text:
Prosecutors Announce New Murder Charge Against Accused 'Golden State Killer'
By Jason Kandel • Published August 13, 2018 • Updated on August 15, 2018 at 2:55 pm
Joseph DeAngelo, 72, is accused of being the "Golden State Killer."
DeAngelo is charged with 12 killings throughout California in the 1970s and 1980s.
Authorities say they identified him by connecting him through familial DNA.
Prosecutors in Northern California on Monday announced a new murder charge against a man suspected of being the notorious "Golden State Killer," closing a murder case in Tulare County that has gone unsolved for more than four decades.
Joseph DeAngelo, 72, was charged in the fatal shooting of Claude Snelling, a 45-year-old journalism instructor at the College of the Sequoias, in 1975, prosecutors in Tulare County said.
Snelling died while trying to protect his daughter from an apparent rapist, prosecutors said. Snelling was shot when he tried to confront the ski-masked gunman who was dragging his daughter away in their backyard, The Associated Press reported at the time.
The man fired two shots from a pistol at Snelling, then released Snelling's 16-year-old daughter, kicked her in the face and fled, Lt. Dale Treece, of the Visalia Police Department, said, according to the AP.
DeAngelo, a former police officer, was arrested in the Northern California city of Citrus Heights in April after authorities say they linked him to cases in Sacramento through DNA.
Detectives linked DeAngelo to the Snelling slaying and believe he is the "Visalia Ransacker," whose 18-month home burglary spree of 100 homes shocked the Visalia community for over 18 months in 1974 and 1975, Visalia Police Chief Jason Salazar said.
The gun used to kill Snelling had been stolen from a home during a burglary in Visalia a month earlier, Salazar said.
The bicycle the gunman used to get away was recovered a block away from Snelling's the day after the crime. The bike had been stolen from a nearby yard two days before murder, the chief said.
The timing of the ransackings and Snelling's killing match the time that DeAngelo was a cop for the city of Exeter, about 10 miles away from Visalia, from May 1973 to August 1976, Salazar said.
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The methods that the "Visalia Ransacker" used matches the "Golden State Killer," Salazar said.
He'd break into homes in the evening by prying open doors or windows. He stole keepsakes and left valuables, he'd leave items on doors or doorknobs to alert him of returning residents, and he'd eat or prepare food during his crimes, the chief said.
Victims told police they received strange phone calls weeks after the crimes, Salazar said. He prowled locations and planned escape routes and often used a bicycle to get away.
On Dec. 10, 1975, months after Snelling was killed, police believe they spotted the man responsible while doing surveillance to try to capture the "Visalia Ransacker."
The man shot at an officer during a confrontation with police in a backyard.
The bullet struck the officer's flashlight and the shooter got away. The officer saw his face and was able to give investigators a detailed composite sketch.
Afterward, the ransacker went underground and no further crimes that fit the pattern were committed in the city of Visalia, Salazar said.
A few months later, the "East Area Rapist" began terrorizing east Sacramento from 1976 to 1979, the time when DeAngelo was a cop for the nearby city of Auburn, Salazar said. He left the Exeter Police Department in 1976.
attorneyOrange CountyJason KandelNorthern CaliforniaSacramento
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Atjar Tjampoer is a sweet or sour acid which is made from mainly vegetables and herbs and spices. In this recipe from Monique van der Vloed, Greensweet Erythritol and Greensweet Extra Sweet are processed.
Put the water, vinegar, chopped vegetables and herbs and spices, and the stevia in a pan, and bring to a boil, while stirring frequently. Meanwhile, make a paste of the arrowroot and the water. Once the vegetables have become al dente (average 10 minutes cooking time) add the paste in one go and stir well. Finally add the bamboo shoots and stir firmly. Fill the pots with the Atjar and let cool.
When the Atjar has cooled down you can start to taste it. If you still find the taste too faint, you can add some extra herbs, spices and erythritol.
You get two large pots from this recipe. Preferably use preserving jars, which are easy to seal. You can then store the pots in the refrigerator for about two weeks.


text:
Boulevard Magenta
Being the first issue of IMMA's biannual magazine. The first issue includedTerry Winters, who has contributed nine drawings incorporating texts by the American writer Ben Marcus to the publication.
The literary pieces include a short story by Colm Tóibín, based on an undeveloped plot from one of Henry James's notebooks; a poem by Seamus Heaney, written in response to a painting by Colin Middleton; an excerpt from a forthcoming novel by David Mitchell and three poems by the Spanish poet José Carlos Llop. Also included is an unpublished interview with the Polish poet Czeslaw Milosz, carried out by the Swiss curator Hans Ulrich Obrist and the French artist Philippe Parreno just prior to Milosz's death in 2004.
Several of the artists featured in the publication have exhibited at IMMA, such as Miquel Barceló, who is represented by a series of paintings inspired by creatures of the sea; Francesco Clemente, whose portraits include three of his fellow contributors, and Nalini Malani, whose watercolours combine Indian and Western mythologies. This first issue also includes ten paintings by Sean Scully, an exhibition of whose work will be presented by IMMA in collaboration with the Dublin City Gallery The Hugh Lane in 2011.
Boulevard Magenta also presents the design for a private house in Dublin by the London-based architecture firm Amanda Levete Architects, whose commissions also include the Spencer Dock Bridge; excerpts from the script for the long-awaited new film by Tran Anh Hung, and an unpublished early score by Kevin Volans.

redpajama_set_name: RedPajamaCommonCrawl


Recently, the Donghutang Primary School's new construction project has basically completed the civil construction and transferred to the interior decoration and equipment installation stage. Donghutang Primary School, located in Donggang Town, Xishan District, covers an area of 64,800 square meters and has a total construction area of 31,800 square meters. It is expected to be completed by the end of June and can accommodate 60 students after its application.


Brand new to being an Airstream owner and I'm jumping all the way in. Just purchased a 29' 1973 Ambassador. It's all there(except for 1 banana wrap...)and in really solid shape.
Looking for an Orlando mechanic I can trust and some sort of Airstream Bible, if it exists.
Welcome to the forum KingJason!
Ambitious or Crazy? It depends on what you find your trailer needs. I hope it is indeed in as good or better condition than you think. But expect the unexpected and have some reserve cash in your wallet.
Welcome to the Forums. We're glad to have you with us. Best wished in your project.
You are definitely not alone in buying a vintage trailer, expectiong to do some superficial sprucing and fixing, and be using it in a matter of months. Usually the reality is that the trailer needs a shell-off, complete sub-floor replacement, and repairs to the frame. Next thing you know, you have a big project on your hands. But it really all depends on what condition the trailer is in. If it has sat neglected for the last 20 years, then you have a project on your hands, guaranteed. If someone has been using it regularly and maintaining it, then maybe the deterioration won't be so bad.
My advice is to start by seriously evaluating what you are up against. On the "Portal" tab of these forums, you can scroll down and find two valuable resources. One is the "Inspector's checklist." This is a pretty exhaustive list of things to look at/for when you are considering buying a trailer. If you go through it in detail you will have a better idea of the condition of your trailer. The second thing is there is a utility to find Forums members who are volunteer trailer inspectors. If you enlist the help of a seasoned owner up front, they may be able to help you see what is obvious to them.
As far as an Airstream Bible goes, the closest thing is the official Airstream Service manual for your year of trailer. I found one for my trailer on eBay, but there are other sources as well. Another resource is the Vintage Airstream Podcast (The VAP). You can buy DVDs of the old old episodes and listen to them during your daily commute or whenever. It is easy to absorb a lot of information this way. These Forums are another great resource. The Search function is your friend. Every topic imaginable has been covered in many threads. Start by reading through some of the "Full Monty" trailer restoration threads--this might help you calibrate your expectations.
Thanks for the welcomes and advice. I'm sure I'll have a million questions, stupid and otherwise, but hopefully I won't set the record?
That's one shiny project you have there! When you say you want to live in it this summer, do you mean park it and live in the same place for a good while, or get on the road and live in it while moving from place to place?
Same place. I'm on a waiting list for a spot at a really cool Tiny Home Village here in Orlando.
The guy I got it from said he paid 4k to get it polished! Seems a little steep, since all the trim, awning, and lights are inside the trailer!
All the exterior lights and awning rails.
Hello from Colorado: The Airstream 'bible" is right here on Air Forums. You have already attracted some very good advice concerning your 73 Ambassador. Polishing a 29' Airstream is very labor intensive and thus the high cost.
Your interior is similar to my 75 Overlander 27'. Airstream developed new building techniques in the 70s to match the RV market's concern for fuel mileage. So they built them light weight, and I believe they built them with a lower tongue weight so you could tow the thing with a Ford station wagon.
Like mine, your trailer may have waste water tanks under the rear bath, have a 10 gallon water heater back there, and may have a battery compartment back there too. As a result, the frame got stressed pretty good on rough roads with the weight bouncing up and down back there. Frame issues are common in 70s trailers. Mine had it. It is called "rear end separation" where the rear of the body becomes detached from the rear of the frame. When that happens, the frame is even further stressed and can even buckle. Test for this condition by bouncing on the rear bumper over the left, then right frame rail. Watch the seam between the body and the frame rail. If a gap opens up during your downward bounce, your body has separated from the frame. This problem is worse in lush, wet climates like Florida.
I've been renovating my trailer for some time. My goal is just a reliable, comfortable Airstream the whole family can use. My axles were shot, I had rear end separation, the plumbing was shot, the waste water tanks were broken, and all the soft goods were mold and mildew infested. And my trailer was in pretty good shape when I towed it home. I wanted a project trailer. I have been impressed with how it is built compared to my old 66 Trade Wind that I renovated. I like the aluminum extrusions and some of the laminations. See photo.
The folks here can explain and help get your trailer ready for living.
Nice. I'm currently having a mental debate about sleeping arrangements. Mine has a crappy, non original couch up front, which has to go. I am going to reupholster the fold down bed and likely upgrade the foam. I'm a pretty big guy(6'1", 250), so I gotta have a quality bed!


text:
Q: NOT NULL constraint failed Django CreateView I would like to accomplish two goals on this project. First, I would like to save the logged-in user as the reviewer. Second, I want to pass the lawyer value from the foreignkey into the review form. (This way, the user can review click on a review link on the lawyer's detail page and review that lawyer and no one else.)
I keep getting on the first goal, with this error.
error
IntegrityError at /lawyers/karlyn-rosemarie-hylton/review/
NOT NULL constraint failed: lawyers_review.reviewer_id

Can someone please explain what I am doing wrong and how to fix it?
The second goal seems to be very related to the first goal. I am not getting any errors for it. But I want to make sure that I am doing it right. However, I won't be able to tell until I get passed the first error.
Any help getting unstuck is much appreciated.
models.py
from django.db import models
from django.urls import reverse
from django.template.defaultfilters import slugify
from django.contrib.auth.models import User

class Lawyer(models.Model):
    name = models.CharField(max_length=55,
                            default='')
    picture = models.ImageField(upload_to='media/lawyers/pictures',
                                default='')
    slug = models.SlugField()

    def average_rating(self):
        all_ratings = map(lambda x: x.rating, self.review_set.all())
        return np.mean(all_ratings)

    def save(self, *args, **kwargs):
        self.slug = (slugify(self.name))
        super(Lawyer, self).save(*args, **kwargs)

    def get_absolute_url(self):
        return reverse('lawyers:detail', kwargs={'slug': self.slug})

    def __str__(self):
        return self.name

class Review(models.Model):
    RATING_CHOICES = (
        (1, '1'),
        (2, '2'),
        (3, '3'),
        (4, '4'),
        (5, '5'),
    )
    lawyer = models.ForeignKey(Lawyer,
                                null=True)
    created = models.DateTimeField(auto_now_add=True)
    reviewer = models.ForeignKey(User)
    title = models.CharField(max_length=55,
                                default='')
    comment = models.TextField()
    rating = models.IntegerField(choices=RATING_CHOICES)

    def __str__(self):
        return self.lawyer.name

views.py
from django.shortcuts import render, get_object_or_404
from django.views.generic import (CreateView,
                                    DetailView,
                                    ListView)

from django.contrib.auth.models import User

from .models import Lawyer, Review

class AddLawyerView(CreateView):
    model = Lawyer
    fields = ['name', 'picture']

    def post_valid(self, form):
        lawyer = form.save(Commit=False)
        lawyer.picture = form.cleaned_data['picture']
        return super(AddLawyerView, self).form_valid(form)

class LawyerDetail(DetailView):
    model = Lawyer

class LawyerList(ListView):
    model = Lawyer

class AddReviewView(CreateView):
    model = Review
    fields = ['rating', 'title', 'comment']

    def post_valid(self, form):
        review = form.save(Commit=False)
        review.lawyer = get_object_or_404(Lawyer,
                                            slug=self.kwargs.get('slug'))
        review.reviewer = User.objects.get(user=self.request.user)
        return super(AddReview, self).form_valid(form)

urls.py
from django.conf.urls import url

from .views import (AddLawyerView,
                    LawyerDetail,
                    LawyerList,
                    AddReviewView)

urlpatterns = [
    url(r'^add-lawyer',
        AddLawyerView.as_view(),
        name = 'add-lawyer'),

    url(r'^(?P<slug>[\w-]+)/$',
        LawyerDetail.as_view(),
        name = 'detail'),

    url(r'^$',
        LawyerList.as_view(),
        name = 'list'),

    url(r'^(?P<slug>[\w-]+)/review/$',
        AddReviewView.as_view(),
        name = 'add-review'),
]

Using the feedback from @Alasdair and @Sachin Kukreja , I went back and made some correction. I changed "Commit" to "commit" and "post_valid" to "form_valid". I also made one minor tweak to simplify the view. The corrected and working AddReviewView is below. The one with mistakes is above.
Thank you all!
Working View:
class AddReviewView(CreateView):
    model = Review
    fields = ['rating', 'title', 'comment']

    def form_valid(self, form):
        review = form.save(commit=False)
        review.lawyer = get_object_or_404(Lawyer,
                                            slug=self.kwargs.get('slug'))
        review.reviewer = self.request.user
        return super(AddReviewView, self).form_valid(form)

A: You have a typo there, you are overriding form_valid but you have written post_valid.
def form_valid(self, form):
    review = form.save(Commit=False)
    review.lawyer = get_object_or_404(Lawyer,
                                        slug=self.kwargs.get('slug'))
    review.reviewer = User.objects.get(user=self.request.user)

    # save and return HttpResponse
    review.save()
    return HttpResponseRedirect(self.get_success_url())

But, the super call will still call the parent class' form_valid which will still raise the error. I think you can save the review in this overriden method and return what the base class returns i.e. return HttpResponseRedirect(self.get_success_url())
Ref: form_valid in FormMixin class, form_valid in ModelFormMixin class

redpajama_set_name: RedPajamaStackExchange


text:
i2topic
Scholastic's fiscal Q4 net income down 15% year-over-year to US$24.8M with net sales up 1% to US$545.8M; results driven by higher costs
Jul 21, 2011 – PRNewswire By Kendall Sinclair
Headlines are rewritten for editorial clarity. The original story and headline begin below.
Original Headline: Scholastic Announces Fiscal 2011 Results and Fiscal 2012 Outlook
NEW YORK , July 21, 2011 (press release) – Scholastic Corporation (NASDAQ: SCHL), the global children's publishing, education and media company, today reported financial results for the fourth quarter and fiscal year ended May 31, 2011. The Company also announced its fiscal 2012 plan for improved margins, continued investment in digital growth initiatives, and strong free cash flow generation.
In the fourth quarter of fiscal 2011, revenue was $545.8 million, up 1% from the prior year period, and consolidated earnings per diluted share were $0.78, compared to $0.79 in the prior year period. Earnings per diluted share from continuing operations were $0.82 in the fourth quarter, compared to $0.84 a year ago, including one-time, mostly non-cash expenses of $0.14 and $0.18 per share in the current and prior periods, respectively.
In fiscal 2011, revenue was $1,906.1 million, approximately level with the prior year. Consolidated earnings per diluted share were $1.16 for the fiscal year, compared to $1.52 in the prior year. Earnings per diluted share from continuing operations were $1.29 in fiscal 2011 and $1.59 in fiscal 2010, which included one-time expenses of $0.28 and $1.01 per diluted share, respectively. Fiscal 2011 operating results primarily reflected lower sales of educational technology relative to a year ago, when the Company benefited significantly from the federal stimulus program, as well as increased strategic spending on digital initiatives in the children's book business.
Free cash flow for the fiscal year was $120.5 million, which exceeded net income, compared to $171.6 million in the prior period, which reflected that year's strong educational technology sales. Net debt at year end was $98.1 million, compared to $8.7 million a year ago, as the Company returned $176.4 million to shareholders in the form of share buybacks and dividends during fiscal 2011.
"Scholastic finished fiscal 2011 with solid momentum. Stronger sales of technology products and services, including the newly released READ 180® Next Generation, drove fourth quarter growth in Education, exceeding our expectations," commented Richard Robinson, Chairman, President and Chief Executive Officer. "In the Children's Books business, we made significant investments in our School Book Club and Fair channels to drive long-term digital growth, including successfully rolling out an expanded ecommerce platform and developing the infrastructure to sell and distribute children's ebooks. At the same time, segment revenue held steady, reflecting positive customer response to Clubs and Fairs, as well as the success of best-selling series including Harry Potter and The Hunger Games. Across the Company, working capital discipline contributed to strong free cash flow, which helped fund significant share buybacks and dividends during the fiscal year."
Fiscal 2012 Outlook
"As we begin fiscal 2012, our plan is to build upon Scholastic's market-leading positions in education and children's books, while improving margins and operating profits," Mr. Robinson continued. "The successful launch of the 'next gen' of READ 180 and continued expansion of our school customer base should drive strong growth in the higher margin Education segment. In Children's Books, we will continue to move forward with our ebook and ecommerce strategies, including the expanded roll-out of our children's ereading app and ebookstore, in fiscal 2012. At the same time, we remain focused across the Company on reducing costs, generating strong free cash flow and creating value for shareholders."
The Company's fiscal 2012 plan to improve margins and invest in long-term growth includes the following elements:
1. In Educational Publishing, strong revenue and profit growth are anticipated, driven by new sales and upgrades of READ 180 Next Generation and by strong renewals of services to a larger customer base. Continued investment in new reading and math programs, professional development services and digital versions of supplemental products should drive further growth in the future.
2. In Children's Books, revenue growth in School Book Fairs, driven by higher revenue per fair, is expected to offset a modest decline in Trade sales, compared to fiscal 2011. Revenue in School Book Clubs should hold level, based on more efficient promotion spending. Improved operating results in Clubs and Fairs is expected to offset additional digital spending and the marketing costs associated with the school and consumer roll-out of the Company's ebook offering.
3. The Company is taking steps to reduce costs in non-digital areas across the business. These actions should benefit margins starting in fiscal 2012.
4. In International, modest overall revenue growth and higher margins are expected, reflecting strong growth in Asia and improved results in the UK.
5. Strong free cash flow should continue in fiscal 2012, driven by strict working capital management.
Based on this plan, Scholastic expects total revenue from continuing operations in fiscal 2012 of approximately $1.9 billion, and earnings per diluted share from continuing operations in the range of $1.75 to $2.10. Severance and other one-time expenses associated with restructuring actions, as well as non-cash, non-operating items, are excluded from this guidance.
Fiscal 2012 free cash flow is expected to be approximately $90 to $100 million, which includes capital expenditures of $55 to $65 million and prepublication and production spending of $65 to $75 million.
Fourth Quarter and Fiscal 2011 Results
Children's Book Publishing and Distribution. Segment revenue in the fourth quarter was $268.8 million, compared to $273.5 million in the prior year period. Revenue in School Book Fairs held level, while School Book Clubs declined modestly due to lower revenue per order. Trade sales were down modestly compared to the prior year. Segment operating income in the quarter was $41.6 million, compared to $50.7 million a year ago, reflecting approximately $10 million in increased spending on digital initiatives.
For fiscal 2011, segment revenue was $922.0 million, up from $910.6 million in fiscal 2010. This increase reflects strong Trade sales, driven by best-selling series including The Hunger Games, which performed particularly well in both ebook and print formats, and Harry Potter. In School Book Fairs, revenue per fair and fair count rose solidly for the year, though this was partly offset by lower warehouse clearance sales compared to the prior period. School Book Clubs were down slightly for the year, as increases in teacher and parent ordering were offset by a decline in average revenue per order. During fiscal 2011, the Company successfully moved forward with key ecommerce and ebook initiatives, which accounted for approximately $30 million in additional spending in fiscal 2011, relative to the prior year. Segment operating income for the year was $78.1 million, compared to $117.9 million a year ago. Excluding a one-time bad debt expense of $3.5 million ($0.06 per share) in the current period related to Borders' bankruptcy filing, the difference reflects increased spending on digital initiatives and higher promotion spending in Clubs, partly offset by higher profits in Fairs and Trade.
Educational Publishing. Segment revenue in the fourth quarter was $126.5 million, up 8% from $117.2 million in the prior period, primarily reflecting 15% revenue growth in Scholastic Education, the educational technology and services division. Supplemental sales also grew slightly in the period. Including a one-time, non-cash impairment in the library publishing and classroom magazine division of $3.4 million ($0.07 per diluted share) in the current period, segment operating income was $14.8 million, compared to $21.7 million in the prior period, reflecting a shift in product mix, as well as a write-down of inventory related to the conclusion of a significant contract for classroom libraries.
For the fiscal year, segment revenue was $428.0 million, compared to $476.5 million a year ago. This change primarily reflects lower sales of educational technology, compared to the prior year, when there was significant benefit from federal stimulus funding. Segment operating income was $51.6 million in fiscal 2011, compared to $67.2 million in the prior period. Excluding the previously mentioned one-time impairment of $3.4 million ($0.06 per diluted share) in the current year and a one-time, non-cash impairment of $36.3 million ($0.60 per diluted share) in the prior year, the lower operating income primarily reflects lower technology product sales, partially offset by an increase in lower margin service sales to an expanded customer base.
International. Segment revenue in the fourth quarter was $122.0 million, compared to $116.8 million a year ago, reflecting a $9.8 million positive impact of foreign exchange. In local currencies, declines in Australia and UK sales were partly offset by growth in Asia. Segment operating income was $16.6 million, compared to $17.3 million in the prior period, which included $0.5 million ($0.01 per diluted share) in one-time expenses in the UK.
For the fiscal year, segment revenue was $444.9 million, compared to $412.0 million in the prior year, primarily reflecting a $23.9 million positive foreign exchange impact. Growth in local currencies reflects strong sales in Canada, Australia and Asia, partially offset by a decline in the UK. Segment operating income in fiscal 2011 was $38.3 million, compared to $30.0 million in fiscal 2010. Excluding one-time expenses in the UK of $3.0 million ($0.09 per diluted share) in the current year and $8.5 million ($0.22 per diluted share) in the prior year, higher segment profit reflects improved results in Australia and Asia.
Media, Licensing and Advertising. Segment revenue in the fourth quarter was $28.5 million, compared to $30.9 million in the prior year period, primarily reflecting the timing of advertising sales. Segment operating profit for the quarter was $2.7 million, compared to a loss of $1.6 million a year ago. Excluding a one-time, non-cash impairment of assets of $3.0 million ($0.05 per diluted share) in the prior period, higher segment profits were the result of improved gross margins for interactive products.
For the fiscal year, segment revenue was $111.2 million, compared to $113.8 million in the prior year, primarily reflecting lower sales of interactive products. Operating loss for the segment in fiscal 2011 was $1.2 million, compared to a loss of $4.2 million in fiscal 2010, which included the previously noted one-time expense of $3.0 million ($0.05 per diluted share).
Other Financial Results. Corporate Overhead expense was $66.1 million in fiscal 2011, down significantly from $82.5 million in the prior year, reflecting cost savings, as well as lower bonus and severance expense, offsetting higher benefit costs. In addition, there was a one-time sales tax charge of $7.5 million ($0.12 per diluted share) in the prior year. Corporate Overhead in the fourth quarter was $25.0 million, compared to $29.5 million in the prior period, partly reflecting higher benefit costs and the timing of other expenses in the current year, as well as the previously noted one-time charge in the prior period.
Severance expense was $2.4 million in the quarter, compared to $1.9 million in the prior period; for the year it was $6.7 million, compared to $9.2 million in the prior year. Stock-based compensation expense in the quarter was $2.6 million ($0.05 per diluted share), compared to $2.9 million ($0.05 per diluted share) in the prior year period; for the year it was $13.7 million ($0.24 per diluted share) compared to $14.0 million ($0.23 per diluted share) in the prior year.
As previously announced, the Company's Board of Directors declared a quarterly cash dividend of $0.10 per share on the Company's Class A and Common Stock for the first quarter of fiscal 2012. The dividend is payable on September 15, 2011 to shareholders of record as of the close of business on August 31, 2011.
The Company will hold a conference call to discuss its results at 8:30 am ET today, July 21, 2011. Scholastic's Chairman, President and CEO, Richard Robinson, and Executive Vice President, CAO and CFO, Maureen O'Connell, will moderate the call.
The conference call and accompanying slides will be webcast and accessible through the Investor Relations section of Scholastic's website, scholastic.com. Participation by telephone will be available by dialing (877) 654-5161 from within the U.S. or +1 (678) 894-3064 internationally. Shortly following the call, an archived webcast and accompanying slides from the conference call will also be posted at investor.scholastic.com. An audio-only replay of the call will be available by dialing (800) 642-1687 from within the U.S. or +1 (706) 645-9291 internationally, and entering access code 82046689. The recording will be available through Thursday, September 8, 2011.
About Scholastic
Scholastic Corporation (NASDAQ: SCHL) is the world's largest publisher and distributor of children's books and a leader in educational technology and related services and children's media. Scholastic creates quality books, print and technology-based learning materials and programs, magazines, multi-media and other products that help children learn both at school and at home. The Company distributes its products and services worldwide through a variety of channels, including school-based book clubs and book fairs, retail stores, schools, libraries, on-air, and online at www.scholastic.com.
Industry Intelligence Editor's Note: In an omitted table, Scholastic Corp. reported fiscal Q4 net income of US$24.8 million. For the same period a year ago, the company recorded net income of US$29.2 million.
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text:
var openspecimen = openspecimen || {}
openspecimen.ui = openspecimen.ui || {};
openspecimen.ui.fancy = openspecimen.ui.fancy || {};

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Memorial: P&O lamp-posts
{On a steel plaque near the lamp-post:}
These lamp-posts circa 1890 were originally sited in the courtyard of the P&O office 122 Leadenhall Street demolished 1964.
Site: P&O lamp-posts (1 memorial)
EC3, Undershaft
This lamp-post is on one side of a flight of steps. The other side, as you see, is a building site soon to be the Pinnacle. Behind the camera is 122 Bishopsgate, another building site, soon to be occupied by the Cheesegrater. The plaque refers to 'lamp-posts' plural. We hope the other ones will return when the area settles down again, if ever.
The steel plaque with the inscription about the lamp-post is not the one you can see in our picture ("Private property, no parking"), but around the corner, on the wall flanking the steps. We decided to photo the lamp rather than the plaque, partly because in the reflection you can see the construction site opposite.
P&O lamp-posts
P&O office 122 Leadenhall Street
In 1848 P&O moved into their new purpose-built offices at no. 122, designed b...
This section lists some other unusual memorials
Information Other unusual memorials
Runnymede Air Forces Memorial
The poem was apparently written soon after the memorial was completed. Photo...
St Michael's church WW1 cross
11 names are totally illegible and so are not included under Subjects commemo...
India House - in India
School grounds and building
A strange memorial. The little roof and pillars make this look as if it could...


The official Minnesota State Muffin is the blueberry muffin. Almost anyone who lives in the north star state can recite this fact. It's simply because blueberries are awesome.
In fact, all the way back in 2003 (two years before YouTube, even!) the US Department of Agriculture declared that July would be the month of the blueberry. And, why not! These little guys pack tons of flavor in their tiny bodies. They're also high in vitamins and nutrients a body needs. So, it's not even that bad when you help yourself to a couple containers.
Finding the time and money to eat healthy has been a problem ever since the microwave was invented. So, I've put together a short list of ways to make organic eating a habit. Also, there are several links of local resources where you can learn more about eating organically.
1) Buy from your local farmers market.
There are so many great deals at farmers markets. You can find local meats, cheeses, eggs, vegetables, fruits, and many other goodies in one place. The food is fresh and grown locally and you have direct access to the farmers where you can ask questions about how they grow their food. They usually start in may but the best selection becomes available as the growing season gets into full swing. Farmers markets usually last through September in this area. Plus, if you're on EBT (SNAP/Food Stamps) many markets will accept them. The Lakes Area Growers Market in Brainerd, the Pine River Market Square in Pine River, and the Onamia Area Farmers Market are great places to get started locally.
Eating healthy is easy when you've got delicious food to choose from.
2) Buy into a CSA.
A CSA is a community-supported agriculture program. Every week you will get a new box of fresh produce (often delivered directly to your door!) Variety is good. You'll get so many different fruits and veggies that you never would normally purchase. I've even heard of CSA programs actually providing recipes and cookbooks with their produce in an effort to give the buyer an idea of how to prepare with the different produce. This is a great way to experiment with different varieties and eat produce that you wouldn't be as used to. There are so many ways to choose which CSA you'd like to invest in, so go to Minnesota Grown to pare down what you want and where to sign up.
This is the Garden Crew Podcast team. Not pictured: Colin M, who does whatever he can to keep his hands as clean as possible.
In this week's episode, we talk about the different ways you can incorporate trees and woody shrubs into your garden or farm. This is called "Agroforestry," and has five different methods to use.


text:
Adviser to Iran's Leader: Iran to expel all American forces from the region
Shafaq News/ (AP) An adviser to Iran's supreme leader who is a possible 2021 presidential candidate is warning that any American attack on the Islamic Republic could set off a "full-fledged war" in the Mideast in the waning days of the Trump administration.
Gen. Hossein Dehghan, a military advisor to Iran's Supreme Leader Ayatollah Ali Khamenei said in an interview with The Associated Press, in Tehran, Iran, Wednesday "the Israeli strikes were a violation of Syria's sovereignty. Israeli warplanes struck Iran-linked targets in Syria overnight after troops uncovered roadside bombs along the frontier in the Golan Heights, the Israeli military said Wednesday.
Associated press said, "Dehghan struck a hard-line tone familiar to those in Iran's paramilitary Revolutionary Guard, a force he long served in before becoming a defense minister under President Hassan Rouhani."
"We don't welcome a crisis. We don't welcome war. We are not after starting a war," Dehghan stressed. "But we are not after negotiations for the sake of negotiations either."
Dehghan, 63, described himself as a "nationalist" with "no conventional political tendency".
He's one of many likely to register to run in the June 18 election as Rouhani is term-limited from running again. Others likely include a young technocrat with ties to Iranian intelligence and former hard-line President Mahmoud Ahmadinejad.
While discussing the world Iran finds itself in, Dehghan's points mirrored many of Khamenei's. The former head of the Guard's air force who achieved the rank of brigadier general said any negotiations with the West could not include Iran's ballistic missiles, which he described as a "deterrent" to Tehran's adversaries.
"The Islamic Republic of Iran will not negotiate its defensive power .. with anybody under any circumstances," Dehghan said. "Missiles are a symbol of the massive potential that is in our experts, young people and industrial centers." He told AP.
Dehghan, who has been sanctioned by the U.S. Treasury since November 2019, warned against any American military escalation in Trump's final weeks in office.
"A limited, tactical conflict can turn into a full-fledged war," he said. "Definitely, the United States, the region and the world cannot stand such a comprehensive crisis."
While stressing he wanted to avoid conflict, Dehghan warned that Israel's expanding presence in the Mideast could turn into a "strategic mistake."
"It is opening an extensive front," he said. "Just imagine every Israeli in any military base can be a target for groups who are opposed to Israel."
Dehghan also said Iran continues to seek the expulsion of all American forces from the region as revenge for the U.S. drone strike in Baghdad that killed Guard Gen. Qassem Soleimani, the head of its expeditionary Quds Force in January. That strike saw Iran launch a retaliatory ballistic missile attack on U.S. troops in Iraq that injured dozens and nearly sparked a war.
Iran's retaliatory strikes were a mere "initial slap," Dehghan said. And there would be no easy return to negotiations with the U.S. in part due to that, he added.
"We do not seek a situation in which (the other party) buys time to weaken our nation," he said.
Knesset approves classified supplemental budget
Iran has not yet recovered from Natanz explosion hit, report
U.S. demands Iran to cooperate with IAEA, Iran stipulates lifting sanctions ahead of JCPAO resumption
Iran to produce uranium metal, IAEA warns
U.S. announces new sanctions on Iran
Iran says it blocks U.S. attempt to confiscate oil in Sea of Oman
Indirect talks on Iran nuclear deal in 'unclear place' -U.S. national security adviser
Iran removes its air defense system to Bushehr Province, as a precaution of a possible attack


The problem with Dance on Camera is that it's only once a year, it runs for only five days, and some of its most memorable programs are only shown once. The Pilobolus event (their 40th anniversary) was a perfect example. Envisioned by Joanna Ney and longtime Eye On Dance host/producer Celia Ipiotis, the idea was to pair Ipiotis' original 1987 Eye on Dance interview (with Pilobolus founders Jonathan Wolken and Moses Pendleton), and Still Moving: Pilobolus at 40—a new film by Jeffrey Ruoff. And to include a conversation about both.
On paper, it sounded promising. In reality, it was sensational! We learned that Ipiotis' program was a feat of virtuoso arm-twisting to get Wolken and Pendleton to appear together in the same studio, let alone to talk to one another. The two had undergone an acrimonious split, and Pendleton had formed his own company, Momix. But good exposure is good exposure, and they finally arrived (rather well-lubricated) as agreed. Their interview is tense and barbed, and all the more interesting for it. Ipiotis doesn't miss a beat, but hangs on every word, alert for signs of impending disaster, and decides to pull the plug early to avoid the rapidly approaching meltdown. This was live television: always on the edge, full of surprises, sorely missed.
Ruoff's film was a perfect counterpoint: beautifully made, essentially a history of the company, which Wolken continued to run. It was fascinating to see the evolution of the Pilobolus style: part dance, part gymnastics, part physics. And equally fascinating to see the human side of its collective creativity in action. In case you've forgotten how truly witty their work could be, or how touching, it's all here, along with the impact on the company of Wolken's death, just before filming began in 2010.
At a private concert in London I managed to discover the members of the Loewenberg Piano Trio playing Beethoven, Shostakovich and Bloch. The young musicians had met at the Royal College of Music in London, and formed an ensemble about a year ago.
Individually brilliant musicians, they work together not by blending but by carrying on an intense and utterly captivating conversation or debate in music, exchanging ideas, sometimes agreeing, sometimes almost disagreeing, but always keeping up a high level of musicianship and intensity. Their intonation, ensemble and tone are all of the highest quality. They are multi-national: Hannah Loewenberg-Harnest, the pianist and founder, is German; Ilya Movchan, the violinist, Russian; and Jordan Gregoris, the cellist, French. They all bring youthful energy, enthusiasm and individuality to their work together. My only quibble was that they should have ended the evening not with Bloch's Three Nocturnes for Piano Trio, but with the Shostakovich E Minor Piano Trio, op 67, because their reading of the Shostakovich was so strong and true that it seemed a shame to move on to anything after that, even the Bloch, lovely as it was.
They have been invited to perform at a private event in New York in early February, but you can also hear them play the music I heard, plus a Schumann Trio, on February 5 at 2:00 p.m. in the Great Hall of the Center for Jewish History (15 West 16 Street), near Union Square.
Michael Sheen has just closed in a three-month run of what I believe will become one of those legendary possessions of the role of Hamlet. Every line was delivered with intelligence, nuance, rich subtext and, in his long, intense rendering of the character there was not a moment when he flagged, or when the audience's attention flagged. The setting, about which I have my quibbles, was in a madhouse; so Sheen's was without a doubt the craziest Hamlet in a while. But he's also one of the wittiest, one of the slyest. Funny a lot of the time, he often bordered on scary as well. You could feel the barely controlled rage and despair along with a brilliant mind constantly analyzing and trying to come to terms with an intolerable situation. It was a complex, physical, high-energy turn.
You may know him from his film work (he's "done" Tony Blair three times), but his Hamlet was a performance to cherish; a real touchstone in the same league as Gielgud's, Olivier's, Burton's, or David Tennant's.
Although I have been following his plays ever since he did Henry V at the Royal Shakespeare Company some years ago, and still remember vividly his Mozart in a revival of Amadeus and his Caligula, in particular, rediscovering Sheen as a stage animal was truly thrilling! So I have questions: was, or will, Hamlet be filmed or broadcast in HD? Are there any plans to make it happen so that the world beyond London and the Young Vic can share the experience? Without a definitive answer, we can but live in hope…..
How Enchanted Is This Island?
Even in a season that has seen HD broadcasts of Boris Godunov, Faust, and a few other reinventions of old favorites made new and inspiring by singers acting their hearts out at the very edge of art and endurance, Island pushes the envelope that much further.
"Today is my birthday (his 71st!)," said Placido Domingo at intermission. "For the first time in my life I'm playing a god!" His entrance as Neptune dominating his watery realm is one of many showstoppers. It's clear he hasn't had this much fun since he first swaggered onstage in Fanciula, in ankle-length black drover coat, lugging a huge Western saddle, tossing it down on the barroom table and calling for his "Meenie." Wait til you see him now in his beard, scales and crown, wielding a trident!
As for the rest: new lyrics tell the story (itself a challenging pastiche of Shakespeare's The Tempest and Midsummer Night's Dream), set to music plucked from the best of the Baroque. Most of it is familiar, but one rare duet ("Men Are Fickle") — by Hermia and Helena (actually "Amarilli? O dei!" from Handel's Atalanta) — was ravishing. As the plot spins by, we succumb to a barrage of gorgeous melodies, outright (and hilarious) modern shtick, truly heartbreaking pathos, and some magical, old-fashioned transformations and stage trickery.
But here's the real point: The levels of performance and production are so high, so intense and brilliant, that they hypnotize. Glittering costumes and makeup are matched, scene by scene, by truly superhuman vocal fireworks from every principal. There are ongoing miracles by Joyce DiDonato, Danielle de Niece, Luca Pisaroni, David Daniels, the quartet of Dream's spinning lovers (especially the Hermia of Elizabeth DeShong), and the unstoppable Mr. Domingo. Then there are the concept and lyrics by Jeremy Sans, the stagecraft of Phelim McDermott, Kevin Pollard's costumes and Julian Crouch's sets. William Christie conducted. 'Nuff said!
It may be the 1% who are paying for the Mets' productions, but it's the 99% who benefit from the quality of image and sound that define the Met's HD broadcasts and encores. So, no matter where you live, you can find a city within traveling distance to enjoy the bounty.
If you have any remaining doubts, know that virtually the entire audience at the Ziegfeld, cocooned in winter coats and snowboots, stayed in their seats all the way through the end credits and curtain calls (still in progress as the screen faded to black). And, of course, they just kept applauding as they reluctantly filed out.
A certain sense of disappointment (as well as the onset of a bad cold) led me to leave BAM's Harvey Theater at the interval following the longish first part of Richard III ―the final venture in the transatlantic Bridge Project run by BAM, director Sam Mendes, and his Neal Street production company. Of the three parts of this "boy-meets-crown, boy-gets-crown, boy-loses-crown" fable, two had transpired. Kevin Spacey, as Richard, had barely maneuvered his twisted body onto the throne and slipped the crown onto his head before the lights blacked out and the curtain dropped.
Many of the text's high points and tricky passages were already behind us. Richard's opening speech came off with great brio, as did his wooing of Lady Anne, in which he wins over a woman whose husband and son he has recently killed. Other fine scenes: the curses upon practically everyone uttered by old Queen Margaret; the murder of Clarence, Richard's brother, in a scene that's equal parts macabre, comic, and ironic; and Richard's seduction of the populace, stage-managed by Buckingham. These had thoroughly won over most of the audience and mostly impressed me on the preview night I attended—the manipulation of the crowd used video and was a perfect delight—and more potential showpieces lay ahead: the prick of Richard's conscience as he's visited by the ghosts of all those he has dispatched so far, and the concluding Battle of Bosworth Field.
What seemed amiss, then? Nips and tucks had been made; that was only to be expected. But the costuming made it a little hard to distinguish the supporting players; the production used a spare, vaguely modern design approach, with almost all of the men wearing dark suits and the stage nearly bare most of the time. This show travels light, which is helpful for a world tour but may leave the audience hungry for cues. More important, though, is that the connecting scenes between those showpiece moments sometimes seemed flat, sometimes too brisk, and sometimes both.
One got the sense of events picking up speed and Richard knocking off his obstacles with dispatch; he impressed even himself, as a line reading in his Lady Anne scene revealed. But one also got the sense that details of the drama were being brushed aside. Instead of feeling like the steadily thrilling and chilling rise to power of a brilliant but ruthless man, this big chunk of the play felt sometimes boring—or, to put it more politely (as Ben Brantley of The New York Times did after seeing the show in London last summer), there are longueurs in the show's brevity. There may even be one gag too many.
Gags? Yes, there are gags. Among the groundlings who nowadays are seated highest, not lowest, in the house, the show was often a riot. What we had at BAM was a Richard III who was a scintillating and multifaceted comic villain surrounded by a Richard III that was lit by flashes but a little less than consistent. Clearly, Richard makes himself the star of his drama, and director Mendes has likewise made this production a star vehicle for Spacey. What disappointed me is that I was left unsure just what kind of play this relatively early work is. Scholars, as far as I know, usually judge it to be a history play but not a tragedy (despite its full title in the First Folio, The Tragedy of King Richard the Third). In the hands of Mendes and Spacey, it's harder to say what it is, other than a lot of fun.


text:
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Beef, was hatched and coddled in Dirty Stallis Wisconsin, where he acquired his Tourette's and a unique brand of crazy that is all his own. Since 2011 more often than not you can hear him saying random and off the wall ish into a mic. just for effect. Still mentally stunted @ the age 20, most of beef's jokes have a childish wit to them. So you should never look to the man for spelling or grammatical work, he's horrible at it. It's a good thing podcasting is an audio medium, where you can hear him utter classics such as Ping-pong, wassaname, and Mrrrr!
He had an opinion once, then he forgot it...
Podcasts: Legends Podcast
John D was born in the wood of french-Canarnia. Growing up in the city he studied movie making, art and literature. His venture into podcasting started in 2010 with Legends an Action Movie Podcast when John D and his friend Frank sat down to watch a series of Arnold Schwarzenegger movies and recorded their conversation.
John D produced Legends Podcast since it's inception and soon started producing other show including Comic Book Legends, Legendary Horror Theater and act as executive producer for Arthouse Legends.
Podcasts: Legends Podcast, Comic Book Legends, The Starling Tribune and GonnaGeek.com Podcast
Here we discuss Entertainment Legends, and Legendary entertainment. Cult, Classic, New, Old, Original, Sequels, Reboot, Remake, Web, TV, Comic, Video Games and more, for better or worse. Come listen to a rotating cast of hosts (including some special guests) as we comment on our favorite entertainment.
Legends Podcast is a member of the GonnaGeek Podcast Network but is not owned by GonnaGeek.
All Things Good And Nerdy Live Recording
January 19, 2020 @ 8:00 am - 9:15 am
The All Things Good And Nerdy Podcast records live on Sunday morning. Streaming starts at 8:00AM Pacific / 11:00AM Eastern at www.Geeks.Live. Regular Participants: Anthony Bachman, Chris Ferrell and Willie D. Nelson.
Legends of SHIELD Live Recording
Streams at www.Geeks.Live
The Legends of SHIELD Podcast recordings live on Wednesdays at 6:00pm Pacific / 9:00pm Eastern at www.Geeks.Live. Regular Participants: Stargate Pioneer, Haley and Lauren.
GonnaGeek.com Official Show Live Recording
Streamed Live at www.Geeks.Live
The Official GonnaGeek.com Official Show records live on Monday evenings. Regular Participants: Stephen, Chris Ferrell and Stargate Pioneer
Better Podcasting Live Recording
The Starling Tribune Live Recording
The Starling Tribune records live on Thursday evenings. Streaming starts at 8:00PM Eastern at www.Geeks.Live. Regular Participants: Neil, Stargate Pioneer, Michelle Ealey, and Chris Ferrell.
Legends Podcast #438; Gosford Park (Mystery)
by Legends Podcasts on Sep 11th, 2019 · No Comments on Legends Podcast #438; Gosford Park (Mystery)
American director Robert Altman's career spanned forty years, and included critical and commercial successes like M*A*S*H, McCabe and Mrs. Miller, The Long Goodbye, and Nashville. Altman's films often featured large ensemble casts, improvisational dialogue, and social commentary – all of which are on full display in 2001's Gosford Park. Based on an idea of an Agatha Christie-style whodunit set at an English manor house that Altman developed with Bob Balaban, Gosford Park's script was written by Julian Fellowes, who won an Academy Award for Best Screenplay. Fellowes later went on to create the period drama series Downton Abbey, which, like Gosford Park, centered on both the aristocrats and the servants at a country estate. Now, as Downton Abbey moves to the big screen this fall, Legends Podcast goes on a hunting weekend to the English countryside to see what all the fuss is about.
Spoiler Alert! Spoiler Alert! These discussions will be spoiler filled and may explicit language, so consider yourself warned.
For more geeky podcasts visit GonnaGeek.com
You can find us on iTunes under "Legends Podcast". Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail. You can find all our contact informations here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_438_Gosford_Park_Final.mp3
Legends Podcast #437; Election (Legends of '99)
by Legends Podcasts on Sep 4th, 2019 · No Comments on Legends Podcast #437; Election (Legends of '99)
This week Legends Podcast goes back to school with Election, starring Matthew Broderick and Reese Witherspoon. Directed by Alexander Payne and produced by MTV Films, Election is a biting satire of high school politics that also presages the recount drama of the 2000 Election. Joining us this week as substitute teacher is Ian, author of the film blog Primal Scenes, which is a good thing because we're still not clear on the difference between ethics and morals. Anyone? Anyone?
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_437_Election_F.mp3
Legends Podcast #436; Ocean's 8 (Aug-Heist)
by Legends Podcasts on Aug 28th, 2019 · No Comments on Legends Podcast #436; Ocean's 8 (Aug-Heist)
Legends Podcast is cracking open the cinematic vault and bringing you a whole month of cons, capers, and car chases! Whether you're an East End card sharp, a handsome art thief, a trio of rogue soldiers, or eight feisty heisting heroines, you'll find the big score right here on our podcast. This is Aug-Heist!
This week we're talking about Ocean's 8, last summer's hit heist movie that also happened to be a female-led spin-off of the Stephen Soderbergh franchise. Following Debbie Ocean – played by Sandra Bullock – and her crew – an all-star cast, of course – the film swaps casino halls for gala balls. At the summer box office, Oceans 8 scored big, with nearly $300 million worldwide against a $70 million budget. But do these queens of the screen successfully steal the crown jewels, or is this museum caper a few gems short of a full set?
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_436_Oceans_8_Final.mp3
Legends Podcast #435; Three Kings (Aug-Heist)
by Legends Podcasts on Aug 21st, 2019 · No Comments on Legends Podcast #435; Three Kings (Aug-Heist)
This week we're talking about Three Kings, also one of our Legends of '99, starring George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze as a group of soldiers who attempt to steal Saddam Hussien's gold in the final days of Operation Desert Storm, but end up finding something else worth fighting for. Directed by David O. Russell, this boldly anti-war release from Warner Brothers also presaged the ideological grounds of the second Iraq War four years later. Based on a story idea allegedly stolen from John Ridley, Russell's script and direction on his first major studio film set the trajectory for his career towards Oscar-nominated films like The Fighter (with Wahlberg), Silver Linings Playbook, and American Hustle. But do we three two kings of Legends Podcast agree that this film earns its gold, or does it deserve a dishonorable discharge?
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_435_Three_Kings_Final.mp3
Legends Podcast #434; The Thomas Crown Affair (Aug-Heist)
by Legends Podcasts on Aug 14th, 2019 · No Comments on Legends Podcast #434; The Thomas Crown Affair (Aug-Heist)
This week we're talking about The Thomas Crown Affair, also one of our Legends of '99, a remake of the 1968 Steve McQueen-Faye Dunaway caper. Action director John McTeirnan pairs Pierce Brosnan and Rene Russo in the lead roles, for a sexy update to the classic cat-and-mouse game between a wealthy art thief and a determined insurance investigator. The film employs – and also subverts – several heist movie tropes, but is the end result a new masterpiece or a cheap forgery of the original?
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_434_Thomas_Crown_Affair_Final.mp3
Legends Podcast #433; Lock, Stock and Two Smoking Barrels (Aug-Heist)
by Legends Podcasts on Aug 6th, 2019 · No Comments on Legends Podcast #433; Lock, Stock and Two Smoking Barrels (Aug-Heist)
This week we're talking about Lock, Stock and Two Smoking Barrels, also one of our Legends of '99, the movie that launched the acting careers of Jason Statham and Vinnie Jones, began the directing careers of Guy Ritchie and Matthew Vaughn, spawned a short-lived TV series, and, along with The Limey, is the second Legend of '99 to heavily employ Cockney rhyming slang. Join us as we have a butcher's at this farcical tale of four friends, two guns, and a whole lot of mistaken identity.
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_433_Lock_Stock_and_2_Smokin_Barrels_Final.mp3
Legends Podcast #432; Surviving the Game (Hunting Humans)
by GonnaGeek Network on Jul 30th, 2019 · No Comments on Legends Podcast #432; Surviving the Game (Hunting Humans)
Twenty-five years ago, Hollywood churned out another remake of "The Most Dangerous Game," the classic tale of man-meets-man, man-hunts-man, hunter-becomes-the-hunted… you know, that old chestnut. Coming just a year after Jean-Claude Van Damme played a certain Hard Target, Surviving the Game combined the same basic plot with a fish-out-of-water story as a character actor from the city (Ice-T) is brought to the wilderness to run for his life from a group of other character actors (the late Rutger Hauer, Charles S. Dutton, Gary Busey, John C. McGinley, F. Murrary Abraham) with predictable results. But is this '90s throwback worth tracking down, or should it be left on the VHS shelf next to those jars of heads?
"In the cinematic justice system, hunting humans for sport is considered especially heinous. The dedicated podcasters who rate these vicious films are members of an elite squad known as the Most Dangerous Victims Unit. These are their stories."
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_432_Surviving_the_Game_Final.mp3
Legends Podcast #431; Spider-Man: Far From Home & SDCC 2019
by Legends Podcasts on Jul 25th, 2019 · No Comments on Legends Podcast #431; Spider-Man: Far From Home & SDCC 2019
It's Comic Con weekend and our spidey-senses are tingling with news and trailers from San Diego! But first we're tackling the third second Spider-Man movie, Spider-Man: Far From Home! Picking up where Avengers: Endgame left our broken hearts, the latest spidey-flick starring Tom Holland sees our friendly neighborhood wall-crawler on a Euro-trip, with a Mysterio-us new player on the scene. But does this movie provide a satisfying denouement to Phase Three as we bid arriverderci to the Infinity Saga? Or is it bullocks? And which trailers from Comic Con make our peters tingle? Spoilers: it's all of them!
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_431_Spider-Man_Far_from_Home_Final.mp3
Legends Podcast #430; I am Mother (Netflix)
by Legends Podcasts on Jul 17th, 2019 · No Comments on Legends Podcast #430; I am Mother (Netflix)
A handful of years ago Netflix jacked their prices and started making TV shows and movies. It didn't take us long to realize that they are much better at making TV shows. Yet for some reason we keep going back to the well of Netflix movies. Most likely it's because they are free. Sometimes they're good, sometimes they're bad , mostly they're just free. What will "I am mother" hold? Listen in and find out!
http://media.blubrry.com/gonnageek/p/traffic.libsyn.com/legendspodcast/Legends_430_I_Am_Mother_Final.mp3
Legends Podcast #429; Batman (30th Anniversary)
by Legends Podcasts on Jul 10th, 2019 · No Comments on Legends Podcast #429; Batman (30th Anniversary)
Thirty years ago, Batman swept into movie theaters, ushering in the modern era of comic book movie-making. Directed by Tim Burton, starring Jack Nicholson as the Joker, Kim Basinger as Vicki Vale, and Michael Keaton as the man who launched fifty thousand letters protesting his casting as Bruce Wayne. Despite a troubled production which saw a writer's strike, budget overruns, stolen film reels, and intense skepticism of the film's tone and direction, Batman became the biggest movie of the year and fifth highest-grossing film of all time by the end of its run. Batman became one of the biggest movie franchises of the '90s, with another film by Burton and Keaton, and two more directed by Joel Schumacher with Val Kilmer and George Clooney taking turns in the Batsuit. But thirty years later, after Christopher Nolan's super-successful trilogy with Christian Bale, Ben Affleck's less-successful turn, and the casting of Robert Pattinson as The Batman in Matt Reeves upcoming film, does this version still light up our Batsignal? Or is the joke on us?
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Marfa Girl (May 3rd at the Cleveland Cinematheque)
[MARFA GIRL screens Sunday May 3rd at 8:10 pm at the Cleveland Institute of Art Cinematheque]
Review by Milan Paurich
"It's O.K.," the Dead Moon song heard over the closing credits of Larry Clark's MARFA GIRL, might as well be speaking directly to the KIDS auteur himself, particularly during its "We've all seen better days" refrain. Being a longtime fan of Clark's work as both photographer ("Tulsa") and film director (the Harmony Korine-scripted KIDS, ANOTHER DAY IN PARADISE, BULLY), his creative and artistic desperation/disintegration over the past decade has been depressing to watch. Apparently Clark has taken another song lyric—Neil Young's immortal "it's better to burn out than to fade away" from "Hey Hey My Way (Into the Black)"—as his credo, and that's just plain sad.
I'm no shrink, but Clark's artistic fallout seems to have been triggered by the vituperative critical reaction accorded 2004's KEN PARK, the first of Clark's sexually provocative films to actually cross over into hardcore terrain. As a PARK defender (I think it's an often brilliant work marred by some weak performances), I can sympathize. But pity can only take you so far.
After WASSUP ROCKERS (2005) and MARFA GIRL (made in 2012, but just now being released), I'm beginning to think that Clark is entirely bereft of any fresh ideas. Or maybe that he simply stopped caring. At its weakest (which, sadly, is much of the time), MARFA GIRL reminded me of a bad Henry Jaglom movie—meandering, slackly paced, "distinguished" only by some truly dreadful, amateur-caliber acting—with a few explicit (NC-17 vs. XXX) sex scenes tacked on. It is, however, much better shot than the average Jaglom joint. Say what you will about Clark's depleted directing skills, but his eye remains as sharp and poetic as ever. (David Newbert did the handsome cinematography.)
Set in the dusty, real-life West Texas town that gives the film half of its title, the minimalist narrative mostly revolves around 16-year-old slacker/skater boy Adam (distinctly unpromising screen newcomer Adam Mediano) who smokes a lot of weed, has sex whenever (and with whomever) he feels, and routinely gets hassled by a Border Patrol cop (Jeremy St. James, flailing) suffering from some, uh, issues of his own.
The other major recurring figure is never even given an official name. I guess she's supposed to be MARFA GIRL, although the character isn't a Marfa native and more of a young woman than a girl. She's purportedly an artist (really?) in town for a fellowship at Donald Judd's prestigious Chinati Foundation. Played by Drake Burnette who evinces all of the thesping skills of a 1970's porn starlet (think C.J. Laing crossed with Annette Haven), Marfa Girl loves talking about sex—that is when she's not bedding every available Hispanic male in sight. (M.G. has a proudly acknowledged fetish for Latin men/boys.) She also seems to get high even more frequently than Adam, probably because M.G. has a larger disposable income. But then just about everyone in Marfa spends the majority of their waking hours toking and screwing, so maybe she's just trying to blend in.
Marfa Girl's most annoying habit, though, is lecturing everyone within earshot, Border Patrol agents especially, about race and immigration in the most simplistic, MSNBC-bloviators-on-Ambien fashion. If that was Clark's bid to make his film seem "topical," he doesn't have anything particularly salient or newsworthy to say about either hot button topic.
I did, however, like a few of the (clearly non-pro) supporting players. Jimmy Gonzales, Ulysses Lopez, Mercedes Maxwell and Rodrigo Lloreda all manage to bring a refreshing level of naturalism to their performances without ever seeming like deer caught in headlights. (The worst offender in that regard is Mary Farley as Adam's flakey, bird-obsessed mom.) And Clark, bless his soul, hasn't lost his flair for choreographing and shooting sex scenes. Like a porn flick burdened with too much inane dialogue and "plot," they're the best things here.
While watching MARFA GIRL, I was reminded of critic John Grierson's snarky comment ("When a director dies, he becomes a cinematographer") about Josef von Sternberg's later films. In Clark's case, his (artistic) demise has turned him into a blue-balled pornographer instead. 2 out of 4 stars.
Posted by Milan Paurich at 12:00 AM
Labels: Cleveland cinematheque, Cleveland OH, Larry Clark, Marfa Girl, Milan Paurich, Movie Review
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Geomarine (UK) are now in the final throws of handing over the completed landing slipways for the new Cowes Floating Bridge. The contract to replace and upgrade the Floating Bridgechain ferry landing slipways and associated passenger and vehicle approacheshas been on-going since January. Its completion in May will see theintroduction of a new and significantly larger ferry linking Cowes and East Cowes.
Geomarine were appointed by the Isle of Wight Council to completely demolish and remove the existing slipwaysand reconstruct using a combination of sheet piling and fibre reinforcedconcrete surfacing. The construction works required rare, very low springtides to reach the lowest slipway areas to allow their construction. Originally planned to be complete in 12 weeks, by the end of March, the project was extend by 6 weeks as a result of client instructed additions and variations. The most significant of these being a 10m extension of each slipway, required to allow the ferry to land 365 days of the year at all states of tide.
The project has required prolonged periods of split shift tidal working, day and night, in difficult winter conditions and has been a true test of commitment and resilience for the site team. The new chain ferry was successfully delivered to Cowes at the end of April and will go into service in the 2nd week of May following intensive crew training.


A huge new development project in Malaysian Borneo will soon be underway thanks to the signing of a joint venture agreement between two major firms. Suria Capital Holdings Bhd has joined up with construction and property development firm Gabungan AQRS Bhd to work on a plot of land on the island of Sabah.
This scheme, known as 'One Jesselton Waterfront', is set to be very lucrative for both firms, however it is also extremely ambitious. The sheer scale of the project brings with it a lot of risks that will have to be dealt with, while large aspects of the development are still in negotiation and could have a large impact on the value of the finished property.
The current plans for the land involve the construction of a massive mixed-use development centred around a shopping centre that has been named the 'One Jesselton Mall'. This will feature a net floor area (NFA) of 44,017 sq m of retail space.
Alongside the mall, the joint venture will also be constructing Suria Capital's new corporate headquarters. Called 'Suria Corporate Office', the building will have a NFA of 6,920 sq m. Another 6,958 sq m will be dedicated to a series of retail lots known as Suria Retail.
The development will also feature several residential units - including serviced suites, apartments and condominiums - as well as car parking facilities and a ferry ticketing office.
The location of the development is Kota Kinbalu, capital of the state of Sabah in Malaysian Borneo. The city used to be known as Jesselton, which is where the development gets its name. Work will take place on a seven-acre plot of land owned by Suria Capital as part of the 23.5 acres it was granted in 2003, when the state government privatised seven major ports in the region.
The net sale value of this property has already been estimated at RM1.1 billion (around $297 million). However, that is based on an agreed floor area ratio of one to four, meaning an average of four sq m of floor space over multiple storeys can be constructed on each single sq m of land.
However, Gabungan AQRS is currently negotiating for a better ratio. The company is aiming for one to 5.6, which would significantly increase the size of the finished property. The higher ratio would allow the joint venture to create more floors and therefore more offices, apartments and retail outlets.


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NBC Nightly News Broadcast (Full) - August 11th, 2021
The FDA may authorize Covid booster shots within 24 hours, the Dixie Fire scorches more than 500,000 acres, and Lt. Gov. Hochul prepares to take over as New York governor. Gov. Cuomo resigns following sexual harassment allegations, southern states experiencing spike in Covid cases, and Senate passes massive bipartisan infrastructure bill. Watch "NBC Nightly News With Lester Holt" at 6:30 p.m. ET / 5:30 p.m. CT (or check your local listings). 00:00 Intro 02:25 FDA To Authorize Booster Shots 06:05 Dangerous Heatwave 09:37 New York's Next Governor Speaks 11:08 Taliban Rapidly Advancing 12:45 Detained American Journalist 17:20 Convincing The Unvaccinated » Subscribe to NBC News: http://nbcnews.to/SubscribeToNBC » Watch more NBC video: http://bit.ly/MoreNBCNews Connect with NBC Nightly News online! NBC News App: https://smart.link/5d0cd9df61b80 Breaking News Alerts: https://link.nbcnews.com/join/5cj/bre... Visit NBCNightlyNews.com: https://nbcnews.to/2wFotQ8 Find Nightly News on Facebook: https://bit.ly/2TZ1PhF Follow Nightly News on Twitter: https://bit.ly/1yFY2s4 Follow Nightly News on Instagram: https://bit.ly/2tEncJD NBC News Digital is a collection of innovative and powerful news brands that deliver compelling, diverse and engaging news stories. NBC News Digital features NBCNews.com, MSNBC.com, TODAY.com, Nightly News, Meet the Press, Dateline, and the existing apps and digital extensions of these respective properties. We deliver the best in breaking news, live video coverage, original journalism and segments from your favorite NBC News Shows. #NBCNews #VaccineBooster #Wildfire
Sri Lanka president calls for national unity amid economic c...
Investments in the logistics sector are at an all-time high,...
Hitting the 'slopes' after Toronto's snow storms
Cuba: Dozens of protesters could face decades in prison afte...
Prospective property buyers in China are taking a 'wait and ...
Tal'Dorei Campaign Setting Reborn Review: New Threats and In...


1. When will Merchandise Credits be mailed?
Merchandise Credits were mailed on November 27, 2018 to all Claimants who submitted a Verified Claim to the Claims Administrator.
2. I received the Merchandise Credit, can I use it?
Yes, the Merchandise Credit is activated and you may use it as instructed on the letter accompanying the credit.
3. Can I return the Merchandise Credit?
You may exchange your Merchandise Credit by returning the unused card to the Claims Administrator as instructed on the letter that accompanied the Credit. If the Credit is unused, you will receive a check for 75% of the Merchandise Credit at the time of its issuance. You may exchange your unused Credit for up to one year after its issuance. If you return a Merchandise Credit that has been used, the card will not be returned to you and you will not receive a cash payment.
4. What information do I need to provide when I send my Merchandise Credit back for cash?
The request must include the Merchandise Credit card, your full name, mailing address, phone number or e-mail address, and a statement indicating that you are seeking to exchange your Merchandise Credit for a cash payment. If you do not return the Merchandise Credit card, or the card return has been partially used, neither the card nor a cash payment will be issued to you.
You cannot redeem your Merchandise Credit for cash at any dollar amount at any TJX store location.
5. Can I give the Merchandise Credit away?
You may give your Credit to someone else, but you cannot resell it. Please refer to the instructions provided in the letter that accompanied the Merchandise Credit.
6. How much money is on the Merchandise Credit?
The total value on the Merchandise Credit is $27.53.
7. Can I use the Merchandise Credit online?
Merchandise Credits may not be used for online purchase, and must be used at any T.J. Maxx, Marshalls, or HomeGoods store in California.
8. My Merchandise Credit was lost, can I get a new one?
Lost or stolen Merchandise Credits will not be replaced pursuant to the terms of the Settlement Agreement.
9. Do I need to show identification when I use the Merchandise Credit?
You will not need to provide any qualifying identification when using your Merchandise Credit for purchase.
10. Can I use my Merchandise Credit with another discount/gift card?
More than one Merchandise Credit may be used at a time, and they may be used in conjunction with other promotional discounts that are otherwise available with the use of gift cards or Merchandise Credits.
11. Does the Merchandise Credit expire?
No, the Merchandise Credit does not expire.
12. Why is the notice being provided?
The Court in charge of the case is the United States District Court for the Central District of California, and the case is called Staci Chester, et al. v. The TJX Companies, Inc. et al., Case No. 5:15-cv-01437-ODW-DTBx. The persons who sued are Staci Chester, Robin Berkoff, Daniel Friedman, and Theresa Metoyer, and they are called the Plaintiffs. The entities the Plaintiffs sued are The TJX Companies, Inc., T.J. Maxx of CA, LLC, Marshalls of CA, LLC, and HomeGoods, Inc., and they are called the Defendants or TJX. U.S. District Judge Otis D. Wright, II in the United States District Court for the Central District of California is in charge of this class action.
13. What is the lawsuit about?
14. What is a Class Action?
In a class action, one or more people, called Class Representatives (in this case, Staci Chester, Robin Berkoff, Daniel Friedman, and Theresa Metoyer) sue on behalf of people who have similar claims. All of the people with similar claims comprise the "Class" and are referred to as "Class Members," except for those who exclude themselves from the class.
15. Why is there a Settlement?
This consolidated class action case has been pending since September 2015. TJX is not admitting that it did anything wrong, but both sides want to avoid the cost and risk of further litigation. The Court has not decided the merits of the action in favor of the Plaintiffs or TJX. The Class Representatives and their attorneys think the Settlement is best for everyone who is affected. The Settlement provides the opportunity for benefits to Class Members.
16. How do I know if I am part of the Settlement?
The Settlement Class includes the following persons: All persons who purchased one or more items from a T.J. Maxx, Marshalls, or HomeGoods store in California between July 17, 2011 and December 6, 2017 (the "Class Period"), with a TJX price tag that included a Compare At price, and who have not received a refund or credit for all of their purchases.
17. Are there exceptions to being included?
Yes. Excluded from the Settlement Class are Defendants, as well as their officers, employees, agents or affiliates, and any judge who presides over this action, as well as all past and present employees, officers and directors of TJX.
18. What does the Settlement provide?
19. Tell me more about the Merchandise Credits.
20. How can I get benefits?
To ask for benefits, you needed to complete and submit or mail a Claim Form by April 9, 2018. Claim Forms could be submitted online, or printed from the website and mailed to the address on the form.
21. When will I get benefits?
22. What am I giving up to get a Merchandise Credit or to stay in the Settlement Class?
Unless you excluded yourself, you are staying in the Settlement Class. This means that you will no longer be able to sue, continue to sue, or be part of any other lawsuit against TJX about the claims made in this lawsuit and released by the Settlement Agreement. You will be legally bound by all of the Court's orders, as well as the "Released Claims" (see FAQ 23).
23. What are the Released Claims?
Released Claims means that all members of the Settlement Class who did not exclude themselves by April 9, 2018 will irrevocably release, acquit, and forever discharge TJX (and all past and present affiliates, parents or subsidiaries, officers, directors, employees, agents, and attorneys) against any and all claims, rights, penalties, demands, damages, costs and expenses (including attorneys' fees and costs, other than those costs and expenses required to be paid pursuant to this Agreement and in connection with this Settlement), causes of action, or liability of any kind arising out of or in connection with all of the claims or causes of action that were made or could have been made in this Litigation or in any other forum relating, in whole or in part, to the alleged acts, omissions, facts, matters, transactions, circumstances asserted in the Litigation, including assertions that TJX used false or misleading Compare At pricing advertisements and thereby harmed consumers.
The Settlement Agreement, available here, describes the Released Claims and provides specific details about the Settlement.
24. What if I don't want to be part of the Settlement?
If you wished to keep your individual right to sue TJX about the claims in this case and released by this Settlement you must have excluded yourself from the Settlement Class.
25. How do I exclude myself from the Settlement?
The deadline to exclude yourself passed on April 9, 2018.
26. If I excluded myself, can I still get a Merchandise Credit from the Settlement?
No. If you excluded yourself, do not send in a Claim Form to ask for a Merchandise Credit. Once you exclude yourself, you are no longer eligible for the benefits that this Settlement provides. If you submitted an Opt-Out Form or letter, and a Claim Form, your exclusion request was rejected and your Claim Form will be processed.
27. If I did not exclude myself, can I sue TJX for the same thing later?
No. Unless you excluded yourself, you gave up any right to individually sue TJX for the claims made in this lawsuit and released by the Settlement Agreement.
28. How do I tell the Court if I disagree with part of the Settlement?
The deadline to object passed on April 9, 2018.
29. What is the difference between objecting and excluding myself from the Settlement?
Objecting is telling the Court that you do not like something about the proposed Settlement. Excluding yourself is telling the Court that you do not want to be part of the Class in this Settlement. If you excluded yourself, you have no basis to object or file a claim because the Settlement no longer applies to you.
30. What happens if I did not do anything?
If you did nothing, you will not receive a Merchandise Credit from this Settlement. As the Court approved the Settlement, you are bound by the Settlement Agreement and the Released Claims. This means you will not be able to start a lawsuit, continue with a lawsuit, or be part of any other lawsuit against TJX about the issues resolved by this Settlement and released by the Settlement Agreement.
31. Do I have a lawyer in this case?
Yes. The Court has appointed Douglas Caiafa, of Douglas Caiafa, A Professional Law Corporation, Christopher J. Morosoff, of the Law Office of Christopher J. Morosoff, and Greg K. Hafif, of the Law Office of Hebert Hafif, to represent you and all Class Members as "Class Counsel." You will not be charged for these lawyers. If you want to be represented by your own lawyer, you may hire one at your own expense.
32. How will the lawyers get paid?
At the Final Approval Hearing on May 14, 2018, the Court approved and awarded Class Counsel's request for fees in the amount of $2,125,000 (25% of the settlement fund), plus their out-of-pocket costs and expenses of $35,497.97 for their work in this case. These amounts, as well as a $7,500.00 to each of the four Class Representatives was be paid out of the Settlement fund before issuing Merchandise Credits to Class Members. Class Counsel's motion for Attorneys' Fees and Costs is available for viewing under Important Documents page.
33. When and where will the Court decide whether to approve the Settlement?
The Court approved the Settlement at the Fairness Hearing on May 14, 2018, at the United States District Court for the Central District of California, located at 350 West First Street, Los Angeles, California, in Courtroom 5D – First Street Courthouse. At this hearing, the Court considered whether the Settlement was fair, reasonable and adequate. The Court also considered how much to pay Class Counsel and the Class Representatives. If there were objections, the Court considered them.
34. Did I have to come to the hearing?
No. Class Counsel answered any questions the Court had. If you filed an objection, you did not have to come to Court to talk about it. As long as you mailed your written objection on time, the Court considered it.
35. May I speak at the hearing?
36. How do I get more Information?
You can get more information through this website by reviewing Important Documents about the lawsuit and Settlement available here.
Call by toll-free number, 1-855-225-9282.


A 6-year old boy named Lucas in Littleton, Massachusetts has received a very special delivery of his very own Autism Service Dog from SDWR to help assist him.
Lucas, a 6-year old boy living in Littleton, Massachusetts, has received a very special delivery of his very own Autism Service Dog from Service Dogs by Warren Retrievers to assist him and help better communicate his needs. Based in Madison, Virginia, Service Dogs by Warren Retrievers, or "SDWR," has a mission to provide specially-bred and trained dogs for people with invisible disabilities like Diabetes, PTSD, Seizure Disorders, or in the case of Lucas – Autism Spectrum Disorder. SDWR has hundreds of service dogs working across the United States and around the globe. SDWR is currently serving approximately 1,000 families.
Jiles, a labrador retriever Autism Service Dog, recently graduated from SDWR's Service Dog Raiser Program where volunteers diligently raise young service dogs in training over the course of approximately one year. Both the dogs and raisers must complete the foundation and skill set training provided through SDWR trainers at their facility in Virginia.
Jiles is also an honored graduate of the SDWR Fallen Officer Puppy Program. The Fallen Officer Puppy Program, also known as "FOPP," is an initiative by SDWR to pay respect to the legacy of service by fallen American police who sacrificed their lives in the line of duty. Jiles is named in honor of fallen hero Lieutenant Billy Ray Jiles of Carroll County Sheriff's Office in Georgia who was shot and killed in 2002 after responding to reports of a man attempting to set his ex-wife's house on fire. Jiles's work as an Autism Service Dog with Lucas will carry on in memoriam of Lieutenant Jiles's life of service before self.
Lucas was diagnosed with with Autism Spectrum Disorder at the age of 2-years-old. Lucas's disability affects him in his family in many ways. Lucas's disability affects his social, cognitive, and critical thinking skills that makes it difficult for him to make and sustain friends. His disability also makes it difficult for him to attend outings with the family. Lucas's mother, Lilia, explains, "Lucas will get overwhelmed and becomes aggressive and will bolt to flee the situation. That brings a lot anxiety to him, school staff, peers and family." Lucas's family is hopeful that a service dog will act as a guardian for him and help keep him safe and comfort him.
Jiles will assist in reducing the effects each diagnosis has on the family's independence and daily life by working continuously with Lucas. Since Jiles is a service dog and covered under laws in accordance with the Americans with Disabilities Act, he will be able to accompany Lucas and his family everywhere – from school, to doctor's appointments, and even to church.
SDWR's unique training program is what sets them apart from other non-profit service dog organizations. SDWR trainers will continue to return for training sessions with Lucas, his family, and Jiles every 3-4 months over the course of the next 18 months to continue working on Jiles's customized training, follow up training and training the human to make a successful team and public access certification.


It's Friday night! I'm on the sofa with the cat and Cowboy has gone out to play poker with the boys. Living the dream.
Earlier this week, I came down with a strange headache thing that meant I missed a day of school. This is very sad to me, because school is much more fun than it used to be when I was eleven.
I finally got our thank you notes for our wedding gifts in to the post and they are on their way to the lovely people who showered us with kindness several weeks ago.
Sir Richard is getting ridiculously big, and now when he sleeps on my chest in the mornings, it's less adorable and more suffocating. I still can't help being utterly besotted with him. I am powerless in the presence of his little face.
He continues to tear things up, climb on things he shouldn't, and shove his paws under the bathroom door and cry every time I go for a wee.
Occasionally he pushes a toy mouse under the door and we play instead. We have that kind of relationship.
Today, Cowboy pestered me into riding Sunshine for the first time in over week. We've had a lot on our plate, and I hadn't felt up to doing much in recent days. Sunshine has been out in the pasture with Beau, getting as much good grass as possible as the winter closes in.
Well, I brushed her off and saddled her today (ok, Cowboy threw the saddle for me… I'm puny…), and we went out to the round pen to see how we would do.
Bill Dorrance writes about feeling for the horse; true horsemanship comes through feel. I've been working hard to put aside my frustrations at my lacking horsemanship, and to leave behind my annoyance when I step into the barn. I've been focusing on putting out a good feeling whenever I am around Sunshine, and keeping in mind that she is my partner in this work.
We've worked on little things on the ground as I've brought her in and out from the pasture – she's stopped being pushy and impatient and has begun to feel for me when I'm leading her. When I'm brushing her down, I try not to be brusque about it, but to feel for her response to the work and to give her the sense that I'm there to help. She has stopped dancing about while I'm grooming now. She watches me with one eye.
We stretched out, we moved, we got as loose as we could, and I thought all the time about how she felt. She felt stiff, tight, unfit, but willing enough. She did everything that I asked without a fight, but she couldn't offer me the flexible, pretty thing. That was ok. I could feel her trying. I could feel her feeling for me.
It was more than OK. She and I have got ourselves into battles before. Finally we're learning to talk to each other without yelling. We're learning to meet in the middle.
It was possibly the best ride we've ever had together.
I'm going to go and throw hay at her now.