulton and Richard Long investigated whether going for a walk could be art. Gilbert and George became living sculptures.

Gustav Metzger, an artist who languishes in obscurity as far as much of the public is concerned, is much admired by young practitioners today because his process-based work - pouring acid on to nylon sheets so that they disintegrated, for example - came so close to the conceptual art that was to follow.

There are other echoes, for us, of that time. Cool Britannia was a conscious attempt to invoke the spirit of Swinging London. The 'happenings' in which Sixties artists indulged looked forward to a time when some artists would be publicly-licensed subversives. A nascent fascination with celebrity was apparent in Peter Blake's paintings and David Bailey's 'Box of Pinups' (a series of photographs of people Bailey thought sexy and interesting, including Lord Snowdon, Michael Caine and the Krays). At openings in the Robert Fraser Gallery you might meet Dennis Hopper, Marianne Faithfull, Marlon Brando or the Rolling Stones. Fraser, who was with the Stones when they were busted for drugs and went down for six months for possession of heroin, introduced Marianne Faithfull to cocaine and Anita Pallenberg to heroin and LSD.

Snowdon took a photograph of Robert Fraser in which it is hard to tell that he is not White Cube's Jay Jopling - another Old Etonian with a glitzy following and a very small discreet nameplate on the door of his gallery. It was Fraser, too, who gave John Lennon and Yoko Ono the show in which Lennon exhibited a group of charity collection boxes, one of them similar, if not identical, to the charity collecting box that Damien Hirst recently enlarged (and which survived the recent Momart fire).

A handful of key collectors (Alastair McAlpine, later treasurer of the Conservative Party, was a proto-Saatchi of sculpture, who eventually gave his collection to the Tate) ensured that a few artists got rich. Most, though, did not. On the whole, art was something you did because you had to. The artists interviewed here, although obscure, are all still working. Their work remains a vocation.

Jann Haworth Nowadays she is mentioned, if at all, as the former wife of Peter Blake. But Jann Haworth was jointly responsible for the Sergeant Pepper album cover. 'If there's a couple involved in something, it's bound to be the guy who did it,' she says now. 'I've even had my own brain doing it. But I have a very clear memory of the thought processes and conversations, and I know the parts, the 50 per cent, that I was responsible for.'

Born in California in 1942, Haworth arrived in London at the beginning of the Sixties as a student at UCLA and decided to stay. She got a place at the Slade where she felt she was 'travelling mentally at the speed of light', despite being appalled by the sexism she encountered. One of her tutors told her the women students' work was irrelevant, since they were only there to keep the boys happy.

'This concentrated my mind wonderfully. I remember being on the number 30 bus outside Harrods, and suddenly realising I had this language that the boys didn't.' The language was to do with cloth and pattern-making; Haworth began making life-size cloth figures. Ken Tynan dismissed them as 'no better than window dummies', and they were rejected for the prestigious 1963 Young Contemporaries show, although one of her paintings was accepted. But then the ICA selected her for its own highlights from the Young Contemporaries, and she showed her first tableau, of two lifesize figures, a dog, flowers and doughnuts.

With Peter Blake, whom she married in 1963, she was half of a glamorous couple whose friends and acquaintances included the Who, Ian Dury, Tony Curtis, Marlon Brando, Ossie Clark, Francis Bacon, Harold Pinter and Arnold Wesker. Haworth exhibited in Milan, Amsterdam and Scotland and was taken on by Robert Fraser, who sold a great deal of her work - about 70 per cent of everything she did.

The first of her daughters was born in 1968. 'In the middle of my career, like many women, different things became a priority. It's hard to maintain the level of production, and the mindset: ego looks so trivial when you're raising a child.' The family moved to the country, where Haworth stayed when she and Blake split up in 1979. She remarried and looked after six children, running a school and illustrating children's books written by her second husband.

She moved to Utah in the early Nineties and for the last three years has been working with as much energy as at the start of her career, combining patchwork traditions with painting on canvas, a form she sees as 'honestly female but breaking new ground. I feel I have tapped into something full of vitality. There is absolutely a sense of flow.'

This summer, with some younger graffiti artists, she is making a mural for the side of a building in Salt Lake City - 'a contemporary take on the Sergeant Pepper cover, featuring Michael Moore and Al Franken, and correcting the ethnic and gender bias of the original'.

Things have been tougher for her as a woman; but, she says, 'now we have the first generation, the first century, of women artists of stature. That's amazing.'

Bruce Lacey Lacey was glad when the term 'performance art' was coined, 'because it finally explained what I'd been doing all my life'. The son of a house painter and a milliner, Lacey had grown up in Lewisham, influenced by variety theatre, and had begun drawing and painting in his late teens while recovering from tuberculosis.

After graduating from the Royal College of Art with a first class degree, he made moving, robotic props for Spike Milligan and Michael Bentine (there was one where invisible fleas appeared to climb a ladder, walk along a tightrope twirling a cocktail umbrella, and dive into a water tank), often appearing with them on stage. He also had a one-man show and featured in a group called the Alberts, in their show 'An Evening of British Rubbish'. He was in a movie with Peter Sellers and was filmed playing the electrified spokes of a penny farthing by Ken Russell.

His robots were exhibited at Gallery One and then the Marlborough. They included The Womaniser , now owned by the Tate, which was inspired by 'wondering what it would be like to be a hermaphrodite and make love to myself. It had six breasts and rubber gloves that inflated every 30 seconds'. Critics described his work as neo-Dada, 'which surprised me because I didn't know what Dada was. At the Royal College, art history had stopped with the Impressionists.'

Some of the work was politically inspired: he did a piece resembling a refugee camp, with hands straining to get through bamboo; some was comical, like Rosa Bosom, who played the female lead to his d'Artagnan in the Alberts' version of The Three Musketeers at the Royal Court.

In 1968 Lacey showed both Rosa Bosom and her mate (Mate) in his ICA exhibition, 'Cybernetic Serendipity'. This show also included his sex simulator, a kind of capsule that tilted its occupant to the accompaniment of 'non-specific erotic images. Meanwhile, through a sheet of red rubber, rollers ran over your breasts and a soft thing would fall into your crotch and vibrate'. Lord Snowdon tried it. Generally speaking, Lacey says, women liked it more than men.

In the late Sixties Lacey moved to Wymondham in Norfolk, where he has lived ever since in a farmhouse full of stuffed dummies and robots, including Rosa Bosom - 'who still performs'. He became interested in earth rituals in the Seventies, enacting them at medieval-style fairs; he thinks of these as being related to the magic that happens when artists get ideas and inspiration, 'almost like a form of telepathy'.

Earlier this year the sculpture collection of Leeds Museums and Galleries acquired one of Lacey's assemblages, Old Money Bags (1964). The machine is triggered by shouting into it. Lacey likes to say: 'Get to work, you bastard.' The cogs start turning and two-shilling pieces move through the heart like white corpuscles.

Now 77, Lacey continues to work; last weekend he could be found performing in Wymondham. The work was called Market Cross in a Snowstorm and involved painting-by-numbers a picture of Market Cross, wearing a snowsuit. 'But every number was 17, which is white, so I ended up with a white sheet of paper.'

Peter Sedgley For 10 years, between 1963 and 1973, Sedgley was the partner of Bridget Riley and at the centre of the London art world, Op-Art in particular. His own work later became more kinetic, and now he is preoccupied with the effects of light and chance, but he retains a fascination with optical effects and ways of seeing.

Sedgley, 74, began as an architect, but by the early Sixties had turned to painting, making linear pictures, initially, and then concentric circles in bands of colour which he later airbrushed to achieve soft overlapping colours, 'so that, without movement, you have this kinetic effect'.

He was one of the artists selected by the Museum of Modern Art in New York for its 1964 Responsive Eye show; this led to his being taken up by the Curzon Street Gallery and then the Redfern. He was asked to design tiles for Pimlico station (yellow dots on a white background, vaguely Damien Hirst) and met Yoko Ono and the Beatles - who, he says, 'were very dismissive of her work at first'.

He was part of a group, also including Bruce Lacey and John Latham, who met at a place called The Middle Earth in Covent Garden and created Whscht (which was supposed to be how you spelt a whistle) to stage happenings. 'If newspapers were blowing around Tottenham Court Road we'd come along and glue them down. The point was to provoke, to see how the public responded.'

At the end of the decade Sedgley was one of the founders (with Riley and Peter Townsend) of Space, an organisation that leases buildings to provide studios and today rents to more than 500 artists. But not long after securing a studio in their first building in St Katharine's Dock, he was awarded a grant to work in Berlin, where he has been ever since. Today he works slowly and says he sells little, making big pieces which reflect his interest in incorporating technology and the elements: his 1997 Colorama, in the Conference Centre in Dubai, is a solar-activated mobile of glass and steel.

'There was innovation all the time,' he says of the Sixties. 'That's why the period continues to fascinate us. That, and that it's recent enough for its history still to be up for grabs.'

Denis Bowden Denis Bowen lives in a warren of higgledy-piggledy rooms behind Marble Arch, crammed with a treasure trove of paintings he has made and acquired, and with the chaotically arranged objects of a lifetime - spoons, inkwells, postcards. He shifts a pot of pencils. 'I am,' he says, 'composing the whole time.'

Bowen is 83 and is only now, for the first time in his life, able to live off what he sells. For most of his life, he taught; but between 1956 and 1965 he ran the New Vision Centre Gallery, downstairs in the building where he still lives. One of the first galleries out of the Bond Street run, it promoted contemporary abstract art from Britain and abroad.

Born in South Africa to Welsh parents, Bowen grew up in the north of England and did his national service on Atlantic convoys: the influence of the sea, its energy and changing moods, is apparent in many of his early paintings. He studied at the Royal College and was influenced by contemporary French painting to become Britain's first and leading exponent of the 'Tachist' style, a distinctly European Expressionism which has been described as the visual equivalent of free-form jazz.

In the Sixties he gave Peter Blake his first one-man show. Meanwhile his own work became more explosive, more preoccupied with images of space, with titles like Triptych For A Venusian (1963), Galaxy (1968) and Ruby Planet (1969). He taught Pete Townshend at Ealing; Mick Jagger used to hang around his classes. By the end of the decade he had discovered fluorescent paint and took to directing strobe lighting on it to create psychedelic paintings. But they were difficult to sell because you needed the strobe.

Today Bowen is working as avidly as ever, still painting mysterious moon scapes, and has a one-man exhibition at the Macedonian National Gallery this summer. (He has visited Skopje 15 times in the last 20 years). 'The most important thing is persistence,' he says. 'A lot of people are good but they give up, and then all that talent is lost.'

Frank Bowling Born in British Guyana in 1936, Bowling grew up believing he was British and learnt nothing about art until he came to England. Yet his painting has always been subject to casual racism. He does not particularly see himself as Afro-Caribbean and once ticked 'white' on a census form because 'there was no box simply for British'.

At the same time, it is clear that the Caribbean has influenced his work, which, in its middle period, featured maps of Guyana, Africa and South America, and outlines of his mother's shop, Bowlings' Variety Stores. He talks about the difficulty of coming to terms with his influences, which is not surprising seeing how everyone else was always trying to foist them on him.

Bowling arrived in England at the age of 15 to take A-levels and discovered art while he was doing national service in the RAF, initially by sitting as a model for friends, then beginning to draw. He struggled to get into art college for several years, sleeping on people's floors, working in the Reading Room of the British Museum, looking at the art in his spare time. Finally, with the strong support of Carel Weight, he was accepted at the Royal College for three years.

'And then I did what was thought to be a terrible thing and married a member of staff. They threw me out. If I'd been a female student marrying a male member of staff, it wouldn't have mattered.' He spent a term at the Slade, which he hated, but then his wife went to work at Chelsea College of Art and he was allowed back in.

In 1962 he had his first show at the Grabowski Gallery. The Young Commonwealth Artists, of which he was a founding member, had become a highly fashionable group. Someone wrote that of his contemporaries, he, Hockney and Kitaj were the painters to watch.

He felt, though, that he was 'being pushed down this road of post-colonial rhetoric'. He did a series of paintings about a swan; critics insisted on seeing it as an allegory of dying empire. As his work became more colourful and abstract, people talked of its exoticism, whereas he felt it had more to do with his academic and theoretical interests and a reading of Goethe. He 'felt squished by the notion that I came from the Caribbean'.

A great deal of pressure was put on him to participate in the first World Festival of Negro Art in 1964 but he was left out of the Young British Artists in Paris in the same year. Worse still, since the organiser was a friend, he was excluded from the New Generation at the Whitechapel. In 1966, Bowling moved to New York where he lived in the Chelsea Hotel and traded pictures for his rent and restaurant bills. He found greater receptiveness to his work in the United States and has continued to do so ever since.

Bowling began the Sixties as a figurative painter, moved into increasingly abstract territory with the map paintings and, by the end of the decade, was sluicing colour across his canvases, purely abstract. In 1975, conscious of the need to be available to his three sons, he moved back to Britain. But he has always kept a base in New York and today has a flat in Brooklyn, where he and his partner, Rachel, spend about 14 weeks a year. He has dealers in New York, Washington, Philadelphia and Chicago, and two Guggenheim fellowships. In Britain he has no representation, and never has had. The map paintings have only been seen here once. He has not had a show in London since 1986. There is, he thinks, not much doubt that in the Sixties, Britain simply wasn't ready to claim a black painter as one of its own.

· Art and the 60s: This Was Tomorrow at Tate Britain, Millbank, London SW1, 30 June-26 September. Tickets 020 7887 8888; www.tate.org.uk/tickets

· BBC'4's Art and the 60s series will be screened from 1 July as part of the Summer in the Sixties season

Summary: David Hockney, Bridget Riley and Peter Blake are synonymous with the Sixties art scene. Other artists who were crucial to the period - Jann Haworth, Bruce Lacey, Frank Bowling - are almost forgotten. Where are they now?


FORTUNE — With an Apple AAPL iPhone special event expected in a week, photos and videos of new iPhone parts are popping up all over the Web. A YouTube search Tuesday morning for the term iPhone 5C returned more than 84,000 hits.

But ask around about the business of buying and selling unfinished Apple parts — upon which the company keeps a famously tight lid — and the name that comes up more than any other this summer is Sonny Dickson.

Dickson turns out to be an Australian teenager living in the environs of Melbourne. We reached him by Skype.

He’s cagy about his age. “Old enough to drink,” he says. (The legal drinking age in Melbourne is 18.)

He’s cagy about his sources. “They work for Apple in China,” is all he’ll say. Most he cultivated by chatting — via Google Translate — on Weibo.com. Others came from tips sent over the transom to Sonny@SonnyDickson.com.

And he doesn’t like to talk about money at all for fear of pissing off his peers in the ultra secret and slightly paranoid Apple parts trade.

“Money is never good,” he says, “It got me a lot of hate.”

But he can’t resist adding: “I could go over to Louis Vuitton today and buy one of their bags with the money I made this month.”

Dickson has three sources of income.

Pressed for a typical price of one of the parts he’s managed to snag, Dickson quotes $250 for the plastic back of an iPhone 5C. According to the owner of a U.S.-based site who has posted iPhone 5C videos, leaked parts stateside go for anywhere from $300 to $500.

Like many young men his age, Dickson got interested in Apple with the release of the original iPhone in 2007. Starting out as an iOS developer, he made a small name for himself extracting information hidden in the code of Apple’s beta software. His first notable score in the parts trade came last year when he got his hands on what turned out to be the logic board of the unreleased iPhone 5.

But he hit it big this summer with the first leaked photos of what he says are parts for four unannounced Apple products: the iPhone 5C, the iPhone 5S, the iPad Mini 2 and the iPad 5.

He flew under Apple’s radar until early this year, when Google took down a YouTube site on which he had posted some Apple training videos. Now he says he’s under constant surveillance. According to Dickson, computers based in Cupertino visited his website more than 900 times last month. U.S. Homeland Security stopped by 67 times.

Lately he’s worked out a system to keep the trade at arms length, arranging for buyers to get parts directly from his Chinese sources. But that may not protect him should Apple chose to prosecute.

“Some people think I may be breaking the law, but they don’t really know what I do,” he says. “I’m not breaking any laws that other people don’t do.”

Summary: Meet Sonny Dickson, this season's king of the purloined Apple part.


Ice station ... artist's impression of the Halley station. Photograph: PA

The Brunt Ice Shelf on the eastern edge of the Wedell Sea, Antarctica, is not an ideal place to build anything much. From 1956, when the first British research station, Halley 1, opened for scientific business, humans have only ever perched precariously here. Since then, four successive Halley stations have sunk into the relentless polar snows. The fifth is about to go the same way, if it doesn't float away, while the sixth is just about to slip off the architects' and engineers' computer screens and be shipped in flat-pack form 10,000 miles from temperate Britain. When erected in 2007, Halley VI will be a home from home for British Antarctic Survey scientists among a resident population of seals, penguins and the occasional albatross.

The tricky thing is this: aside from being smothered in snow, the Brunt Ice Shelf shifts by up to a kilometre a year, its extremities breaking off and forming icebergs in the Antarctic Ocean. So any building here will move, however deep its foundations. The clever thing to do, if you must build on such uncertain ground, is to design a structure that can move, keeping itself out of harm's way as the land beneath it cracks, melts, slips and otherwise slides away.

Halley VI, brainchild of British engineers Faber Maunsell and of Hugh Broughton Architects, is the winning design in an international competition held by the Royal Institute of British Architects. Composed of 12 detachable and highly insulated plywood and aluminium modules, the whole caboodle stands on a stainless steel frame with legs booted with heatable skis. Wholly demountable, this is one building that will be able to make its way to a new home with little trouble. Just as well given the climate. Who would want to work on a building site subject to winter temperatures of -50C, blanketed in darkness for three months each year, battered by 90mph blizzards and under a hole in the ozone layer first identified by Halley scientists in 1985? Your average, cheeky British builder who would be in severe danger of frostbite. This intriguing, pre-assembled £19m building will, however, be bolted together quicker than you or I could build an Airfix kit of the full-scale building. Or a snowman.

Scientists living and working here from 2008 will not be expected to have the courageous pluck of Captain Scott, who froze to death on his return from the south pole in 1912, nor will they be expected to survive (or not) on a diet of pemmican (dried, chopped meat) mixed with melted snow and Huntley and Palmer's hard-tack biscuits as Scott and Co did. Far from it. In fact, the double-height conservatory at the heart of Halley VI will be green with fresh salads sprouting from the research station's very own vegetable patch, or "hydroponic garden".

Aside from a healthy diet, BAS staff will not even have to miss episodes of favourite television programmes, nor give up working out. A TV room and gym cosy up here together with a sauna, "hydrotherapy bath", music room, dining room, library and an observation lounge promising mind-searing views of the Antarctic snowscape and, in winter, the southern lights laced with stars.

Light and quick on its feet, Halley VI has also been designed to be as environmentally friendly as possible. Should it become redundant, it will be taken apart and shipped elsewhere. As Peter Ayres of Faber Maunsell puts it, "We consider Halley VI to be a visitor to Antarctica, not a resident."

Summary: It's designed to withstand temperatures of -50C and 90mph blizzards - which is just as well, as it will be the new home of the British Antarctic Survey.  Jonathan Glancey reports.


When it comes to fitting exercise in our lives, a busy schedule may be one of the most difficult hurdles to overcome. It’s not that your health isn’t important to you or that you seriously hate working out (OK well, maybe some of us do), it simply just comes down to the fact that your time is extremely limited.

So, for those of us who don’t have the leisure of spending hours upon hours at the gym, it’s important that we use the time that we do have wisely; even if it’s just 10, 15 or 20 minutes. Any amount of activity, no matter how little, is always better than choosing to do nothing at all.

Of course, when you do only have a little bit of time to spare, you want to make sure that you’re using it wisely. Maybe you've been trying your best to squeeze workouts in when you can, which is great, but you’re not seeing the results you’re aiming for.

Or maybe you really just can’t figure out how the heck you can fit a trip to the gym into your schedule at all. Whatever the case, these tips can help solve your time-crunch quandaries and teach you how to make the most of your precious exercise time.

Making Most Of Your Time At Gym

Making Most Of Your Time At Gym

If you're not organized and armed with a plan, getting to and from the gym can add a significant amount of time to your exercise endeavor. Cut down on transition time by making sure your gym bag is packed and ready to go at night before you head to sleep; this way you can throw it in your car and head straight to the gym whenever it’s most convenient for you. Be sure to also pack anything you’ll need for after the gym so you can head straight to the next engagement without having to stop back home.

Aside from packing your bag, part of preparing for the gym also involves planning your workouts. When you walk through those gym doors you should already know exactly what your workout will entail. Avoid wandering around the gym while deciding what exercise to do next. Not only does it waste time, but it makes for an extremely ineffective workout.

OK, you don't need to shut it down completely. But avoid being distracted by messages, emails and social media by turning on the ‘do not disturb’ mode and focusing only on your workout during the time you spend at the gym. Not only will your workouts become more effective, but you’ll save lots of time, too.

When you don’t have a lot of time for exercise, one way to make your workouts more effective is by increasing intensity. You’ll burn more calories in less time and reap more fitness benefits like increased strength and endurance, too.

Every gym has its resident Chatty Cathy, and from time to time you'll probably bump into a few friends or acquaintances while you’re there, too. Of course, you don’t want to be rude so you can smile and say hi, but politely reminding your talkative pals that you’re on a mission to focus on finishing your workout will help you cut down on excess gym time.

Going in with a plan is important, but if it happens that a machine you were going to use is taken or you can’t find the piece of equipment you wanted to use, you’ll save lots of time by choosing an alternative exercise.

Yes, you want accomplish as much as possible in what little amount of time you have, but that doesn’t mean your workout should feel rushed and hurried. Remember to focus on the enjoyment of exercise; stress is associated with negative health effects, so try not worry too much about cramming your workout in and take a few minutes to warm-up, cool down, stretch and focus on your breath.

For the complete list of the 10 Ways To Make The Most Of Your Time At The Gym, go to TheActiveTimes.com.

More From The Active Times: -- 20 Easy Ways to Build Exercise Into Your Daily Routine -- The Secret To Creating an Exercise Routine You’ll Actually Stick With -- Better Sex, Healthier Teeth, Clearer Skin: 12 Surprise Benefits of Exercise -- 10 Ways to Move More At Work

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Mark Wahlberg, The Sports Fan

Mark Wahlberg, The Sports Fan

Kobe Bryant stops by to say hello during the 2008 NBA Finals.

Wahlberg and his sons watch the Lakers host the Knicks.

Wahlberg greets Nate Robinson of the Nuggets.

Wahlberg hangs backstage with Dwight Howard during a Spike TV event.

The 76ers have a special gift when Wahlberg visited Philadelphia.

Wahlberg and CC Sabathia enjoy the Laker game with their sons.

Wahlberg and John Salley attend a Boys & Girls Club event.

Mark Wahlberg joins Lala Vazquez and her husband, NBA star Carmelo Anthony, at Times's 100 Most Influential People In The World event in New York.

Wahlberg and Spike Lee connect at the 2011 NBA All-Star Saturday Night event in Los Angeles.

Wahlberg clowns with longtime NHL tough guy Tie Domi.

Wahlberg meets Danica Patrick at the ESPYs.

Wahlberg and Emmanuelle Chriqui present an ESPY to Olympic ski champ Lindsay Vonn.

Wahlberg makes a point to Drew Brees at Pebble Beach.

Wahlberg is flanked by Michael Andretti and Tony Kannan at the Indy 500.

Wahlberg and Ferrell work on location for 'The Other Guys' movie at Knicks-Celtics game in New York.

Wahlberg and a costumed Derek Jeter are on location for 'The Other Guys' movie in Brooklyn.

Wahlberg throws the first pitch at Fenway Park.

Wahlberg attends a premiere with Vince Papale, whom he portrays in 'Invincible,' and Dick Vermeil.

Wahlberg and longtime Rangers fan Susan Sarandon check out the Stanley Cup.

Kasey Kahne greets Wahlberg on stage at NASCAR race in Las Vegas.

Wahlberg congratulates NBA star Corey Maggette for winning the video game tournament at his charity event.

Wahlberg stands for the national anthem with the Maloof brothers, who were then owners of the Sacramento Kings.

Wahlberg, Alex Rodriguez and Ken Griffey Jr. help the Boys & Girls Club launch an after-school program.

Wahlberg plays in the 1991 MTV Rock 'n Jock Basketball game.

1962 Porsche Becomes BBQ Grill

Summary:
By Katie Rosenbrock
TheActiveTimes.com
When it comes to fitting exercise in our lives, a busy schedule may be one of the most difficult hurdles to ove...


With Europe mired in what can now be fairly described as a depression, and the United States barely growing above its expected, long-term trend, economists are desperate to find some other source of global economic growth that can be counted on to push the world forward.

That’s one reason why economists have been paying such close attention to China lately. The Chinese economy is a fantastic success story, growing by roughly 10% a year from 1980 until 2010. Growth has slowed somewhat in China in the past few years, but it’s still coming in at somewhere between 7% and 8% annually. And that’s for an economy that’s already adding more than $9 trillion a year to global output, according to World Bank estimates, the second highest contribution after the United States.

China is integral to global growth, and that’s one reason why people took notice when Larry Summers published a working paper in October arguing that projections for the Chinese economy were way off the mark. The noted economist and former Treasury Secretary wrote that China’s long run of outstanding growth will likely come to an end soon. Summers points to two trends to support his argument. The first is that after 30 years of truly outstanding growth, it would be anomalous for the Chinese economy to continue to grow well above the world average as mainstream organizations like the World Bank predict it will. In the paper, which Summers co-wrote with economist Lant Pritchett, the authors write:

Many of the great economic forecasting errors of the past half century came from excessive extrapolation of performance in the recent past and treating a country’s growth rate as a permanent characteristic rather than a transient condition. Paul Samuelson’s textbook predicted in 1961 that there was a substantial chance that the USSR would overtake the United States economically by the 1980s. There was a widespread view right up until the end of the 1980s that Japan would continue to grow and outcompete the world. Or in the opposite direction, consider the pervasive pessimism of even a decade ago regarding Africa. Since then, African countries emerged as a majority of the world’s most rapidly growing nations.

With this in mind, Summers and Pritchett analyze the growth patterns of a broad collection of developing economies, finding that it is much more common for a country to grow slowly after a long period of rapid growth than for that country to continue to perform as it had been. Furthermore, they find that it is much more likely for wealthy countries to be democratic than authoritarian. The only country in recent history to achieve the status of a developed nation while remaining relatively authoritarian is Singapore, a nation of just 5.4 million people. Summers argues that it would be doubtful that a country of 1.3 billion people like China could emulate a tiny island state and, in any case, even Singapore remains far more democratic than China by most measures.

In other words, for China to reach the 6.6% per capita growth the World Bank expects it to achieve between 2011 and 2033, it would have to do something no economy has ever done before. It’s possible that this will happen, but how likely is it really?

Another economist skeptical of a continuation of the China growth miracle is David Levy of theThe Jerome Levy Forecasting Center, who argues that over-investment in China will soon lead to a rapid slowdown in that nation and, potentially, a global recession.

There are many economists, however, who are dubious of these doubters. They argue that China is a special case. Australian economist Stephen Grenville of the Lowry Institute argues that it’s not wise to predict the future growth of China based on experiences of economies so vastly different from it. “There is a range of experiences—often widely different—hidden within the average. True, Brazil had more than two decades with no growth at all in per capita income. On the other hand Taiwan, Singapore, South Korea and Hong Kong (and earlier, Japan) had quite long periods of fairly sustained economic growth which have taken them to high levels of per-capital income. What relevance does Brazil’s failed growth experience have for China?”

Carl Weinberg, chief economist at High Frequency Economics, sees no reason for Chinese growth to slow down markedly in the near future. He argues that China perfectly fits the model of a “modernizing” economy, one that is defined by a growing population; sustained productivity growth; a rapid growth in urban relative to rural population; social changes like secularization; and increased trade. China, says Weinberg, is a special case because of how closely it resembles other modernizing economies, like the United States, during their rise. “China is a modernizing economy,” he wrote in a recent note to clients. “Most of the countries in Larry [Summers'] sample are not. China’s experience is different.”

Weinberg argues that, while China might not be a model of democracy, its government has made progress in allowing more freedom, especially when it comes to private enterprise. As the country continues to urbanize and per capita income continues to rise, there’s reason to believe this process of liberalization will continue.

In previous years, this may have been an academic discussion, pertinent to economists and a few investors, but not the wider population. But as China’s economy continues to grow, what happens in China will increasingly affect the entire world. It’s expected that sometime in the next few years, China will become the largest economy in the world, and the difference between 6% and 2% yearly growth could spell the difference between a strong or stagnant economy in the U.S.

Summary: Former Treasury Secretary Larry Summers argues that optimistic projections for future Chinese growth are way off the mark.


Negotiations to curb Iran’s nuclear program ended in a stalemate Monday, as the six-power group conducting the talks with the Islamic Republic pushed back the deadline for striking a final deal to next June.

“No agreement has yet been reached, but there has been substantial progress,” the news agency RIA Novosti quoted Russian Foreign Minister Sergey Lavrov as saying as he left the talks in Vienna.

The postponement means that Iran has won itself another seven months’ breathing space in which to carry on developing its program, in the face of western suspicions in that it wants to build a nuclear bomb. Teheran says it is only looking to use nuclear power in civil energy projects. The U.N.’s International Atomic Energy Agency says it hasn’t been able to confirm this.

The talks aimed to lay any doubts about Iran’s intentions to rest, in return for loosening the sanctions that have hamstrung its economy. Hopes for a deal had risen after the more moderate Hassan Rouhani replaced the hardline Mahmoud Ahmedinajad as Iran’s President last year.

Western nations agreed to relax sanctions against Iran in July in exchange for new limits on the program and an extension of talks on a final status agreement until this Monday.

Ministers will now resume negotiations next month and aim to wrap up a deal within three to four months, according to Britain’s Foreign Secretary Philip Hammond.

Hammond told the BBC that the failure to reach a deal was “a disappointment, but rather than continue blindly, we have to recognise the reality that we’re not going to make a deal tonight.”

With a final deal still pending, Iran will still be allowed to access $700 million a month in oil assets that were frozen under U.S. sanctions, the BBC reported.

The political backdrop in the Middle East has changed rapidly since the parties made a breakthrough on talks last year.

This year has seen Iran and the U.S. work together–if only informally–to combat the Sunni jihadi movement Islamic State in Iraq. However, any rapprochement between the two–and indeed, a broader deal on lifting sanctions–looks less likely after the Republicans took control of the Senate in mid-term elections earlier in November.

Summary: Final deal on ensuring Teheran doesn't build a bomb remains elusive.


Updated DEC 12, 2014 3:30p ET

TEMPE, Ariz. -- The way things have gone for the Cardinals on the injury front this season, Friday's news qualifies as good news. Quarterback Drew Stanton won't need surgery on his injured right knee, and the Cardinals are hopeful he will be back this season.

FOX Sports 910's Mike Jurecki reported Friday that Stanton has a sprained ACL and a Grade II MCL sprain. FOX Sports senior NFL writer Alex Marvez also suffered a knee sprain and will be evaluated on a week-to-week basis. Arians would not confirm the nature of the injury.

"I'm not real good with those injury terms," Arians said. "He's got a knee."

Stanton is wearing a brace and is on crutches already. He is listed as week to week, and the Cardinals have 10 days before they play Seattle on Dec. 21 at University of Phoenix Stadium, so it's possible he won't miss any time.

But if both ligaments are sprained, he could also sidelined for the final two games of the regular season. There is also this to consider: The right knee is the same one Stanton has injured twice before, in 2003 as a collegiate player at Michigan State, then in 2007, his rookie NFL season. He spent his entire rookie season on injured reserve.

When asked if he'd be surprised if Stanton played against the Seahawks, Arians said: "I wouldn't put it past him, but I would be surprised."

If Stanton can't play in the team's final two regular-season games, the Cardinals would hope he could return for the playoffs, which makes the Seahawks game all the more meaningful. With a win, the Cardinals would clinch the NFC West title and a bye in the first round of the playoffs, giving Stanton and a whole lot of other banged-up players an extra week of rest. If they lose, they'd likely go on the road as a wild-card team on the first weekend of the playoffs.

To win the division, however, the Cardinals would need to beat the surging Seahawks with Ryan Lindley or Logan Thomas at quarterback. Despite the fact that Lindley replaced Stanton in Thursday's win in St. Louis, Arians said he would wait to name a starter for Seattle until he has more time to sit down with the two players and evaluate.

"It's just a matter of having him comfortable," Arians said of his choice of quarterback. "Whether it's 10 plays or 50 plays, the menu doesn't have to be large as long as he understand where the ball should go and why it should go there.

"It could be a very short menu of 10 plays that might have four formations that could add up to 40, or it could be a list of plays that they're comfortable with. You don't want them going into the game not comfortable -- making sure they can handle all the dogs and blitzes, that's main thing: Know your protections."

If Stanton does miss time, the Cardinals would be the third team in the last 10 seasons to win 11-plus games in a season while starting three different QBs, per the Elias Sports Bureau.

Stanton left in the third quarter of Thursday's 12-6 win over the Rams when he planted his right leg as Rams defensive lineman Aaron Donald grabbed him, adding more weight to the leg. Stanton was eventually carted off and Lindley finished the game, leading the Cardinals to a pair of field goals.

Lindley completed 4 of 10 passes for 30 yards. It was his first action since Dec. 23, 2012, against the Bears when Ken Whisenhunt was the Cardinals coach. Lindley's career passer rating is 46.8.

The Cardinals re-signed Lindley on Nov. 11 off the Chargers practice squad after starter Carson Palmer went on season-ending injured reserve with a torn ACL, also suffered against the Rams. Thomas was the team's fourth-round pick this year.

When asked why he chose Lindley over rookie Thomas, who beat out Lindley in training camp, Arians said Thomas would have seen things he had never seen, but he knew Lindley would handle "that part of it" better.

There is also this reality: Lindley won't be back with the team next season after Palmer and Stanton are healthy. Thomas is, for now, part of the future. Why ruin his confidence in a situation where he has a limited chance of success.

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Summary: There is no timetable for Cardinals QB Drew Stanton's return from a right knee injury, but coach Bruce Arians was doubtful that he could play Dec. 21 against Seattle with the NFC West crown on the line.


The largest funder of the $9.5 billion Ecuadorian environmental suit against Chevron threw in the towel today, pledging to give no more money and to turn over his entire stake in the judgment–7%–to Chevron.

The funder, James Russell DeLeon, did so to settle a suit the oil company had filed against him in Gibraltar, where he lives, alleging that he was knowingly funding a fraudulent suit. (The full settlement is here.)

The development is striking in that DeLeon is a Harvard Law School classmate and longtime personal friend of Steven Donziger, the New York lawyer who has acted as the key strategist and driving force behind the Ecuadorian suit. DeLeon had invested $23 million in the litigation, and had also provided 60% of the funding behind Joe Berlinger’s documentary film Crude, which presents the case in a heroic light.

“Commencing in March 2007,” DeLeon said in a statement, “I provided funding to support the litigation in Ecuador … in the good faith belief that I was supporting a worthy cause. However, I have since reviewed the March 4, 2014 opinion of Judge [Lewis] Kaplan of [Manhattan federal district court] and I have considered the evidence presented during trial. As a result, I have concluded that representatives of the Lago Agrio plaintiffs, including Steven Donziger, misled me about important facts. If I had known these facts, I would not have funded the litigation.”

Judge Kaplan found last March that the $9.5 billion judgment the Ecuadorians won against Chevron in a Lago Agrio, Ecuador, provincial court in February 2011 had been procured by Donziger and his co-counsel in Ecuador through fraud, extortion, bribery, and other crimes.

Karen Hinton, a spokesperson for both the Ecuadorians and Donziger, said a statement was being prepared.

The Ecuadorian suit sought damages for oil pollution allegedly left behind by Texaco—acquired by Chevron in 2001—after it drilled for oil in Ecuador from about 1964 to 1992.

Kaplan’s ruling, in a civil racketeering case Chevron filed against Donziger and his co-counsel, is now on appeal, and is scheduled to be heard by the U.S. Court of Appeals for the Second Circuit during the week of April 20.

An earlier funder in the case, the publicly traded, third-party litigation finance outfit Burford Group, renounced its involvement and stake in the case in 2011, less than a year after making the investment, alleging that it had been defrauded by Donziger and others about key facts in the case. Burford was being threatened with a lawsuit by Chevron at the time it renounced the suit.

Chevron also has a suit in Gibraltar pending against still another funder of the case, U.K.-based Woodsford Litigation Funding. Woodsford has denied wrongdoing.

Summary: Russ DeLeon, friend of lawyer bringing case, says he was misled


“Maps to the Stars” is a perfect poisonous after-dinner mint to the Oscar season just concluded. Can you imagine the reactions of the Academy voters who awarded Julianne Moore a best actress statuette for “Still Alice” when they get a look at her other 2014 movie — the one in which she plays a monstrously egotistical Hollywood star? They’d repo that Oscar in a second. Moore did win best actress at Cannes last spring for “Maps,” but, then, the movie probably confirms everything the French already think about American culture.

Robert Pattinson in David Cronenberg’s “Maps to the Stars.”

Scripted by novelist-screenwriter Bruce Wagner (“I’m Losing You”), the film is a case of director David Cronenberg biting the hand that has never really wanted to feed him. Is this why the maker of “The Fly,” “A History of Violence,” and “Eastern Promises” has retreated to the rarefied precincts of “A Dangerous Method” (2011) and “Cosmopolis” (2012)? Because the movie business is so ghoulishly awful?

Moore’s Havana Segrand, a whining, self-absorbed basket case of a star who can’t admit her career is over, is just one of the characters who stagger through the film’s Beverly Hills wasteland. Her latest personal assistant, or “chore whore,” is a creepy mouseburger named Agatha (Mia Wasikowska) who claims to be from Jupiter — Florida — but has actually returned to LA from a mental hospital to stalk her own celebrity family. Agatha’s father,Dr. Stafford Weiss (John Cusack), is a best-selling self-help guru given to emotionally rolfing clients like Havana; her little brother Benjie (Evan Bird) is the teen star of “Babysitters 2” and himself a monster in the making. Mom Christina (Olivia Williams) manages Benjie’s career and sobs loudly in the bathtub.

Subsidiary characters pass to and fro, including a car service driver and aspiring screenwriter played by Robert Pattinson, last seen doing very bad things in a stretch limo in Cronenberg’s “Cosmopolis.” In this company, he’s a comparative innocent; the governing philosophy of “Maps to the Stars” is that success in the entertainment industry is a destroyer of souls on the order of Shiva. Benjie and Havana are terrors to those around them and terrified victims to themselves; both are haunted — literally — by ghosts, and both are headed for Lotusland apocalypse if someone else doesn’t get to them first.

The movie is intentionally overcooked, a pitch-black satire of an industry’s (and society’s) entitlement that makes its points in broad swipes that are alternately delicious and labored. Scenes of the adolescent Benjie on the town with friends, lesser stars and cling-ons, are chilling in their studied amorality, even if we’ve seen them before in films like “The Bling Ring” and “Palo Alto.” Much more scary-funny is Moore’s Havana, who sees three-way sex as career advancement, does a dance of delight when a rival’s child drowns in a pool — it means she’ll get the rival’s part in a film — and sends Alex out to buy Zoloft, Xanax, Kozy Shack pudding, and “those truffles from La Maison du Chocolat.” She’s a Norma Desmond for an era in which the pictures and the people in them are equally small.

A lot of the movie works, but enough doesn’t for “Maps to the Stars” to go down as a lost opportunity and one of this director’s braver missteps. A much-repeated patch of dialogue (“On all the flesh that says yes, on the forehead of my friends, on every hand held out, I write your name”) seems to have wandered over from a David Lynch film, and the film’s budgetary constraints show, especially in a climactic immolation that’s patently fake. The family secrets that tumble forth as the movie thunders to a close mirror each other too neatly. The movie’s an intentionally cold experience that ultimately loses its cool.

Still, “Maps to the Stars” is worth it for another fearless performance from Moore (what other actress would deliver a monologue while perched on the toilet?), for its acid throwaway lines (“For a disfigured schizophrenic, you’ve got the town pretty wired”), and for the movie’s grand contempt for all the values our popular culture holds dear. Even the Oscars in this film are bludgeons.

Summary: “Maps to the Stars” review: Director David Cronenberg and writer Bruce Wagner survey the modern Hollywood wasteland, home of damaged terrors like a has-been star (Julianne Moore), a self-help guru (John Cusack), and a creep (Mia Wasikowska) stalking her own family.


International media is reporting Jake Bilardi was behind the wheel of a car used in a suicide bombing attack. (Supplied)

Prime Minister Tony Abbott has described unconfirmed reports Melbourne teenager Jake Bilardi carried out a suicide bombing in Iraq as "an absolutely horrific situation".

Information posted on pro-ISIL social media accounts said he was one of the suicide bombers that carried out an attack in the city of Ramadi yesterday, killing at least 10 people.

International media outlets have reported the Craigieburn teenager was in one of the vehicles used in the coordinated attack, referencing a screen capture allegedly from a new ISIL propaganda video of a young man with a similar appearance to Bilardi behind the wheel of a car.

Jake Bilardi fled Australia, reportedly to join ISIL. (Supplied)

Visiting regional Victoria today, Mr Abbott told reporters it was "an absolutely horrific situation" which showed the influence ISIL has on young Australians.

"It's very, very important that we do everything we can to try to safeguard our young people against the lure of this shocking, alien and extreme ideology," he said.

Stories about the baby-faced teenager's circumstances have been the subject of social media hoaxes in the past. Last year media outlets in the UK reported the "white jihadi" was a British citizen who joined ISIL after failing to be admitted to university, which later proved to be false.

Following today's reports that Bilardi had been killed, BBC journalist Secunder Kermani tweeted that he had interviewed the 18-year-old last year "and he said this was what he planned".

The attack on government-held areas of Ramadi involved seven almost simultaneous suicide car bombs.

At least 10 people were killed and 30 wounded in the attack, according to initial reports by police and hospital sources in the western city, which is the capital of Anbar province.

Police major Mustafa Samir said IS launched the attacks using suicide bombers driving Humvees in the areas of Hawz, Malaab, Toi, Albu Faraj and Albu Eitha about 7am (3pm AEDT).

The Department of Foreign Affairs and Trade released a statement this morning, saying their capacity to confirm the reports are "extremely limited" as consular assistance is no longer available within Syria.

The teenager from Melbourne's northern suburbs previously made headlines when a photo emerged of him clutching an assault rifle while sitting between two bearded ISIL soldiers.

Images of the armoured Humvees used in the suicide bombing in Ramadi. (Twitter)

Midway through last year, Bilardi bought a one-way ticket to Istanbul.

Two months later he contacted his family to tell them he was in Iraq training for a martyrdom mission with a suicide vest.

Later he contacted them to say he was too scared to go through with it and preferred to be a soldier in Syria.

There has been no official confirmation of his whereabouts.

Do you have any news photos or videos?

Summary: Islamic State supporters have claimed Melbourne teenager Jake Bilardi has carried out a suicide bombing in Iraq.


05/14/2015 AT 12:50 PM EDT

A male body was found in the Hudson River on Wednesday, police confirmed.

The body was found near Marist College in Poughkeepsie, New York. An autopsy for the unidentified man is set for Thursday morning, according to the

. Authorities hope to have a positive ID after that.

The discovery caused speculation that the body could be that of Vincent Viafore, who

while kayaking on the river in mid-April. His fiancée Angelika Graswald has since been

with his murder, though she denied any involvement in his death in an interview with PEOPLE.

But a law enforcement official tells PEOPLE the body is not suspected to be that of Viafore.

Capt. Paul Lecomte emphasized that there are multiple missing people in the area and that the remains could belong to any of them, the

"We have several people who are unaccounted for in the area of the river from incidents over the winter," he said.

Prosecutors have said that Graswald

"she tampered with the victim's kayak and that taking these actions would contribute to his death."

"She stated she saw him go under water and did nothing to help him, that she felt a sense of happiness and release, that it felt good he was going to die, that she wanted him dead, that she felt trapped with no way out," Assistant District Attorney Julie Mohl told an Orange County courtroom Wednesday.

The Ulster County Sheriff's office is now handling the investigation regarding the body found in the Hudson Wednesday.

Summary: Vincent Viafore disappeared in mid-April while kayaking with his fiancée, who has since been charged with his murder


Your March 17 news article on Head Start in New York City could leave the impression that past delays in expansion of the program might prevent many children from participating in it and cost the city millions in Federal dollars. In fact, the city will complete the entire expansion and enroll 2,400 additional children, as planned, before the end of the current program year in January 1982. The Federal funds necessary for the full expansion have been assured.

he program's 1978 enrollment of 6,109 children in 109 original sites has been raised to more than 7,500 at 127 sites. When expansion is completed, we expect to reach a level of 8,918 children at 136 sites plus 406 additional enrollees for this program year.

The regrettable difficulties we experienced in finding sites, completing renovation designs and architectural specifications, and locating contractors to do the work, have been largely resolved. Leases have now been signed for 34 of the 35 sites, construction has started on 26 of those locations, and operating licenses have been awarded to 16 out of the 18 sites for which construction has been completed.

Discrepancies between Federal mandates and local needs in three major areas made it impossible to expend funds for the first year. Lengthy negotiations were required to reconcile the Federal formula for the geographic allocations of the funds with the city's perception of what areas still had the greatest unmet needs.

Also, we successfully bargained over the number of children allowed per classroom. The Federal regulation dictating classroom enrollment size would have resulted in 600 fewer children enrolled than the number permitted under the New York City Health Code. The third hurdle we overcame was obtaining a critical waiver of the Federal requirement for a 20 percent in-kind contribution by Head Start sponsoring agencies.

While the very real merits of Head Start make it unfortunate that the expansion was not finished earlier, it must be stressed that the completion date of the project had no bearing on the original funding commitment. The number of children to be added would still have been 2,400, and this number of additional children will be served by the year's end.

Meeting this commitment is one of my top priorities. JAMES A. KRAUSKOPF Administrator/Commissioner Human Resources Administration New York, March 23, 1981

Summary: To the Editor:     Your March 17 news article on Head Start in New York City could leave the impression that past delays in expansion of the program might prevent many children from participating in it and cost the city millions in Federal dollars. In fact, the city will complete the entire expansion and enroll 2,400 additional children, as planned, before the end of the current program year in January 1982.  The Federal funds necessary for the full expansion have been assured.


EVERYONE will be thinking pink at the wedding April 11 of Evangeline Gouletas and Governor Carey. Miss Gouletas will be wearing a lowwaisted pink satin gown with full skirt, chiffon bodice and sleeves, and it's being feverishly stitched together this very minute by the New York couturier Stavropoulos.

Stavropoulos is also creating the gowns for the entire wedding party, including that of Miss Gouletas's daughter, Maria, and they will also be in pink satin.

Before the ceremony, which is scheduled to begin at noon, Miss Gouletas will attend a 9:30 A.M. breakfast wearing a silk Stavropoulos suit, the color, said the designer, ''of the Greek sky.''

And for the party that night, a black-tie affair, ''I have designed,'' he said, ''a dress for an empress - white-silver satin with front and back panels encrusted with rock crystal and a matching cape. But I cannot tell you how much it's all costing.''

He has also, at Miss Gouletas's request, designed 10 more gowns and cocktail dresses.

W HO says times haven't changed? Ellen Seeherman, a trademark lawyer who is marrying Stuart Sloame, another lawyer, this weekend, was given a bachelor party Wednesday night. While her fiance was off playing tennis, eight young bachelors, all lawyers other than one law student, wined and dined her at Jim McMullen's restaurant. One of them, Paul Glickman, an assistant attorney general for New York State, will, in fact, be her maid of honor at the wedding.

''He's my best friend,'' said Miss Seeherman, who was given a bouquet and allowed to choose anything she wanted from the menu. ''The sky's the limit,'' said David Saxe, a partner in Brett, Apfelberg, Epstein & Saxe, who thought up the idea of the party. Mr. Saxe, who specializes in the tenant side of co-op conversions, said that he once dated Miss Seeherman but friendship worked better for both of them.

WHAT do you do when you want to introduce a beautiful old landmark church in Brooklyn Heights to the men and women who could restore it to the style to which it was once accustomed? You arrange an event that will lure Manhattanites to what many of them consider a foreign country, and on a Sunday, in a church, the event has almost got to be cultural. But not too cultural.

And so it was last Sunday that some 400 people were greeted by a quartet of trumpeters as they approached St. Ann and the Holy Trinity Church at the corner of Clinton and Montague Streets clutching their $20 to $125 admission tickets. Once inside, framed by 60 stained glass windows, they were treated to music of another kind, an hour-long piano, violin and vocal diversion arranged by Charles Wadsworth of the Chamber Music Society of Lincoln Center. And when the last note faded away, there was more to come - a reception across the street at the Manufacturers Hanover Trust Building, where the deposit tables had been prettied up with yellow felt covers.

As Brendan Gill said, there was probably a reason to drive the money changers from the temple, but it certainly was nice when they ended up across the street. Even the bank people had a giggle at that. Mr. Gill, with and without witty remarks, is chairman of the New York Landmarks Conservancy.

CELESTE HOLM was having a grand time at the Plaza Hotel the other night, introducing cast members of the various ''Oklahoma'' companies, and reading telegrams from distinguished alumni (John Davidson, Shirley MacLaine) who couldn't be there. It was the 38th anniversary of the opening night of the famous American musical, in which Miss Holm created the role of ''Ado Annie.'' Perle Mesta gave the original party and the Northwood Institute underwrote the anniversary.

But it was Miss Holm's account of the five stages of an actress's life that drew the biggest applause. First, she said, they ask ''Who's Celeste Holm?'' Then they say, ''That Celeste Holm really has something.'' The middle stage is ''Get me Celeste Holm,'' and that eventually leads to ''Get me a Celeste Holm type, only younger.'' The last stage - ''Who's Celeste Holm?''