text:
Skyline 2 Already In Development Before First Film's Release
ByKaren Benardello
Oct 29, 2010 BRITTANY DANIEL, COLIN STRAUSE, DAVID ZAYAS, DONALD FAISON, ERIC BALFOUR, GREG STRAUSE, SCOTTIE THOMPSON, SKYLINE, SKYLINE 2
Greg and Colin Strause, the directors of the upcoming anticipated movie 'Skyline,' set to be released on November 12, are already working on a sequel. The brothers said they have already done a 45 page treatment for a second film.
The Strause brothers plan on going ahead with it, as long as the first makes "a tenth of what a normal event movie does." While Sony, the studio behind 'Skyline,' hasn't released an official budget amount for the movie, as a comparison, 'Iron Man 2' made $300 million.
But the Strause brothers may have to pay legal fees to Sony before a sequel can be green lit. Sony is accusing Hydraulx, the brother's effects company that has done work on 'Battle: Los Angeles,' scheduled to be released in March 2011, of stealing effects to use in 'Skyline.' The two movies have a similar theme of aliens destructing L.A. But those rumors have just brought more hype to 'Skyline.'
Written by: Karen Benardello
Noomi Rapace Serious Contender for Lead in Aliens Prequel
Welcome to the Rileys Movie Review 2
By Karen Benardello
As a graduate of LIU Post with a B.F.A in Journalism, Print and Electronic, Karen Benardello serves as ShockYa's Senior Movies & Television Editor. Her duties include interviewing filmmakers and musicians, and scribing movie, television and music reviews and news articles. As a New York City-area based journalist, she's a member of the guilds, New York Film Critics Online and the Women Film Critics Circle.
One thought on "Skyline 2 Already In Development Before First Film's Release"
Eula Mcn says:
Interesting. I hope the movie won't flop. Because if it would, nobody would be watching the second.
"I'm going to make him an offer he can't refuse." -Don Vito Corleone, Godfather (1972)
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After initial evaluations under the previous two holds, an animal may be placed under a Physical or Mental Hold. This hold is for those animals who may have a physical or mental disability and would need special placement into a foster or forever home!
A Physical Hold could mean that that particular animal has a physical disability or handicap that may keep it from being placed into a standard home! If you wish to adopt or foster any of these animals you may apply to do so, but be aware that these animals will need special care.
A Mental Hold also could be a disability in the mental capacity, or this animal would need special care when placing it into a home. These holds are placed on the animal to ensure proper placement for that animal is followed. Some animals would need to be in a home of their own, no children in the home, or even some other aspect that keeps this animal from a standard home living. You may apply to foster or adopt these animals as long as the disability is clearly covered and the home understands these disabilities clearly.


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Ґурмукхі (панджабська: ਗੁਰਮੁਖੀ) — індійське письмо, належить до виду абуґід. Використовується для панджабської мови в Індії та в інших країнах, де проживають панджабці. В Пакистані для панджабської мови використовується пристосоване арабське письмо — шахмукхі. Ґурмукхі є офіційним письмом для мови панджабі в штатах Панджаб і Хар'яна. Також цим письмо написана священна книга сікхізму — Ґуру Ґрантх Сахіб (панджабська (ґурмукхі): ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ).

Історія
Письмо ґурмукхі походить від письма ланда, яке, в свою чергу, виникло від письма шарада. Ґурмукхі стандартизував приблизно у 16 столітті Ґуру Анґад (панджабська: ਗੁਰੂ ਅੰਗਦ) для запису сікхських священних текстів. До того часу панджабці користувалися письмом ланда, в якому була досить неточна передача голосних (серединні голосні не передавались). Письмо ланда не використовувалось для запису літературних творів; ним користувалися тільки торгівці для ведення своїх записів. В письмі ґурмукхі, на відміну від письма ланда, передаються всі початкові та серединні голосні, що дає змогу точно передавати мову.

Знаки письма

Знаки для голосних
Знаки для незалежних голосних створюються на основі трьох букв-носіїв: ੳ (ਊੜਾ ūṛā), ਅ (ਐੜਾ aiṛā) та ੲ (ਈੜੀ īṛī). Кожен знак для голосного має свою назву. Оскільки це письмо є абуґідою, то незалежні знаки для позначення голосних використовуються тоді, коли треба позначити подовження голосного, коли треба позначити два різних голосних поряд, або коли голосний потрібно написати на початку слова. Залежні знаки для голосних слугують для заміни прикріпленого голосного [ə] в знаках для приголосних на інший потрібний голосний.

Знаки для приголосних
В письмі ґурмукхі кожен знак для приголосних має свою назву. Кожен знак являє собою склад, складаючийся з приголосного та прикріпленого короткого голосного [ə]. Щоб змінити в складі цей голосний на інший, або щоб позначити, наприклад, назалізацію, до цього знаку дописують залежний знак для потрібного голосного, або залежний знак для назалізації. Щоб отримати приголосний без голосного, потрібно до знаку, який являє собою склад «приголосний + голосний [ə]», додати віраму (знак, відміняючий прикріплений короткий голосний [ə]). Але при записі мови панджабі вірама зазвичай не використовується.

В письмі ґурмукхі для передачі сполучень приголосних з приголосними [ɦ], [ʋ], [ɾ], [j], [g], [t͡ʃ], [ʈ], [ʈʰ], [t], [tʰ], [d], [n] використовуються лігатури.

Таблиця лігатур:

Додаткові знаки для приголосних
Ці знаки використовуються для передачі звуків запозичених слів з перської мови, а також для передачі власне панджабських звуків ([ɭ]).

Передача тону на письмі
Панджабі — тональна мова. Має три тони: високий (позначається акутом [á]), низький (позначається гравісом [à]) і середній (не позначається [а]). Мова панджабі втратила дзвінкі придихові приголосні, і знаки, які позначали ці приголосні (ਘ, ਝ, ਢ, ਧ, ਭ), тепер використовуються для передачі тонів. Коли знаки ਘ, ਝ, ਢ, ਧ, ਭ стоять на початку слова, вони передають склади з глухими непридиховими проривними приголосними і голосними низького тону: ਘੋੜਾ [kòɽɑ]. Коли знаки ਘ, ਝ, ਢ, ਧ, ਭ знаходяться в кінці слова, вони передають дзвінкі непридихові проривні приголосні, і також вказують, що попередній голосний повинен бути високого тону: ਮਾਘ [mɑ́g]. Коли знаки ਘ, ਝ, ਢ, ਧ, ਭ знаходяться в середині слова після коротких голосних [ə], [ɪ], [ʊ] і перед довгими голосними [ɑ], [і], [u], [æ], [ɔ], [e], [о], то ці знаки передають склади з дзвінкими непридиховими проривними приголосними та з голосними низького тону: ਪਘਾਰਨਾ [pəgɑ̀rnɑ], ਮਘਾਣਾ [məgɑ̀ɳɑ]. Приголосний знак ਹ [ɦə], коли стоїть на початку слова, передає приголосний [ɦ]: ਹਰੀ [ɦəɾі]. Коли ж знак ਹ [ɦə] знаходиться не на початку слова, то він не передає ніякого приголосного, а позначає високий тон попереднього голосного: ਤੀਹ [tí]. Голосні і та u (їм відповідають незалежні знаки ਇ, ਉ та залежні знаки ਿ, ੁ відповідно) мають зазвичай звукове значення [ɪ] та [ʊ] відповідно; але сполучення ih та uh передають голосні високого тону [é], [ó]: ਕਿਹੜਾ [kéɽɑ], ਕੁਹੜਾ [kóɽɑ]. Поєднання а + h + і/u передає голосні високого тону [ǽ]/[ɔ́] відповідно: ਕਹਿਣਾ [kǽɳɑ], ਵਹੁਟੀ [wɔ́ʈi].

Інші знаки

Тіппі та бінді — залежні знаки, позначаючі назалізацію. Тіппі використовується з голосними [ə], [ɪ], [ʊ], [u]: ਮੂੰਡਾ [muɳɖɑ]. Бінді використовується з усіма іншими голосними: ਸ਼ਾਂਤ [ʃɑ̃t].

Вісарґа — залежний знак, позначаючий придих після голосного. Використовується дуже рідко.

Нукта — залежний знак для позначення нових приголосних. Використовується рідко (наприклад, в словниках).

Удаат — залежний знак, який позначає високий тон голосного.

Аддак — залежний знак. Позначає подвоєння приголосного; записується перед приголосним, який потрібно подвоїти: ਪੱਕੀ [pəkki]. Сполучення глухих проривних непридихового та придихового приголосних передається на письмі знаком аддак, який ставиться перед знаком для придихового глухого проривного приголосного: ਪੱਖੀ [pəkkʰі]. Подвоєні приголосні [mm] і [nn] позначаються знаком тіппі: ਲੰਮੀ [ləmmi].

Якаш — залежний знак, позначає звук, середній між приголосним [j] та голосним [і].

Цифри
Письмо ґурмукхі має свій набір знаків для позиційної десяткової системи числення. Ці знаки можна використовувати так само, як і звичайні індо-арабські цифри. За допомогою цифр ґурмукхі можна записати число будь-якої величини, оскільки ця система позиційна.

Зразки письма

Примітки

Джерела
 Sukhjinder Sidhu, «Proposed Changes to Gurmukhi 2».
 «The world's writing systems». Edited by Peter T. Daniels, William Bright.
 Дирингер Д. «Алфавит». Перевод с английского И. М. Дунаевской, Г. А. Зографа, И. А. Перельмутера. Общая редакция, предисловие и примечания И. М. Дьяконова.

Абугіди

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In June 2011 I became a published author. Specifically, I became an indie author, which means I am an independent author. Sure, I have a publisher, but it is a small boutique publisher called Strategic Book Publishing. This company isn't some huge publishing house. It deals with small authors like me. People who have the dream but haven't been picked up by one of the giants in the industry. I'm thankful for them every day because they have helped me achieve a dream, and it just keeps getting better.
My book, as most of you know, is "Murder at St. Alfanus," and today I am officially announcing something very cool. My book is now available as an eBook.
If you are interested, please click on one of those links and download the book. It comes to your device instantly, and you can read without having to carry around the hardcopy. Sure, I can't sign this version, unless you want to sacrifice your device, but it would still be pretty awesome if you bought it.
Of course, if you are more into the hard copy versions of book, visit www.toddvogtsamazon.com or www.toddvogtsbarnesandnoble.com to purchase one and have it mailed to your house. If you already have a copy, thank you so much! You have no idea how much I appreciate it. If you've enjoyed it, please go to one of these sites and leave a review, and if you know someone who likes to read, please consider telling them about my book. Every little bit helps me get more exposure. Since I was in the fourth grade I've wanted to be an author, and your help is invaluable.
To help raise the listing of your Kindle in searches from the Kindle store, Kindle says there are a number of factors that determine how high a title appears on a list, but they won't say what they are. I have read from blogs, but cannot confirm through Amazon, you can do the following things to help raise the position of your book on search lists.
1. Get as many hits on your Kindle sales page as you can. Have your friends and relatives look at the site as much as possible.
3. The more sales you get the higher your rating and the higher your position on lists.
4. Have friends and family download the free sample from your Kindle sales page.
5. Get people to click on the advertisements on your sales page. They don't have to buy anything, but Amazon tracks the click for ads.
The bottom line, if the bloggers are correct, is Kindle wants to promote the ones that have the most activity, because it's all about the money. The more people who look at your sales page, click on advertisements, and download your book, the more value they put on your book for the searches.
If I could get my book onto the top list in the Kindle store, I would be ecstatic! If you have the time, please visit the page now and again from different computers. Maybe your work computer and your home computer, if they are different. It would mean the world to me.


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"For so many New Yorkers, our pets are an extension of our families and the thought of someone causing them injury is unfathomable. However, the reality is that far too many animals find themselves in harms way. This event is about the safety of our entire families and about giving voice to the needs of New York's thousands of companion animals to ensure that they are not left in the shadows. I thank the advocates from across the state who have taken the time to travel to Albany to stand up for our companion animals who cannot fight for themselves," said Serino, Senate Co-Chair of Animal Advocacy Day.
Several bi-partisan measures on the agenda include pushing the Assembly to bring to the Floor for a debate and up or down vote "Kirby & Quigley's Law" (A.1596//S.2936) which would make it a Buster's Law felony punishable with 2 years in jail and a $5,000 fine for harming a companion animal during the commission of another felony. "Kirby & Quigley's Law" was named for two Montgomery County dogs that were shot and killed during a burglary in February that is still an unsolved case. The State Senate voted across party lines to pass "Kirby & Quigley's Law" three times, most recently in March 2016 by a 59-1 vote. It sailed through the Assembly Agriculture Committee with a 22-0 vote. It's currently in the Codes Committee.
Also on the agenda is bi-partisan legislation (A.2484/S.2935) with Majority sponsors in both houses that would create a statewide registry for convicted animal abusers to ensure they can never adopt or purchase an animal again and that they receive psychological evaluation and treatment. In January 2016, the FBI moved animal cruelty to a top tier Group A offense in its crime reporting statistics due to it being a bridge crime as animal abusers can, and often do, go on to harm people.
Special guests included Denise Krohn, who has maintained a daily vigil in the Assembly Chamber to seek justice for her dogs "Kirby" and "Quigley" and passage in the Assembly of "Kirby & Quigley's Law." Also speaking will be Victoria Bonavita, a 12 year-old animal educator and television reporter from Long Island, Albany County District Attorney David Soares, whose office has produced a special PSA television commercial to encourage people to report animal abuse, Rensselaer County District Attorney Joel Abelove, who prosecuted one of the first Buster's animal cruelty felony law cases in the state, Saratoga County Sheriff Michael Zurlo and his K-9 units, Nassau County Assistant District Attorney and Chief of the department's animal crimes unit, Jed Painter, Susan Wagner from Equine Advocates, Richard Nash who adopted Hudson, one of the Railroad Puppies that was nailed to railroad tracks in Albany, acting dog Bocker the Labradoodle who has had numerous film and television appearances and Buzz the Fuzz a therapy cat that is appearing on Animal Planet television programs.


text:
Ferrari wins at 'home' GP
Sebastien Vettel of Red Bull Racing failed to keep the momentum going for the team where he only managed a distance fourth after having failed to match the performance of both the Ferrari and McLaren cars while Nico Rosberg finished fifth for the Mercedes F1 team with Mark Webber finishing on sixth place. Nico Hulkenberg from Williams finished behind him while Robert Kubica on the Renault car finished eighth and it was 'business as usual' for 7 times World Champion Michael Schumacher on the Mercedes which finished ninth and Rubens Barrichello of the Williams team completing the points.
Our very own Lotus boys had a race they would like to forget where Heiki Kovalainen finished the race on eighteenth behind the other rookie team which is Timo Glock of Virgin Racing. His team mate, Jarno Trulli had to retire in Lap 46 due to a gearbox failure.
With that result, Mark Webber's lead in the Drivers' Championship was very well protected in a way where he is now at 187 points, thanks to the retirement of his closest contender, Lewis Hamilton who crashed out in the race. Not that far away is race winner Alonso who is now at 166 points. With 5 races to go, the title is up for grabs where Webber's team mate Sebastian Vettel is currently at 163 points. Further down the pack is Felipe Massa who has 124 points and the season is over for Schumacher's comeback who only has 48 points.
On the Constructors' Championship Red Bull's impressive run in the season continues where they lead with 350 points while McLaren-Mercedes is behind by only 3 points. Ferrari is playing catching up with 290 points on third while Mercedes GP is at 158 points. Renault is at 127 while Force India- Mercedes who has been very impressive this season is seventh with 47 points. Sauber and STR both are at 27 and 10 points respectively while the rookie teams have yet to secure any points.
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text:
layout: post
title: Video - What is Bitcoin - BTC
description: Video - What is Bitcoin - BTC
author: Melvin Draupnir
authorurl: /melvin-draupnir/
published: true
---

Here is a simple introduction to Bitcoin. What is Bitcoin? How did it start? I lay out the basic of the Bitcoin currency and the Bitcoin blockchain in simple terms to help you better understand the digital phenomena

TRANSCRIPT

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If you're over 50, you might just have been a Beverly Hillbillies fan when you were a child. Now this sweetly old-fashioned fishes-out-of-water, naifs-in-the-city comedy may seem hokey, but between 1962 and 1971, when it aired on CBS, The Beverly Hillbillies was a major hit, with a hit theme song to boot.
Even if you've never seen an episode of The Beverly Hillbillies and you missed the 1993 movie remake, you can get the whole backstory from the theme song, "The Ballad of Jed Clampett," which was performed by the fabulous Lester Flatt and Earl Scruggs.
Barely kept his family fed.
And up through the ground cme a-bubblin' crude.
Kinfolk said "Jed move away from there."
Said "California's the place you outta be."
And they moved to Beverly.
And that right there is what you need to know about The Beverly Hillbillies before you go to see the new stage musical, called (appropriately enough) The Beverly Hillbillies -- the Musical, when it makes its world premiere next month at Theater in the Center in Munster, Indiana. Jed Clampett strikes oil and moves his clan -- his mother, Granny; his son, Jethro; and his daughter, Elly May, who loves "critters" -- to California, to a mansion with a cement pond (swimming pool) and lots of luxuries they don't know what to do with.
Beverly Hillbillies -- the Musical opens July 9 and plays till August 9, and it's being billed as a pre-Broadway tryout of sorts. It features music and lyrics by Gregg Opelka, who has composed nine musicals, most performed in Chicago, and book written by David and Amanda Rogers. David Rogers was a composer, lyricist, author and actor who passed away last year. He was nominated for a Tony Award in 1981 for a musical version of the novel "Flowers for Algernon" called Charlie and Algernonand he appeared in as an actor in the 1987 revival of the musical Broadway. Amanda Rogers is his daughter. His other daugher, actress Dulcy Rogers, is married to Diedrich Bader, the actor who appeared as Jethro in the 1993 movie. Whether that played a part in David Rogers' creating a musical version of the Hillbillies, I don't know.
What I do know is that casting was announced back in May. According to Johnny Oleksinski in the Chicago Tribune, David Perkovich is directing a cast that includes Jim Harms as Jed, Kelly Anne Clark as Granny, Summer Smart as Elly May, John Stemberg as Jethro, Norm Boucher as Mr. Drysdale and Holly Stauder as Mrs. Drysdale. No mention of Jane Hathaway, the uptight bank aide who has a hankering for Jethro. That role was played by Nancy Kulp on TV and Lily Tomlin in the movie.
And Granny was, of course, played on television by Irene Ryan, who gave her name to the prestigious college acting award and scholarship program.
Conklin's Barn II Dinner Theatre sent out word to its patrons last spring that it had endured a rocky winter season -- the terrible weather socked in the theater, which really is in a barn outside Goodfield -- and it needed their support to spring back.
The Barn has made some progress, but they're hoping for even more with You're a Good Man, Charlie Brown, the "hilarious and heartwarming" musical based on Charles Schulz's Peanuts comic strip. You're a Good Man, Charlie Brown opens tomorrow, June 19, for a six-week run, with performances on Thursday, Friday and Saturday evenings and Sunday afternoons. Charlie Brown is scheduled to close July 27. And there's even a July 4th performance if you'd like to celebrate your entertainment independence in Goodfield.
The Barn's materials describe this version of Charlie Brown as "a funny and nostalgic look back to our childhoods with our favorite friends from Peanuts, including Charlie Brown, Lucy, Linus, Schroeder, Sally, and, of course, Snoopy. The delightful skits and songs take us through a typical day in the life of our hapless but hopeful hero, Charlie Brown and his friends. Many classic Peanuts moments are encapsulated in this enchanting musical: Lucy mooning over the Beethoven-obsessed Schroeder and manning her psychiatric booth with the price of five cents; Linus' devotion to his blanket; Charlie Brown's lonely lunch time and dismal attempt to fly a kite; and Snoopy's joyous celebration of "Suppertime." The day ends with the perennial Peanuts' anthem "Happiness.""
You're a Good Man, Charlie Brown was a major hit off-Broadway in 1967, piling up almost 1600 performances and numerous awards. Its cast included actor and director Bob Balaban as well as MASH's Gary Burghoff. The show was revived on Broadway in 1999, with a cast that included Roger Bart, Kristen Chenoweth, Ilana Levine, Stanley Wayne Mathis and B.D. Wong, with Anthony Rapp as Charlie Brown himself.
For the Barn, those roles will be played by Pat Gaik (as Charlie Brown), Mary Simon (Lucy), Dan Challacombe (Linus), Tamra Challacombe (Sally), Chad Kirvan (Schroeder), and Jimmy LaHood (Snoopy).
This Charlie Brown is directed and staged by Mary Simon with musical direction by Chad Kirvan and choreography by Tamra Challacombe. To find out more details or to make reservations, visit the Barn's website at www.barn2.com or call the box office at 309-965-2545.
Note that the Barn II is a dinner theater, which means your ticket price includes a buffet. Tickets range from $35 to $39, but they are offering a special coupon (see above) to give you a free dinner on Thursdays and $5 off per couple on Fridays, Saturdays and Sundays. Just click on the image to see the full-size version of the coupons.
The McLean County Museum of History will showcase local movers, shakers and influential people Thursday with its third annual History Makers Gala at the Brown Ballroom in the Bone Student Center on the Illinois State University campus. This year's honorees include Carol Reitan, a major influence on the Bloomington-Normal arts scene, who passed away last month at the age of 83.
Reitan served as mayor of Normal from 1972 to 1976, making her the only woman to hold that office in the town's history. She ran a consulting firm for energy efficient home design, acted as the director and CEO of Mid Central Community Action, and chaired the Normal 2015 Committee that set goals for Normal's next 25 years, plus she co-founded Collaborative Solutions Institute, Inc., a not-for-profit which provides counseling and mediation for at-risk youth and adults, worked to establish Habitat for Humanity of McLean County, the Community Foundation of McLean County, which has become the Illinois Prairie Community Foundation, and she created the coalition that found a way to open Neville House, a shelter for victims of domestic violence.And she also founded Heartland Theatre, along with Phil Shaw and Rita Kohn, back in 1986.
Her fellow honorees include entrepreneur, community leader and contractor Pat Wannemacher, the first-ever female president of the McLean County Chamber of Commerce, who passed away in 2013; Margot Mendoza, former president of both the Bloomington-Normal Symphony Guild and the McLean County Arts Council who also spearheaded the Latino History Project at the McLean County Historical Society; and John and Joanne Maitland, a power couple that balanced public service and politics with volunteerism and work in health, education and agriculture.
Doors open for the Gala at 5:30 pm on June 19, with the program beginning at 6:15. The program referred to includes a performance from Illinois Voices Theatre actors and singers to celebrate the honorees' lives and give some sense of how they influenced McLean County.
For all the details, including how to contact the Museum of History, click here.
If all you want is a room somewhere, far away from the cold night air, and perhaps one enormous chair, well, I have some loverly auditions for you.
Auditions for Prairie Fire Theatre's production of Lerner and Loewe's My Fair Lady, directed by Rhys Lovell, are scheduled for tonight and tomorrow night, June 12 and 13, from 6 to 8 pm, in Presser Hall, room 16, on the Illinois Wesleyan University campus. Lovell has added more audition dates, too, so if Monday or Tuesday, June 15 or 16, between 5 and 7 pm, fits your schedule better, that is also an option.
Lovell has already cast the mellifluous Joe Penrod, who has appeared recently in A Little Night Music with Prairie Fire and Other Desert Cities at Heartland, as Professor Henry Higgins, but all the other roles -- including the plum roles of Eliza Doolittle and her dad, the one who needs a little bit of bloomin' luck -- are up for grabs.
Eliza Doolittle, the flower girl at Covent Garden snatched up and remade by an egotistical linguistics professor in order to win a bet, has been played by the likes of Julie Andrews, in the Broadway production, and Audrey Hepburn, on film. Although Hepburn and her gorgeous costumes from the film are synonymous with Eliza in many people's eyes, she didn't actually sing the aforementioned "Wouldn't It Be Loverly?" or "I Could Have Danced All Night" or any of Eliza's famous songs. Instead, Marni Nixon dubbed them all. Audrey Hepburn still looked loverly in the Cecil Beaton-designed outfits, however.
The film version of My Fair Lady beat that total, however, taking home eight Oscars in 1965, including Best Picture, Best Director for George Cukor, and Best Costume Design for Cecil Beaton. Stanley Holloway, who'd done the stage version as well, and supporting actress Gladys Cooper, who played Higgins' mum, were also nominated.
The musical is based on George Bernard Shaw's Pygmalion, wherein Professor Higgins and his friend Colonel Pickering make a wager that centers on whether Higgins can teach a Cockney flower seller to speak properly enough to pass as a lady at a posh garden party. In the musical version, that is transformed into the Ascot race course and an Embassy Ball, and on film, it's Ascot that spawned all the nifty black-and-white costumes that many stage productions still pick up.
As Henry Higgins schools Eliza on proper pronunciations ("The rain in Spain falls mainly on the plain" and suchlike) as well as dress and decorum, issues of identity, agency and what makes someone who they are arise. And different productions interpret the end and whether there is a possible Happily Ever After for Henry and Eliza differently. We'll have to wait to see what spin Lovell and Penrod and the rest of the cast put on My Fair Lady when it plays from July 31 to August 3 at IWU's Westbrook Auditorium.
Those of us who work on Heartland Theatre's annual 10-Minute Play Festival begin our efforts about a year ahead of time. That means choosing a theme, setting up the parameters for entries, reading a whole lot of plays, winnowing down the contenders to eight winners through three levels of judging, and then assembling actors, designers and directors to actually put on the plays. I have chaired Heartland's 10-Minute Play committee for years and years. I love the form and I love the process.
Why 10-minute plays? They're short and sweet, they don't have time to mess around, and the good ones -- like the the eight winners this year under the FOWL PLAYS banner -- say something, make you laugh or sigh and make a point in just about ten minutes. That's a pretty sweet trick.
This year's FOWL PLAYS, all involving a bird of some sort, open tonight at Heartland Theatre, and we will all get to see that year's worth of work pay off. How awesome is that?
A pair of ferry passengers headed for a party find a disheveled man carrying a small box with a bird inside more than a bit of a distraction.
Cast: Connie Blick, J. Michael Grey, Andrea Henderson and Dave Yates.
Cast: Andrea Henderson, Gabrielle Lott-Rogers and Eliza Sturdivant.
A hand-carved duck decoy could be a very valuable thing. It could be the one spark in Drew's very lousy day . Or it could just be a decoy.
Cast: Gayle Hess, Dave Lemmon and Dave Yates.
Cast: Nathan Bottorff and Abby Scott.
Cast: Nathan Bottorff, Nancy Nickerson and Kevin Wickart.
Cast: J. Michael Grey and Gayle Hess.
Divorced parents Debra and Greg aren't sure what to make of their child's drawing of crows at a parent-teacher conference.
Cast: Rob Goode, Andrea Henderson and Gabrielle Lott-Rogers.
So here we go! Eight ten-minute plays from eight playwrights, four directors and 13 actors, opening tonight at 7:30 pm with a special Pay What You Can Preview. After tonight, you can choose from evening performances at 7:30 pm on Thursday, Friday and Saturday, and Sunday matinees at 2 pm through June 29. Please note that this first week there is no Sunday matinee and that the panel discussion is scheduled for Sunday the 22nd after the show. That discussion should begin at approximately 3:45 pm on June 22 as the show is running about 90 minutes, including a 10-minute intermission.
For more information, click here to see Heartland Theatre's Now Playing page, here for showtimes and dates, and here for the 10-Minute Plays main page.
I'll see you at the theater!
As temperatures heat up, so do your entertainment options. Several of the theatrical options listed are included in the Summer Arts Sampler offered by the Area Arts Roundtable, so if you're in a sampling mood, you may want to start with that.
The 5th Annual REEL IT UP Film Festival comes to the Art Theater Co-op in Champaign for four Tuesdays in June. That's the 3rd, 10th, 17th and 24th, with films ranging from Puzzles, about a hate crime in a gay bar called Puzzles Lounge in New Bedford, MA that "explores the correlation between American economic desperation and homophobia, intolerance, and, ultimately, violence," set for June 3 at 7:30 pm, to Such Good People, a screwball romantic comedy about a gay couple that finds an unexpected cache of cash while house-sitting. Such Good People is the 7:30 pm selection on June 24. To see all of the titles and descriptions of the films, click here.
Beginning this Thursday with a Pay What You Can Preview performance, Heartland Theatre presents its 13th annual 10-Minute Play Festival, this time called FOWL PLAYS. All eight winning plays fit the "bird" theme in honor of longtime sponsor Deanna Frautschi, who is a fabulous bird photographer. These FOWL PLAYS will be performed on June 5, 6 and 7; 12, 13, 14 and 15; 19, 20, 21 and 22; and 26, 27, 28 and 29. Thursday, Friday and Saturday performances begin at 7:30 pm and Sunday matinees start at 2 pm. There will be a special talkback including Heartland's 10-Minute Plays judges (including me, since I chair that committee for Heartland) after the matinee on the 22nd. For showtimes and ticket information, click here. For a rundown of all eight shows, including playwrights, cast and directors, come back tomorrow for my preview piece.
The Penguin Project of McLean County has chosen The Little Mermaid Jr. for its 2014 summer show. Performances will take place at Normal University High School on June 6, 7 and 8. This Little Mermaid is a junior version of the Broadway musical based on the Disney animated film, which itself was based on a Hans Christian Anderson fairytale. Eight-time Academy Award winner Alan Menken wrote the msic, which includes songs like "Under the Sea" and "Part of Your World." Tickets are $10 for adults and $5 for anybody high school age or under -- they are available in person at the Bloomington Parks, Recreation & Cultural Arts office at 115 E. Washington Street in Bloomington. For more information on the Penguin Project in general, click here.
The Normal Theater offers a mini-Coen Brothers festival with Fargo June 12 and 13 and The Big Lebowski June 14 and 15. Now that Fargo has been translated to the small screen, you may want to refresh your recollection of this darkly comic murder thriller and compare/contrast to how it plays out on FX.
Prairie Fire Theater and director Rhys Lovell will be holding auditions for their production of My Fair Lady from 6 to 8 pm on June 12 and 13 at Illinois Wesleyan University's Presser Hall, Room 16. Lovell will be looking for ten women and twelve men of various ages, and he's asking that each auditioner come in prepared to sing from a musical of his or her choice. An accompanist will be provided. Performances are scheduled for July 31 to August 3 at Illinois Wesleyan University's Westbrook Auditiorium. For more information, you can check out the My Fair Lady auditions page on Facebook, but please note that the correct audition information is included a May 26 post from Rhys that appears farther down the page. Also note that the role of Henry Higgins has been already been cast, but you'll still get to audition for Eliza Doolittle, her dad, new beau Freddy, Higgins' mom, Colonel Pickering and the rest of the toffs and hoi polloi.
And if you'd like to plan further ahead, the Bloomington Center for the Performing Arts has announced its new schedule, with a whole lot of events coming up in 2014-15. That includes the Ides of March, the rock group that played at my prom in 1974 (their big hit was "Vehicle," which you may recall) with an appearance in November, Dickens' A Christmas Carol in December, and a screening of the silent film The General, starring Buster Keaton, accompanied by organist Dennis Scott, in April.


Christian A. Moore (Va.), 15, plays on the Nike EYBL circuit with Boo Williams.
At Cape Henry Collegiate High School Moore has a 3.85 grade point average.
Chieftain Moore uses his speed and dribble to break the full court press while surveying for open teammates running the floor.
Christian can score comfortably from mid range and beyond the NBA three point line.
This gritty on-ball defender is skilled at stripping ball handlers at half-court and jumping in the passing lane for well-anticipated steals.


Earlier this month, Lady Gaga and Donatella Versace ceremoniously held their hands up in triumph, sparking rumors that the Mother Monster will become the brand's spokeswoman for next spring. Now, Versace has confirmed that the "Applause" singer will be the face of the 2014 Spring/Summer campaign.
"#Versace proudly confirms @LadyGaga as the face of SS14 campaign shot by Mert Alas & Marcus Piggott #VersaceLovesGaga," Versace tweeted Saturday (Nov. 23).
For the Italian fashion house's forthcoming campaign, Gaga is adorned in a lilac ensemble with long, blonde tresses and a fresh face with a pale peach lip. To keep in theme with her new deal, the ARTPOP songstress also strutted down the red carpet at last night's American Music Awards, dripping in Versace threads and riding a human horse. She even rocked all Versace everything during her recent Saturday Night Live stint.
"I'm so happy to be working w/ @Versace for the new Campaign!," she tweeted about the partnership, to which Donatella responded, "To a true iconic contemporary Versace woman: Thank you."


How to beat fuel price tax rises | What Car?
Today's VAT increase from 17.5% to 20% means the Treasury will take more tax from every litre of fuel that you buy.
Add that to other increases in price and fuel duty, and a typical two-car family's monthly fuel bills will increase by more than 30 compared with the same time last year, according to the AA.
The first step is to shop around for the best pump prices. Websites such as petrolprices.com, or mobile phone applications, such as i192 from 192.com, can help you locate the cheapest fuel price in your area or on your route.
Next is to look at the way you use and drive your car. Changing the way you drive can have a huge impact on how much fuel you use, so if you'd like to cut your bills you can follow our guide to greener motoring.
Print out the checklist, follow the advice and get saving.


text:
The Woman Reader by Belinda Jack
Literate women, and women who have contributed to the written record, have been controversial virtually from the beginnings of civilisation in ways which have not been true of their male contemporaries. They have been ridiculed, criticised often in hyperbolic terms, and faced with denial that their genius was actually their own, while at the same time celebrated and heralded for their contributions. They have also been represented as erotically desirable. These extremes of reaction and invention are distinct from the parallel history of literary men. They are also considerably more intriguing.
Belinda Jack's The Woman Reader is a history of women's access to printed material and of society's responses to this access. Jack tells the stories of notable woman readers from the Ancient World to the present day; this leads to a certain overlap with the history of early women writers, but this is because very often the only existing records of women's reading are their own written reactions to what they read.
Gender segregated histories can be contentious, but Jack makes a reasonable case for her choice to specifically focus on women's experiences with written material. As the passage I opened with explains, from very early on women readers were scrutinised far more closely than their male counterparts. By focusing on sociopolitical factors, Jack largely avoids essentialising or idealising women readers.
Writing a gender segregated history, however, doesn't mean it will solely be a history of triumphant rebellion and defiance of the status quo. It's common to portray reading as inherently subversive, but The Woman Reader illustrates how women readers weren't always rebels – sometimes they were crucial players in their societies who possessed a considerable amount of power and influence and were invested in existing power structures. Their power was not negligible, but that doesn't mean it didn't exist within the constraints of a patriarchal society. I came across a review of the book at The Atlantic that denounces Jack for idealising reading as instantly liberating, but personally I found The Woman Reader far more nuanced than that (in fact, I would argue that it goes to some lengths to challenge a simplistic understanding of what access to printed material implies for women). The book acknowledges that the history of women readers is not one of linear progression from repression to empowerment and liberation, which was something I really appreciated.
For example, one of my favourite chapters was "Reading in the not so dark ages", in which Jack defies the popular myth that the Middle Ages were uniformly terrible for women:
The alleged 'silence' of women in the Early Middle Ages was only relative. The period was broken by bold whisperings in many parts of the world and these would gradually become louder. Early Christian aristocrats and holy women like Radegund, lay women like Dhuoda, Hrotsvit the playwright, and women monastics in Ireland like St Darerca, or Hilda of Whitby in England, and Buddhist noblewomen like Lady Dong Zhenying and Muslim women scholars in the East, provide varied examples of women readers who in turn inspired the reading of others, often women.
Reading this chapter put me in mind of something Jodie was saying recently about her experiences as a history major and a feminist:
I never really like to talk about historical women and power, with any kind of positive emphasis, in feminist circles which contain people who haven't studied the areas of history I'm talking about. This sounds weird, right, because I'd be expressing a view of a historical period, which emerged from feminist study, to other feminists, but somehow I always feel like if I start talking about the limited power of the vestal virgins, or the control nuns had over their nunneries in 16/17th century Italy, I'm setting myself up to be accused of denying patriarchal oppression. I know some feminists think revisionism is all a kind of fantasy, or women's desperate and false attempt to place their historical counterparts on an equal footing with the men of the past and over the years knowing that view is out there has had a silencing effect on me.
I can imagine how tricky it must be to make these arguments without worrying you're coming across as saying that women didn't actually have it so bad after all. This is a risk Jack runs, but I think she does an impressive job of illuminating both sides: yes, patriarchal oppression is very much real, but this doesn't mean there weren't pockets of agency or freedom and ways in which women exerted power, both as readers and writers and in other areas of society.
Another section I particularly appreciated was the one on the iconography of the woman reader. Jack argues that there are far more images of women reading than of their male counterparts, and that this emphasis signals the fact that throughout history women readers have been objectified, eroticised, and perceived as simultaneously dangerous and beguiling:
But the woman reader is not only a reality. She is also a striking invention of the male imagination, a crucial aspect of men's desire to worship or condemn the mysteries of the 'opposite sex'. For a long time the woman reader was more often an idea or a symbolic construct rather than real, during stretches of history when few, if any, women were literate. At the same time men's visual representations of women reading have had a profound but to some degree incalculable effect on women readers, serving either as an encouragement to read or an alarming warning against reading. The visual legacy is a vivid reminder of the myriad role models offered to woman readers. And the history of this legacy in the fine arts is much more intriguing than its male counterpart. Men have generally enjoyed much greater freedoms, a consequence being that their reactions to reading have (allegedly) been more cerebral, and much less psychologically charged.
So it is that the iconography of the male reader is less complex and loaded. Women (and for that matter, men) have not shown much interest in the male reader: he is by no means as beguiling as the woman reader. By and large the book or other document he holds alerts the viewer to the man's religious or scholarly seriousness, his profession, his status – and not much else. Images of women reading are more numerous, more varied and often more enigmatic. They may conjure an aura of piety, virtue, maternal responsibility, privilege, luxury, scholarly learning or social status. But they may also be richly suggestive of idle leisure, frivolity or erotic temptation.
As some of you may know, my fellow book blogger Alex has created an extensive collection of images of women readers on Pinterest. I revisited Alex's pinboard after reading The Woman Reader, and it was fascinating to see how many of the images do fit the types Jack identifies. Of course, this isn't to say that images of women reading are bad and we shouldn't enjoy them; just that being aware of the ways in which these images are loaded and shaped by patriarchal perceptions helps deconstruct the aforementioned simplistic idea that access to reading material always equals gender equality, liberation and empowerment.
The only section of Woman Reader that let me down was the one on the contemporary world. As I said earlier, for most of the book Jack explains the different histories of men and women as readers through social factors – women's experiences of reading were by and large different because they were scrutinised far more closely, which means that generally speaking they were forced into a kind of self-consciousness about their engagement with written material that most men didn't have to face (of course, considering factors like class and race rather complicates this picture). Unfortunately, Jack mostly abandons this approach when discussing contemporary gendered reading patterns, and seems to slip into the kind of gender essentialism she otherwise critiques when accounting for men and women's different profiles as readers in the modern world. I would argue that the social forces that shaped men and women's experiences as readers throughout history are still very much at work in the present day.
Still, the historical aspect alone was more than enough to keep me interested in The Woman Reader. The tone and style reminded me a little of A History of Reading by Alberto Manguel (whose influence Jack readily acknowledges). Fans of his work are likely to find much of interest here.
A few more interesting bits (I actually marked eighteen different passages when reading this book, which is more than for any other book I've read so far this year. I'll try my best not to go overboard with the quoting):
In eighteenth-century Europe, but also further afield, the novel became the site of fierce battles as its content broadened and gradually replaced conduct books. One of the most extreme reactions to these changes was the appearance of supposedly 'scientific' proof of the dangers women faced if they read. These tracts would in part replace the conjecture, polemic and superstition that infused the discussions of women's education and reading during the seventeenth century. But as women's reading, leisure and social advancement became intertwined, so women's reading became a still more contested activity and the subject of continuing and intriguing debates.
One of the most striking phenomena of nineteenth-century social history was the pervasive anxiety, whether undisguised or more subtly expressed by both men and women, over the newly literate groups' access to varied reading material. And the growing number of titles written by women was often treated with singular suspicion. This situation was hitherto unknown and seemingly uncontrollable. The three great revolutions – the American, the French and the Industrial – were all deemed, for better or worse, to have been fuelled by more widespread reading. In their wake, many saw allegedly subversive material as further fanning the flames of change whether social, economic or political. Crucially, all these were deemed to be sure to bring radical changes in terms of how men and women would live alongside one another in national as well as marital and familial contexts. Women, it was thought, would be tempted to neglect their duties, seduced by engrossing books.
Within the medical profession some physicians continued to express peculiar fears about the effects of reading on women's behaviour and general wellbeing. The widely held assumption was that there were fundamental physiological and psychological differences between men and women, and that women's heightened sensibilities made them prone to hysteria and madness. Both these conditions might be induced by excessive and inappropriate reading, particularly of novels.
(Have you posted about this book too? Let me know and I'll be happy to link to you.)
Affiliates disclosure: if you buy a book through one of my affiliates links I will get 5%. I downloaded a review copy of this book via NetGalley.
Posted by Ana S. at Friday, June 29, 2012
Labels: Books about Books , Feminism , History , Non-Fiction
Sandy Nawrot Jun 29, 2012, 12:10:00 PM
I can't think of anything more pertinent to all of us...women readers. Required reading for bloggers?
Ana S. Jun 29, 2012, 12:14:00 PM
Sandy, towards the end of the book she actually mentions the fact that there's an unprecedented number of women recording their responses to their reading in mostly female online communities (this is where I went, "Hey, that's us! *waves* in my head :P) I DO wish there had been an analysis of why these communities are mostly female while the traditional critical establishment is still overwhelmingly male, but perhaps she felt this would have changed the focus of the book. It's a huge topic, after all.
Jeane Jun 29, 2012, 3:03:00 PM
I just had to visit that Pinterest board- what an impressive collection! I must have spent twenty minutes just looking at all the images. I think my favorite was the little girl sitting on a stack of books, with another on her head! by Scott James Owles.
Amy @ My Friend Amy Jun 29, 2012, 6:48:00 PM
lol, I saw some of those women reading images pop up on tumblr the other day, and I was like, what is this, this is not what I look like when i read, lol. So this history is actually very interesting to me!
Kailana Jun 29, 2012, 10:39:00 PM
I haven't had a chance to read this book. I have it, though. My not reading much lately sucks because I am looking forward to this.
Trisha Jun 30, 2012, 2:46:00 AM
I like histories like this, so I'm definitely adding it to the wish list.
Nicolás Díaz Jun 30, 2012, 10:25:00 PM
There is also a tumblr on that subject, it gives the same impression you found on that Pinterest board:
http://womenreading.tumblr.com/
Even in their contemporary images you can find those patriarchal perceptions. But also of class. Men who could afford leisure used to be depicted hunting or with their high-rank military officer uniform. Women who could afford leisure were depicted reading.
About those 18th century ideas, novels having a bad effect on women, they were of course reflecting the same patriarchal frame, but there is something about the novel shaping our ideals. For Denis de Rougemont proto-novels and novels gave the Western World its ideal of romantic love and the problems that came with it (for both men and women). He is certainly not against fiction, but the kind of fiction popular in previous centuries gave the Western world the same kind of misconceptions that rom-coms give us now.
I really liked your Okorafor review. A friend of mine is taking a course on neo-colonialism reflected in fantasy and science fiction, and Okorafor is one of the primary authors on that subject. Saludos desde Mexico.
Charlie Jul 2, 2012, 4:36:00 PM
One of my modules this year included looking at the way the Reformation severely limited women's freedoms by doing away with convents and thus leaving women with little choice but to marry. As much as we can say that man ruled the world, there were women that got around the issues and were able to live for themselves and be educated, even if their number was few and we've mostly forgotten about them. It is certainly important to remember that while there was a lot of suppression, there were women who managed, even became leaders.
I always got the feeling that images of women reading were purely for pleasure, to make them look pretty and intelligent when the subtext was that they weren't really intelligent. Of course for us nowadays the artwork might take a different context, supporting the idea of women reading more than men, truly being intelligent and so on, which is pretty awesome. I hadn't thought of the difference in purposes of the genders in art like that, however. I'd agree with your argument on social forces. Women are still supposed to read fiction, men non-fiction.
Aarti Jul 3, 2012, 1:16:00 AM
I've got this book to read from NetGalley and have started but not gotten very far at all (as is the case with ALL the books I have out but are not in audiobook format). It was very interesting at the start, though! I like that she brings in the political contexts, though I am not sure yet what the "thesis" of the book is. Or if it even has one :-)
Ana S. Jul 3, 2012, 12:30:00 PM
Jeane: There are some really great ones in there, aren't there? I could spent hours looking.
Amy: Definitely not what I look like either :P
Kailana: I know what you mean :( Stupid reading slump.
Trisha: It's right up your alley!
Nicolas Diaz: Such an excellent point about class. And yeah, I could easily read a whole book about how the stories we tell have shaped our perception and expectations of romantic love over the centuries. The other day I actually came across a title that might touch on that - Why Love Hurts by Eva Illouz. Also, I'm glad to hear you liked the Okorafor review!
Charlie: Yes, exactly! And yes, the meaning of those images isn't fixed - we're free to read them differently in the present day and to interpret them in a variety of ways. But the history is really interesting, I think.
Aarti: I'm not sure that it has a thesis beyond "the history of women's access to written material is very complex". That Atlantic review I linked to claims that her thesis is that reading is always positive and liberating, but that made me feel like I'd read an entirely different book than they did. I'm very curious to hear what you think!
Emily Jul 29, 2012, 2:34:00 AM
Sounds intriguing! Great review.


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Evo & Grace: The WanderLusts: Ang Larawan: Perfect casting, culturally interpreted and beautifully orchestrated.
Ang Larawan: Perfect casting, culturally interpreted and beautifully orchestrated.
Richard Kuipers of Variety.com quoted, "The Portrait" proves a handsomely produced big screen adaptation of Nick Joaquin's revered play." While Lawrence Harmon, former Urban Affairs and Political Columnist of Boston Globe wrote," Portrait provides a deep history lesson set off by a soaring score and crisp libretto. This is no light operetta. Instead, it is a searing musical journey into complex lives and emotions of fading Filipino members of the upper class." Manny, The Movie Guy, The Filipino Channel said. "Ang Larawan, has beautiful cinematography and intricate storytelling that swells up to an emotional crescendo...It's a thoughtful and powerful elegy on the death of Old Manila."
The painstaking years of pre-production, production and post-production for executive producers Celeste, Rachel and Girlie ended with a big, bang as the very first full-length musical film in Filipino was included in the annual Metro Manila Film Festival. ANG LARAWAN, a musical film based from an original play in three-act, A Portrait Of The Artist As Filipino, by National Artist for Literature Nick Joaquin, translated by National Artist for Theater and Literature Rolando Tinio and directed by Loy Arcenas (Niño and REquime) is an official entry to the MMFF of Musicat, Inc. Shot in the beautiful wall of Intramuros and in an ancestral house in Taal, it tells the story of Candida and Paula set against the backdrop of World War II, struggling for their lives along with Don Lorenzo Marasigan, their ailing artist father amidst war and public scrutiny. Marasigan sisters experienced hardships when her father abruptly stopped painting and later got ill.
It centers on the last portrait of Don Lorenzo whether it will be sold to maintain the house. Larawan is an ode to the passing of the world of truth and beauty and a celebration of the tenacity of the spirit amidst the rise of materialism and consumerism. ANG LARAWAN opens in theater nationwide on Christmas day. The film was a Finalist, Asian Future Prize Award at the 30th Tokyo International Film Festival and the Opening Film, at the 2017 Cinematografo International Film Festival in San Francisco prelude to its official local screening. Already graded "A" by all eleven members of Cinema Evaluation Board (CEB), the film received unanimous highest regard.
A Spanish colonial house, a street and the century old San Agustin Church became the perfect location and a brilliant idea as the twisted story of Marasigan sisters unfolded. Loy Arcenas being a New York theater set designer and director, meticulously utilized, used and maximized the limited location for this period storytelling. Every part in the house tells a story, depicts a subject and symbolizes a character. Carefully and beautifully timed and angled shots were visually and perfectly edited and captured. The manner on how Arcenas executed those shots were very Les Miserables in nature. Joanna Ampil deserved an acting award as Candida. Her exhausting and tiring interpretation in film whether verbal or nonverbal, heavenly touching, moving, haunting and convincing, truly world class. Since joining in the 1998 restaging, Rachel Alejandro has grown up maturely in terms of acting on both theater and film. Reprising as Paula was specifically tailored for her, she owned it singing and acting per se. A perfect choice. After so much anticipation as Tony Javier, hunk Paulo Avelino was a revelation. Not with the singing though, but in terms of acting. Perfectly as a man with hidden motives and unclear ambitions.
Ang Larawan housed stellar and acclaimed Filipino actors from both stage and screen. It is the first full-length feature film of West End star international recording artist Joanna Ampil as Candida. Rachel Alejandro was too young when she first played Paula in the stage musical. Twenty years later, she was the right age to portray Paula in the screen adaptation. Heartthrob Paulo Avelino portrayed Tony Javier, a boarder whom Candida and Paula accepted to have a source of income. Theater actor Sandino Martin as a friend reporter Bitoy Camacho examined the painting, the role originated by Roeder Camañag. Cris Villonco who played Patsy in the 1998 musical appeared as Susan along with Aicelle Santos as Violet, both vaudeville artists who desiredly fantasized Tony Javier.
Stage stalwarts Nonie Buencamino and Menchu Launchengco-Yulo are the Marasigan siblings, Manolo and Pepang. Robert Arevalo as Senator Perico, wholeheartedly convinced the Marasigan sisters to stay in the house and take care their sick artist father was married to Doña Loleng portrayed by Celeste Legaspi whom Carla Martinez originated from the stage. Producer and actress Celeste Legaspi originated the role of Candida and reprised it in 1998 restaging along with Ricky Davao, the original Tony Javier. Cara Manglapus as Patsy, a young jazz singer and daughter of Don Perico and Doña Loleng. Zsa Zsa Padilla who originated the role of Paula from the musical stage version portrayed Elsa Montes whom the beautiful actress Dawn Zulueta played onstage, a Filipina socialite from New York and Rayver Cruz as Charlie Dacanay, being both friends of Doña Loleng.
The participation of Ogie Alcasid as policeman Tinio was a great shift and contradicting from his usual sidekick and comedic role made it hilariously beautiful along with Jojit Lorenzo as policeman Bernal. The rousing finale scene became a gathering of veteraned and seasoned actors from television, film and stage. Actress and film producer Armida Siguion-Reyna originated the role of Doña Upeng, but in the film Dulce made an impressive interpretation. Nanette Inventor as Doña Irene, Jaime Fabregas as Don Aristeo, Bernardo Bernardo as Don Alvaro, Noel Trinidad as Don Miguel and Leo Rialp as Don Lorenzo Marasigan. Other notable actors and actresses who made a cameo appearance were Mikee Cojuangco Jaworski who played Patsy in the stage version, Ricky Davao, Toma Cayabyab, Martin del Rosario, Ryan Cayabyab and Emmy Cayabyab.
Text and event photos by Gilbert Kim Sancha.
It is a good show for sure but there are even betters one out there. I will give this one a watch once I am done watching the current ones including Game of Thrones and Breaking Bad.


This lecture is currently fully booked, although a waitlist for returned tickets is available on our EventBrite page.
Please note that the event was rearranged from its original date of Tuesday 27 February due to scheduled UCU strike action.
This lecture is part of the CRASSH Impact Lecture Series, and will be open to all. A second lecture by Sara Ahmed in this series will take place on Friday 9 March. The title of this lecture is 'Complaint as Diversity Work', further information is available here.
Sara Ahmed is an independent feminist scholar and writer. She has held academic appointments at Lancaster University and Goldsmiths, University of London. Her work is concerned with how power is experienced and challenged in everyday life and institutional cultures. She has recently completed a book What's the Use? On the Uses of Use and has begun a new research project on complaint. Her previous publications include Living a Feminist Life (2017), Willful Subjects (2014), On Being Included (2012), The Promise of Happiness (2010), Queer Phenomenology (2006), The Cultural Politics of Emotion (2014, 2004), Strange Encounters (2000) and Differences that Matter (1998). She also blogs at www.feministkilljoys.com.


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Ethics Group Reacts to Upholding of Soros Insider Trading Conviction; Soros Misled Public During 2004 Campaign
WASHINGTON, June 14 /U.S. Newswire/ — Peter Flaherty, president of the National Legal and Policy Center (NLPC), today reacted to the upholding of billionaire George Soros' conviction of insider stock trading by France's highest court, meaning Soros has no further appeals.
Flaherty said, "This affirmation of Soros' criminal conviction adds to the doubts about his credibility and business ethics."
During October 2004, Soros undertook an anti-Bush media and speaking tour to swing states. In Harrisburg, Pa., on Oct. 19, Flaherty asked Soros how he could come to Pennsylvania, "where corporate scandals have cost people their jobs," to tell working people how to vote in light of his conviction. Soros denied that he was convicted, and instead attacked NLPC as "Orwellian." Flaherty followed up by asking why Soros had been fined $2 million, if he had not been convicted. Soros claimed he had not been fined. ( For transcript, go to http://www.nlpc.org/view.asp?action=viewArticle&aid=691 )
Soros apparently misled the media and the audience of 200 people. Numerous news organizations in the U.S. and Europe had reported that Soros was convicted of insider trading in December 2002 and fined $2.2 million. Furthermore, Soros had previously admitted that he was convicted. In a Sept. 12, 2003 interview on the PBS show "Now With Bill Moyers," Soros told reporter David Brancaccio, "I was found guilty."
Soros' contention in Harrisburg that he had not been convicted was apparently based on the fact that the case was under appeal. In France, a suspect is technically considered innocent until appeals are exhausted. Flaherty added, "For Soros, there are no more appeals. There are no more fig leaves to hide behind. His conviction stands."
Soros apparently failed to report significant expenditures related to his anti-Bush tour, as required. On Jan. 18, 2005, NLPC filed a formal Complaint with the Federal Election Commission (FEC), alleging extensive apparent violations by Soros of the Federal Election Campaign Act. ( http://www.nlpc.org/pdfs/SorosFEC1-18-05.PDF ). The Complaint is pending.
NLPC promotes ethics in public life through research, education and legal action. The group sponsors the Government Integrity Project.
http://www.usnewswire.com/
Source: DPNA website June 26th 2006
Filed under: Political Sector :


text:
CarsMain
The Porsche Type 64
By Jon C. BranchPosted on May 30, 2019 12min read
From the Silver Arrows to the KdF Wagen to the Porsche Type 64
Dr. Ferdinand Porsche once said "I couldn't find the sports car of my dreams, so I built it myself." Dr. Porsche was involved in the design and creation of a number of sports cars ranging from the Mercedes SSK of the 1920's to the mid-engine Auto Union "Silver Arrows" of the 1930's: but perhaps the car that epitomized Dr. Porsche's idea of "ideal" was his development of the humble Type 1 Volkswagen from a "people's car" providing utilitarian basic transport into the Type 64 racing car, purpose created for the Berlin to Rome road race scheduled to be run in 1938.
Dr. Porsche was a German with Czechoslovakian citizenship and in 1931, having been made redundant because of the Great Depression, he moved to Stuttgart, Germany where he established an automotive design consultancy. There was much discontent in Germany at that time: the reparations she had to pay as a result of the First World War caused much economic hardship and the coming of the Great Depression only served to make the lives of ordinary Germans all the worse. People wanted economic prosperity, and they wanted the dignity of the German nation restored. So when the National Socialist German Worker's Party (i.e. Nazi Party") promised these things many in Germany voted for them in the 1932 election with the result that the Nazi Party won 230 of the 608 seats in the German Reichstag (i.e. parliament). The result of this was the Nazi Party forming the national government and the following year people voted to give the Nazi Party and its leader, Adolf Hitler, absolute power.
Hitler's German Worker's National Socialist government set about construction of a network of inter-city highways called Autobahns, not only creating needed infrastructure, but also creating jobs for German workers.
The Nazis lost no time in setting about delivering on promises they had made to the German people: they withdrew Germany from the League of Nations, effectively tore up the Treaty of Versailles, and proceeded to re-arm at a rapid pace. The German people saw things promised coming rapidly to fruition, there were jobs being created and many people's lives dramatically improved.
During this time Ferdinand Porsche found that he was not getting income from design consultancy work so he took a gamble and set up another company: the "HFB" High Performance Car Ltd. (German: Hochleistungsfahrzeugbau GmbH) in 1932. One of Porsche's passions was motor racing and he could see that there just might be someone interested in an unbeatable racing car in the new Germany that was determined to prove itself to be the equal of, if not better than, the other nations of the world.
Tazio Nuvolari at the wheel of a P-Wagen, this image may be from the 1934 Czechoslovakian Grand Prix where Nuvolari was permitted to try Hans Stuck's car.
Dr. Porsche took a radical design approach to the creation of the new racing car. It was made for competition in the Association Internationale des Automobile Clubs Reconnus (AIACR) which translates into English as the International Association of Recognized Automobile Clubs. The main rule that racing cars had to meet was that they had to weigh no more than 750kg without fuel, oil, water or tires. Working with associates Karl Rabe and and Josef Kales the new "P-Wagen" (i.e. Porsche Wagen) used a mid engine layout like the Benz Tropfenwagen of 1923. Karl Rabe was primarily responsible for the chassis while Josef Kales created an impressive V16 engine that would propel this new silver arrow so fast it was guaranteed to turn the driver's hair the same color as the silver bodywork.
The new P-Wagen was shown to management of the newly formed Auto Union and they were sufficiently interested in it that they would subsequently purchase the Hochleistungsfahrzeugbau GmbH and use the P-Wagen as their works racing cars.
Propaganda photo of a German family playing by the water with their KdF Wagen (Volkswagen) and portable radio. (Picture courtesy German Federal Archives).
Among the promises that Hitler made to the German people was that in his new socialist Germany every worker would be able to afford a car and have the freedom and convenience that a car would provide them. There would also be new intercity highways called Autobahns to make travel easy and fast. It was at the 1933 Berlin Motor Show that Adolf Hitler formally announced his two projects, projects that would propel Dr. Porsche into a close working relationship with Hitler. The first of these projects was for a "People's Car" to be named the "Kraft durch Freude Wagen" (translated "Strength through Joy") or KdF Wagen: and the second was for a state sponsored motor racing program with a promise of a half million Reichsmarks to Mercedes-Benz.
In his discussions with Hitler Ferdinand Porsche persuaded the Fuehrer that the state sponsorship for motor racing should be split between Mercedes and Auto Union to best ensure success. This led to much chagrin on the part of Mercedes-Benz but Auto Union, racing Porsche's P-Wagen, were delighted.
Hitler commissioned Dr. Porsche to design and build the car for his people, the "Volksauto", which would later be called the KdF Wagen, and then the Volkswagen.
1930's Advertisement for the KdF Wagen.
In creating the Volksauto Ferdinand Porsche incorporated ideas and technology from his racing car designs, and other work he had done on small affordable cars, such as his small car design for Zundapp. His design work was done in collaboration with fellow Austrian Hans Ledwinka who was then working in Czechoslovakia for Tatra. The resulting car, the Volkswagen Type 1, was of a design that both Porsche and Ledwinka favored. The engine was a horizontally opposed "boxer" four cylinder mounted in the rear with a transaxle and independent swing axle rear suspension. the front suspension was independent and the springing was by torsion bars as favored by Porsche and featured in the P-Wagen. The humble "People's Car" was designed not only to provide basic "Gets me from A to B" transportation, but it was built with speed and durability in mind. The Type 1 Volkswagen was made to be reliable in all climates, able to negotiate all roads, and to do 100km/hr. It is clear that the design was created with the idea that it could be re-created as a sports car or racing car, as well as being able to be redesigned as a military vehicle.
1938 photograph of Dr. Porsche showing the new Volkswagen (KdF Wagen) to Adolf Hitler and senior Nazis. Two cars were shown, the sedan, and a soft top which is partially visible in the bottom right of the picture.
A Motor Race that Wasn't: the Berlin to Rome and the Type 64
With the design for the Volkswagen complete in 1938 and production being set up at the newly established factory and model village Stadt des KdF-Wagens in Saxony, near the town of Fallersleben, Dr. Porsche and his son Ferry busied themselves with racing car projects that they hoped would be a part of Hitler's state sponsored motor racing program. During 1938 design work was done on both rear-engine and mid-engine versions of a car designated the Porsche 114. These would not be built, but Hitler decided that a motor race from Berlin to Rome would be a wonderful propaganda exercise: Berlin was the center for the German Nazi Government, and Rome the center for the Italian Fascist government of Benito Mussolini, Germany's main ally. The race was to be an opportunity to showcase the KdF Wagen and to get people to believe that National Socialism was a wonderful thing.
Ferdinand Porsche's design for a mid-engine 72° V10 competition car Porsche 114 dated 1938. This body style would be seen on some versions of the P-Wagen and on the later Type 64. (Picture courtesy smcars.net).
The Rome to Berlin race was originally scheduled for September of 1938 and was to be organized by the paramilitary NSKK (Nationalsozialistisches Kraftfahrkorps, which translates as the National Socialist Motor Corps). As it turned out however politics prevented the race from happening because Hitler and the Nazis wanted to incorporate the German speaking parts of Czechoslovakia into Germany. The Czechs were not at all happy with that idea but a conference between Italy, Germany, France and Britain was convened in Munich in September with the result that the Sudetenland part of Czechoslovakia was given to Germany. So despite the fact that the motor race had to be deferred until 1939 a war had been avoided and quite a few people were happy about that.
The Nazi government commissioned Porsche's consultancy to build them three cars for the planned September 1939 1,500 kilometer Berlin to Rome race. These cars were to be based on the KdF Wagen (i.e. Type 1 Volkswagen) but tweaked up to make them impressive competition cars.
Drawing of the Type 64 car designed for the Berlin to Rome 1,500 kilometer race. Note the two spare wheels in the front and partially rear positioned passenger seat, intended to ensure the driver's field of view was unimpeded. (Picture courtesy smcars.net).
Dr. Porsche had designed the Volkswagen Type 1 with a platform type chassis to easily permit the use of different body styles. The Volkswagen under-body was treated to much attention with the intention being to improve its strength and handling. This involved replacing the chassis with a design based on aircraft construction methods.
The chassis of the Type 64 was of a quite different type by comparison with the Volkswagen: featuring a triangulated matrix of lightweight alloy as might be used in aircraft construction. (Picture courtesy RM Sotheby's).
The engine was similarly worked on to bring the power up to around 32bhp. Three cars were made by Reutter, fitted with hand beaten aerodynamic aluminum alloy bodywork using only 0.5mm thick alloy panels to keep weight down to the bare minimum. The body design was by Erwin Komenda and had resulted from wind tunnel tests done in the development of the Type 114 competition cars. The end result was a car that could make 160km/hr (i.e. about 100mph).
Porsche Type 64. (Picture courtesy RM Sotheby's).
The Volkswagen Type 1 was given the designation Type 60 internally at Porsche. The three Berlin-Rome racing cars therefore were designated as Type 60 and fitted with the new body style which was Type K10 (the "K" standing for "Karosserie", which translates as "body"). The build year for the Volkswagens used as the base cars was 1938: so the model designation was 60 K10 38 with the car's number following on from that. The three cars built were 60 K10 38/41, 60 K10 38/42, and 60 K10 38/43. As they were hand built each one had subtle differences to the others.
The Volkswagen boxer engine sits in the rear of the Type 64. The engines were listed on the builder's plate as delivering 34PS. (Picture courtesy RM Sotheby's).
The first car built was 60 K10 38/41 and it was completed on August 19, 1939 ready for the Berlin-Rome race. However Nazi Germany launched a surprise invasion of Poland on September 1, 1939 and so the motor race had to be cancelled. War with Germany had only been delayed by the Munich Conference of 1938, not averted, Britain and France declared war on Germany two days later and the Second World War began.
The interior of the Type 64 was kept minimalist. Note the rear offset of the passenger seat. (Picture courtesy RM Sotheby's).
The British and French declaration of war against Germany did not result in large scale determined fighting breaking out but, by contrast, the period from September 3, 1939 until May 9, 1940 was relatively peaceful and came to be known as the "Phoney War", although at the time the British press referred to it as the "sitzkrieg" as opposed to the German invasion of Poland which had been called the "Blitzkrieg".
As the Second World War intensified the three Type 64 racing cars were simply used as transport. All were crashed at some point. (Picture courtesy RM Sotheby's).
During this time the second Type 64 car, 60 K10 38/42, was completed by the end of 1939 and the third car, 60 K10 38/43 was finished around the time of the end of the "Phoney War" in the summer of 1940. Plans for the Berlin-Rome race were deferred until 1940, in which year Imperial Japan joined the German/Italian Axis which resulted in tentative plans being made for a Berlin-Rome-Tokyo race in 1941. December 1941 saw the Japanese attack on Pearl Harbor however instead of a road race, and the United States entered the war. Nobody planned a 1942 road race because by that stage large scale fighting was well and truly underway and any thoughts of a road race would have been ridiculous.
The Type 64 was a very tempting little racing car. The first was crashed by SS Lieutenant Colonel Bodo Lafferentz. (Picture courtesy RM Sotheby's).
The Three Porsche Type 64's Reduced to One and Some Salvaged Bits
That an organized road race would have been ridiculous did not stop people being tempted to take one of the little Type 64 racing cars out for some enthusiastic driving however. The person believed to have crashed the first car was SS Lieutenant Colonel Bodo Lafferentz in late 1939: The SS Lieutenant Colonel was apparently a board member of Volkswagen and the car was damaged beyond repair: the wreck may have been scrapped for parts.
The second car, 60 K10 38/42, was a little different to the first one having a wider front grille and it also had curved window glass whereas the first car featured flat glass. This car was also fitted with an antenna although it is not known what type of radio equipment was fitted. This car survived undamaged until 1941 when it was involved in a crash that caused damage to the front left fender and left side door.
1941 crash of the second car 60 K10 38/42. This car was repaired and remained with the Porsche family until it was discovered and extensively damaged by American GI's in 1945.
The damage was repaired and the car was kept by the Porsche family and was taken with them to Gmünd, Carinthia in Austria in 1944. This car remained with the family in storage until it was discovered by some American GI's in 1945 who found it to be an enormously fun machine. The Americans cut the roof off to make the car into an American style convertible – sort of – and proceeded to drive it to destruction. The remains of this car were later sold to Swiss motor racing enthusiast Otto Mathé when he also purchased the third Type 64 car from the Porsche family.
Otto Mathé with the third Type 64 after he had purchased it from the Porsche family.
The third car 60 K10 38/43 was used by the Porsche family and so it also was taken with them to Gmünd when they moved there in 1944. Dr Porsche's son Ferry used this car and had it refurbished, probably by Pininfarina in 1947. The refurbishment included a new silver paint scheme, new front grille, and the fitting of a pair of windscreen wipers located at the bottom of the front windows. In Austria this car's registration number was K 45-240, the "K" standing for Kärnten, which is the German we translate into English as Carinthia. Ferry Porsche personally affixed the letters "PORSCHE" to the front of the car, making it the first to wear the Porsche name.
Ferry Porsche personally affixed letters to spell out "PORSCHE" to the front of the third car. (Picture courtesy RM Sotheby's).
After the war Dr. Ferdinand Porsche was arrested and imprisoned by the French in Dijon and forced to work on the design of a car for French car maker Renault, the Renault 4CV. He was kept in quite unhealthy conditions and his physical condition deteriorated causing the family great concern. The Porsche family negotiated with the French authorities and arrived at a financial settlement to obtain the release of Dr. Porsche on August 5, 1947. The finance for this was raised by Ferry Porsche creating a racing car called the "Type 360 Cisitalia" for Italian racing driver and soccer player Piero Dusio.
Otto Mathé in the third built Porsche Type 64 which he purchased in 1949.
With Dr. Porsche released the family's troubles were by no means over. Their business equipment was under an Allied embargo so they could not raise the finance needed to resume business. To raise money Ferry Porsche and those with him created the Porsche 356 and began to hand build cars at their workshop in Gmünd. They made 49 cars by obtaining orders from Volkswagen dealers and pre-payment for each car. These cars were entirely hand made and featured aluminum bodywork. This was around 1948-1949 and in the process of raising money to re-start the Porsche business, and move into manufacturing cars under their own family name, the third car 60 K10 38/43, along with some parts remaining from the second car 60 K10 38/42 that had been remodeled and mostly destroyed by American servicemen, was sold to Swiss racing enthusiast Otto Mathé.
Otto Mathé Takes the Third and Only Surviving Type 64 Porsche Racing
Otto Mathé appears to have absolutely loved the Porsche Type 64, but he was a man who believed that "shoes are meant to be worn" and he determined to take his "only one in the world" Porsche Type 64 racing and rallying. He had started out in motorsport in 1923 racing motorcycles but in 1934 he had a serious accident which left his right hand paralyzed. Mathé was not a man who would let a small thing like a paralyzed hand stop him from living life to the full however, and living life to the full meant going motor racing.
Otto Mathé in his later years with his much beloved Porsche Type 64.
Mathé had the Type 64 converted from left to right hand drive so he could operate the gear lever with his left hand. He also sometimes removed the right side windscreen so he could see the road better: legend has it that his method for windscreen removal involved kicking the glass out.
Mathé in his Type 64. For this race note that the right side windscreen glass has been kicked out to improve visibility.
Otto Mathé had some improvements done to the Type 64 that were a little more technically sophisticated, such as converting the brakes from cable actuated to hydraulic.
Otto Mathé at the far left of picture, competing in the 1950 Austrian International Alpine Rally.
Otto Mathé kept the Porsche Type 64 up until his death in 1995 at the age of 88 years. Unfortunately it is not possible for us to take anything with us when we "shuffle off this mortal coil and go to join the choir invisible": but whether or not there is a motor racing track in heaven then we might just encounter Otto Mathé, with his right hand healed, enjoying an amazing eternity.
Porsche Type 64 60 K10 38/43 in the Twenty First Century
After Otto Mathé's passing the Type 64 was sold to a doctor named Thomas Gruber in 1998. Thomas Gruber had the car restored back to left hand drive by Austrian company Barbach, but otherwise kept it much as Otto Mathé had maintained it. Dr. Gruber used the car in various sporting events including at Goodwood in Britain. Dr. Gruber is the co-author of the book "Carrera RS" with Georg Konradsheim.
Porsche Type 64 60 K10 38/43 as she appears today. (Picture courtesy RM Sotheby's).
Ten years later 60 K10 38/43 changed hands again coming into the ownership of the Schörghuber company.
This car, filled with history, and a car that was personally driven both by Dr. Ferdinand Porsche and his son Ferry is about to be sold again. Porsche Type 64 #60 K10 38/43 is to be presented at auction by RM Sotheby's at their Monterey sale to be held over August 15-17, 2019.
Given its historical significance, and its uniqueness, this car is expected to attract a substantial price and as a consequence Internet bidding is not permitted for this car and advanced registration is required.
You will find the sale page for this car that was the pride and joy of Dr. Porsche, Ferry Porsche, and Otto Mathé if you click here.
This Type 64 represents the link between Dr. Porsche's Volkswagen, and his son Ferry Porsche's 356: it is the root from which the Porsche company grew, and it is the first car to be fielded in motorsport under the Porsche name.
(Picture courtesy RM Sotheby's).
Jon C. Branch
Jon Branch is the founder and senior editor of Revivaler and has written a significant number of articles for various publications including official Buying Guides for eBay, classic car articles for Hagerty, magazine articles for both the Australian Shooters Journal and the Australian Shooter, and he's a long time contributor to Silodrome.
Jon has done radio, television, magazine and newspaper interviews on various issues, and has traveled extensively, having lived in Britain, Australia, China and Hong Kong. His travels have taken him to Indonesia, Israel, Italy, Japan and a number of other countries. He has studied the Japanese sword arts and has a long history of involvement in the shooting sports, which has included authoring submissions to government on various firearms related issues and assisting in the design and establishment of shooting ranges.
Jon Branch is the founder and senior editor of Revivaler and has written a significant number of articles for various publications including official Buying Guides for eBay, classic car articles for Hagerty, magazine articles for both the Australian Shooters Journal and the Australian Shooter, and he's a long time contributor to Silodrome. Jon has done radio, television, magazine and newspaper interviews on various issues, and has traveled extensively, having lived in Britain, Australia, China and Hong Kong. His travels have taken him to Indonesia, Israel, Italy, Japan and a number of other countries. He has studied the Japanese sword arts and has a long history of involvement in the shooting sports, which has included authoring submissions to government on various firearms related issues and assisting in the design and establishment of shooting ranges.
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Truth and Reconciliation Commission of Canada
94 Calls to Action.
United Nations Declaration on the Rights of Indigenous Peoples
Aboriginal Peoples in Canada
Canadian Council for Aboriginal Business
Highway of Tears
My People International
is a non-sectarian organization dedicated to working together with the Indigenous community in the development of the full leadership capacity of Native North Americans and other Indigenous peoples
National Centre of Truth and Reconciliation
National Inquiry into Missing and Murdered Indigenous Women and Girls
Reconciliation Canada
Reconciliation Education
4 Seasons of Reconciliation is a multi-media teaching unit that promotes a renewed relationship between Indigenous Peoples and Canadians, through transformative multi-media learning.
The 60's Scoop
The mass removal of Aboriginal children from their families into the child welfare system, in most cases without the consent of their families or bands.
Walking With Our Sisters


I am 76 years old. I retired in August 2008 at age 75. Having two mortgages and credit-card debt, I filed for bankruptcy. Now I am wondering how I can rebuild my credit. I went to the bank and tried to get a secured credit card and was refused. What is the best solution for me?
ONE BANK SAYS no and you're giving up? Come on, you did not get to be 76 years young by giving up so easily. If you want to rebuild your credit, it is going to take more resolve than that. I don't know why the bank said no; secured credit cards are a great solution for people in your situation. Because your card is "secured" by a deposit you make, it protects the credit-card issuer if you don't pay your bill. My advice is to keep shopping for a secured card. Forget banks. I prefer credit unions; their interest rates and fees tend to be a lot lower than what banks charge. Go to www.creditcardconnection.org to search for credit unions in your area. Then contact credit unions that pop up on your search and ask if they offer secured cards.
One final tip: Confirm that the card issuer will report your payments to at least one of the credit bureaus. Not all secured cards do this. Making sure your on-time payments (you have turned over a new leaf and will always pay on time, right?) are recorded at a credit bureau is how you start to rebuild your credit rating.
I recently tried to refinance my condo, which has $90,000 in equity. I was charged a $425 application fee. Although my credit score is 680 I was turned down, then was told it was approved, then finally told it had been turned down. Is there anything I can do to get a refund for the application fee?
within an agreed-upon amount of time.
My 67-year-old mother needs to retire and has a nice home in the Los Angeles area. The home has been appraised for more than $1.3 million and she has a $620,000 mortgage. Long story short, she cannot afford to make the payments on the mortgage and is now just about out of cash and in danger of foreclosure very soon. We've heard of reverse mortgages and would like to understand what the qualification requirements are and if it would be in her best interests to apply. Do you have any suggestions on this idea? We have contacted her bank, but they say her loan balance is too high.
And if she can't afford the mortgage, are you sure she would be able to keep up with the property tax and maintenance costs? You still must cover those expenses when you have a reverse mortgage.


Guest Post by Justin Walters: A few days ago on a lazy Sunday, I sat down at our kitchen table with my eight-year-old daughter, Claire, to eat a snack. We engaged in our usual chit-chat as I tried my best to appreciate this little bit of time we had alone together, time that seems to grow ever more scarce as she grows older. Suddenly, out of the blue, she asked me a strange question.


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