text:
Uncut US Blu-Ray including the Director's Cut
Nightbreed
Release: Nov 25, 2014 - Author: Muck47 - Translator: DaxRider123 - external link: IMDB
This is a comparison between the Theatrical Version (which can be found on the US DVD) and the Director's Cut (which can be found on the US Blu-Ray)
81 differences, including
* 36 scenes with an alternative course of events
* 10 re-cuts
* 22 scenes where the Theatrical Version is longer
* 2 mirrored scenes
Difference in time: 19:14 min
Besides Hellraiser, Nightbreed is probably one of the most famous movies directed by Clive Barker. Even though the movie was a financial flop, it gained a cult following which for years hoped to be able to see Barker's originally intened version of the movie. While his book Cabal - which the movie is based on - rather focuses on Boone's development as "Cabal", Barker consciously wanted to shift the focus on the world of the Nightbreed-Creatures. However, many obstacles were put in his way.
The studio was rather interested in a rather typical slasher movie and did not know how to effectively market the creative monster world (especially in contrast to the Cenobites from Barker's Hellraiser universe that were undoubtedly easier to connect to the horror genre). Not least because of the MPAA's interventions the trailer was released after priorly being rejected 12 times. Since the final version rarely ever showed shots of the monsters, it - again contrary to Hellraiser - not at all gave an impression of what the final movie might look like. Additionally, the original, roughly two and a half hour long version was cut down to about 100 minutes, resulting in original editor Richard Marden angrily leaving the project, and Barker furiously rejecting the radical alterations of his work. Here you can read all about this in more detail.
At Comic Con 2013 Shout Factory announced one of the greatest glimmers of hope by saying that they wanted to release a Director's Cut for hoe theatres (as we hald already reported). Years prior pieces of the original material which was believed to be lost were found (which first was talked about in 2009 at the bottom of this page) which resulted in a merge - called the "Cabal Cut" - of the Theatrical Version and the new-found scenes which - unfortunately - had a bad quality. It was shown on several festivals in 2012 (again, we had already reported this) and had a runtime of roughly 3 hours.
Since October 28th 2014 fans can buy a "Director's Cut" on Blu-Ray in the USA. However, this verion is a separate cut that is "only" 120 minutes long and thus at first looks like having 20 minutes of additional footage in regard to the Theatrical Version. However, this version in fact has a little more material of its own, since some of the scenes from the Theatrical Version were taken out or replaced. This was already forseeable since this was communicated by the producers who said that the "Cabal Cut" is rather a rough cut that includes all material that could be found. At this time, the - more thought-intensive - Director's Cut was already in process of planning. A positive thing that has to be noted is the fact that all additional footage now has a good quality, thus there are no longer extreme differences as in the 3 hour version.
OVerall, producer Mark Alan Miller stated that the Director's Cut includes roughly 45 minutes of additional footage which would also mean that about 25 minutes of footage from the Theatrical Version would be missing. This calculation is a little too generous. However, we did not try to make an exact recalculation which would be extremely time-intensive due to the (partially) very complex alterations and re-cuts. Still, the numbers are pretty close, which brings us to the actually interesting details.
The Director's Cut
Due to the extremely high expectations of the fans one could be slightly disappointed throughout the first half of the moive. Clive Barker and Mark Alan Miller promise it to be an "entirely different movie" which it honestly is not. The overall plot is pretty close to the old Theatrical Version and only has a few extensions here and there throughout the first half of the moive or includes a few cosmetic changes which will not always make sense to the viewers. While one can notice a few tendencies towards the beginning, the focus of the movie does in fact NOT change entirely. However, during the last third of the flick there are a few alterations and until this point at least enough new material that will make the viewers happy.
In terms of entirely new scenes the viewers will probably immediately notice a new block of scenes at the beginning of the movie, which - as was already mentioned - still does not influence the course of the movie too much, even though Barker enthusiastically says so in the audio commentary. Besides an interesting dream sequence of Boone, Lori-actress Anne Bobby has a pretty long scene where she shows her singing abilities by performing the 60s hit Johnny Get Angry by Joanie Sommers.
Most interestingly though is the alternative ending which offers an entirely different fate for many characters. Lori kills herself in order to stay separated from Boone who is now a part of the Nightbreed. Priest Ashberry at the end of his announcement to wreak revenge on the Nightbreed kills police chief Eigerman. Narcisse also does not survive; instead, she is killed by Decker.
Now, lets talk about the material that was cut out of the Theatrical Version. The ending where Decker wakes up through the help of the priest is gone. Another interesting and dark scene of him and Boone inside the cell was cut out, too. At the same time it is quite noticeable that quite a few rather dumb one-liners by the police officers - whose role was thankfully toned down for the Director's Cut - were taken out, yet they added a similar scene by including the presentation of the weapons.
There are also smaller differences such as several new shots of monsters since the first scene in Midian. Overall, there actually is a greater focus on the - in the end harmless - creatures that was slightly lost in the Theatrical Version. Also, Boone's escape from the hospital and his renuion with Lori in the cell were cut together a little better in the Director's Cut.
There is a rather curious alteration during almost all scenes with Dirk Lylesberg, the Nightbreed's leader who is portrayed by Doug "Pinhead" Bradley. The scenes are identical, yet the man himself re-dubbed all of his dialog. The documentary "Tribes of the Moon: The Making of Nightbreed" (which is included on the Blu-Ray) shows Bradley who disappointedly mentions that during post-production the studio told him that some of his dialog had to be reworked which was done by a different person in order to keep the costs down. His German accent in the Theatrical Verison thus was not his own idea and - in the Director's Cut - now is a thing of the past.
There are a few more, yet less interesting alterations of the audio. Since most of these alterations are just minor differences in the score, the report will not talk about it in detal. Still, we want to mention a scream by Narcisse during the first third of the flick.
All in all it is hard to tell whether or the Director's Cut is clearly the preferable version. After all, many scenes that fans love were taken out because Barker was unhappy with them. Still it is nice to see that he was able to finally release the version he wanted to do and the new version without a doubt has quite a few advantages. Fans who want to get everything in high quality have to buy the Limited Edition which also includes the Theatrical Version in HD as well as a few more Deleted Scenes; however, this version is much more expensive. For this report we used the regular version of the Director's Cut. The Theatrical Version is represented by the old US DVD.
Time designations are given as follows:
Theatrical Version US-DVD [NTSC] / Director's Cut Blu-ray
Some more black screen at the beginning of the Director's Cut.
05:12 / 05:13-06:23
After the scene with Lori, the Director's shows a phone conversation between Boone and Decker and the latter can be seen for the first time- Decker mysteriously hints at the fact that they have to see each other again since it has been four months since their last meeting. He says that he will wait for Boone in his office.
The phone rings and Boone answers the phone: "Boone."
Decker: "Aaron? It's Dr. Decker."
Boone: "Hey... long time, no speak."
Decker: "Four months."
Boone: "So you miss me?"
Decker: "I need to see you."
Boone: "Why? I'm healthy. I'm feeling good."
Decker: "I'd like to believe that, I really would."
Boone: "So believe it, it's true."
Decker: "I'm still in my office, I'll wait for you."
Boone: "Oh, I uh, can't. I'm on my way out."
Decker: "Tomorrow then."
Boone: "Okay... Is something wrong?"
Decker: "Don't let me down again."
Boone: "I'll be there."
He hangs up. Decker opens the suitcase.
Decker: "God help us both."
69.5 sec (= 1:10 min)
After the murderyou can see Lori visiting Boone at work where both kiss passionately. We get a first indication of the later singing sequence. Boone and Lori arrange to meet in the club.
A colleague: "Boone! You've got a visitor."
Lori appears, wearing a tight skirt.
Boone: "Wow... you look great. If I wasn't so dirty..."
They kiss.
Lori: "I've gotta get to rehearsal."
Boone (while they continue to kiss): "I don't need to see my baby sing, you know. Get one more car done and we'll see."
Lori: "I'm not going to be at home, so...why don't you meet me at the club, and we'll go to my place from there? OK?"
Boone: "Yeah."
She leaves.
Along with the pills he got from Decker we see Boone arrive at home. He drops the can, burns some papers and then has a panicky dream. He sees himself coming down the stairs and having sex with Lori.
In between we can hear Lori from off-screen asking "Boone?". Suddenly, Boone apparently wakes up and goes to the bathroom.
Then follows another additional sequence which was met with mixed fan responses: We see Lori singing. Boone comes in Die in der vorigen Erweiterung angekündigte musikalische Einlage von Lori. Boone – bathed in sweat – comes in and in the end leaves in confusion after the audience had to go through the entire gig. In the end, Lori cluelessly searches for Boone in her changing room.
insgesamt 252,9 sec (= 4:13 min)
Alternative Scene
Before the truck comes closer, one of the few flashback moments was changed.
In the Theatrical Version we see another picture of the corpses, while the Director's Cut shows Shuna Sassi.
No difference in time.
Theatrical Version Director's Cut
When Boone is standing right in front of the truck, the exact same picture of the corpse is shown (yet a little shorter) followed by a few blurred frames (maybe from the truck driver's point of view?).
Again, the Theatrical Version shows the picture of the corpse (not illustrated again), while the Director's Cut instead shows a quick tracking shot through Boone's dream world.
The truck brakes. The Theatrical Version fades to white, while the Director's Cut shows a shot of Boone.
Altered Audio
We will not list all changes of the audio in detail, however, this passage (which is also talked about in the audio commentary) deserves to be mentioned: When Decker and the others are shown in the hallway and Narcisse pulls his scalp off, the Theatrical Version incongruously includes female screams. For the Director's Cut we now hear correct screams from a source with slightly worse audio quality.
When Boone looks out from behind the wall, both versions use different takes. The Director's Cut shows him noticeably earlier and there is an additional shot from the front. The Theatrical Version instead shows the ending a little longer.
Additionally, only the Director's Cut constantly includes a menacing score.
Overall, the Director's Cut is 5.3 sec longer
Theatrical Version Longer
18:14-18:16 / 24:50
The Theatrical Version offers an additional shot of Boone from behind.
+ 1.9 sec
A different shot of the female creature while Boon runs away from Peloquin.
The Theatrical Version shows 5 additional frames of Decker walking next to Boone. The following shot (where somebody fires a shot at Boone) starts a little earlier.
After Boone apparently came back from the dead we can shortly see Lori walking to the front.
Both versions show the window, however, the Theatrical Version shows it longer towards the beginning and the end.
In the Director's Cut we instead also see the doctor coming back and saying "Someone's taken the body!"
Then we see Lori mourning, while Boone is shown behind the window.
Overall, the Director's Cut is 28.4 sec longer
For no apparent reason both versions use a different take (or just a different moment of a longer shot) of the bar from outside.
The Director's Cut shows yet another exterior shot of the bar, followed by Lori talking to Sheryl whom she just met in the restrooms. After listening to her problems for a while, Sheryl invites Lori to visit her the next day. In the end Lori leaves and Sheryl starts looking for a lover for the night.
Sheryl: "You know, I've seen men go to a lot of trouble to get rid of a girl, but uh... I've gotta say this is the first time I've heard of a guy doing it when he was dead."
Lori: "They think some sick bastard stole the body."
Sheryl: "So, what, you want to go check out the place where he...checked out?"
Lori: "I guess it's just a way to say goodbye. I loved him, but you know, I don't think I ever really understood him."
Sheryl: "Well listen, I'm not doing anything really important tomorrow. In fact, I'm not doing anything tomorrow. Why don't I drive up to this place with you and check it out?"
Lori: "You don't have to do that."
Sheryl: "I know I don't have to do it but I want to."
Lori: "OK. Thanks. I guess I'm gonna have to go."
Sheryl: "Yeah, you go get some rest. I'm gonna stay down here and see if I can find me a good time. Who knows, maybe one of these jerks will win the lottery."
Lori verabschiedet sich; "Good luck."
The waiter gives Sheryl a drink.
Waiter: "Compliments of the gent in the corner by the door."
Sheryl (looking at the man): "Well, isn't he just the picture of sophistication."
98,9 sec (= 1:39 min)
When Dirk welcomes Boone, all sentences were redubbed. The shots as well as the dialog are identical. However, some of the intonations are slightly different.
While Lori's gang walks through the cemetary we can in between see a few other Midian residents.
Just before Decker walks away, both versions have a slightly different course.
In the Theatrical Version we can see Narcisse, while the Director's Cut instead shows a close-up of Decker and Boon pushing the arm away.
In the Director's Cut, Narcisse adds: "Now, is that a nice thing for a doctor to do?"
Dirk's speech is shown with an alternative take. In the Theatrical Version his dialog is a little more energetic and only in the Director's Cut the dialog continues after Dirk said "Then take the girl, that is the law" noch weiter.
Boone: "And who made this law?"
Dirk: "Baphomet made Midian."
Then we can see Boone lookingat Baphoment – this part of the scene is also included in the Theatrical Version, yet shown 10 minutes later (see 55:14-55:27 / 64:55) and slightly altered. The order of the cuts to the creature was altered. The close-up of Baphomet at the end of the scene is only shown in the Director's Cut.
Lori walks through Midian and braves Dirk who wants to stop her.
Dirk: "You may go no further.
Lori: "Where's Boone?"
Dirk: "Boone is with Baphomet. He is beyond recall."
Lori: "Just tell me where the tabernacle is. I'll go get him myself. OK... I'm gonna go find Boone and I don't think you're gonna try and stop me. Excuse me."
In the Theatrical Version the previous shot is shown slightly longer (not illustrated below).


F.J.A. Hort (1828-1892) served as Lady Margaret Professor, Cambridge. A major contributor to the Westcott-Hort text of the Greek New Testament, Hort teamed with J.B. Lightfoot and B.F. Westcott to form the famous Cambridge Trio that popularized the historical-critical method in Britain.


Joao displayed an excellent physique. He was in excellent condition with great muscle maturity and density and cut from head to toe. He was a good poser. His chest was extremely striated.
Jari was also in great shape with great muscle maturity and chest striations. He had a physique which many would likely wish to aspire to for themselves. He was big, but not like a cartoon character.
Norton posed to the same tune Ronnie Coleman used at the 2003 Mr. Olympia Contest. It was a powerful beat and he posed to it accordingly. He had good size and condition, but less so than the previous two competitors. He finished his routine by performing complete front splits! Talk about definitely not being musclebound.
Mario was in good shape with a most muscular pose that was big and shredded. His arms seemed to be lacking somewhat in the biceps, but he looked great. It's amazing what clean living can do for people as this guy had the face of somebody under 30 easily.
Grant posed to the Spiderman theme music. All of these guys had great physiques, Grant included. Definitely world class, despite not having the size required to compete against today's top tier pros. It's unfortunate that bodybuilding is only about the pursuit of sheer size these days. Grant looked good - not just for over 40, but for any age.
I felt that the class was placed accordingly as this is the same result I would have picked for myself.
The Masters Over 50 class was shown next in the free posing round.
Juan put on an entertaining posing routine and the crowd seemed to enjoy it. Iwould definitely be quite pleased to look like that over 50. Seeing these older guys on the stage makes me question if bodybuilding and moderate juicing is really as unhealthy as people say it is. Now I can understand why extreme bodybuilding among the younger guys in the pro ranks today would be, but maybe a more moderate attitude towards weight training, eating, and steroid use is a lot less damaging, but I don't know.
Luis posed to the classic song "Unchained Melody" by the Righteous Brothers. He was in excellent condition and was shredded all over.
Heraldo posed to the song "Chariots of Fire" by Vangelis. Facially, Heraldo appeared to be in his late fifties or even in his sixties, but from the neck down he looked considerably younger. It really is amazing how long it's possible for a person to remain shredded. His shoulders were very deep cut.
Jose appeared to have a small case of gyno, but was otherwise in good shape and had good size. Jose posed to the song "The Show Must Go On" by Queen. His abs and serratus also looked very good.
Francisco posed to an interesting club song that I recognized but could not make out the name of since the lyrics were foreign. He was in good shape and had great arms.
This man looked incredible. He was huge and very shredded with no signs of age in his physique at all. I could only hope to be in that type of shape at 60+, or even now for that matter.
The junior class was up next. The size and condition displayed among the juniors was not nearly at the level of the masters competitors. Muscle is something that takes years to develop and mature and it's difficult to have a lot of quality mass at a young age.
Leonardo had a good physique and posed it well. He was big but without being a cartoon character and kept a tight waist. His conditioning was also good, but not ridiculously cut and dehydrated as competitors usually are - so to me, he looked better than competitors who generally place higher at contests. His physique looked a lot more attainable than some others.
Mateus posed to the Terminator music. He had his tan and oil down and had fantastic arms and great conditioning. This show was full of bodybuilders with physiques that people would want to aspire to for themselves and not the extreme mass monsters seen at upper level shows.
Bernard posed to the song "The World's Greatest" by R. Kelly, the same song Kris Dim posed to at the 2004 Mr. Olympia Contest. He posed to the song well highlighting his physique attributes appropriately. He looked to be in good shape and sporting good size but could probably have used another coat of oil.
Marvin posed to the song "Against All Odds" by Phil Collins. Phil Collins is one of my all time favourite singers and I always enjoy when bodybuilders pose to his music, as I feel it is perfect for bodybuilding posing. Marvin's physique looked good and was very balanced all around.
The men's division looked great - the bunch had more mature muscle mass than the juniors and of course, more experience in posing and competitive bodybuilding. Of course, bodybuilders have to start somewhere and world class physiques are not built overnight.
Hubert had a great physique - his size and conditioning was good and he was big, but not freaky to the point of being disgusting, like so many others at this show. His posing was also very good and he looked like someone with a great deal of posing practice and experience. His side chest shot looked great and his tan and oil were perfect.
Marilandio was in good shape and sported good size. Like so many others in the show, he had no standout body parts and no weak ones for that matter - everything was very balanced. His glutes were hard and shredded and his triceps were deep cut.
Leo was in great shape and shredded. His legs were particularly cut and feathered - cross striated with great flare. His chest and delts were pretty ridiculous too. He displayed freaky conditioning that could easily compete with any bodybuilder in the world. He also had a lot of size - he was definitely a lot freakier than the others in the show up to this point.
Fernando was cut and a very fluid poser. He lacked size compared to some of his fellow competitors but otherwise had a good showing.
Holland Jerry posed to "She's Coming Home With Me" by Jay-Z. He was in decent condition with good shape and had an excellent most muscular pose as well as a strong abs and thighs and side chest pose.
Ribamar had excellent condition in the upper body but less so in the lower body (at least from the rear). He possessed good balance and was a great poser.
This class had some more bodybuilders in it who looked very good, but the lineup was a lot less close than the other ones were, as there was a greater discrepancy among physique quality.
Mariusz posed to the song "I'm Wrong, But You Ain't Right" by Kid Rock. His tan and oil was perfect and the detail in his legs really caught the eye. He had great hamstrings and quads definition.
Jorge posed to a remixed version of "We Will Rock You" by Queen, remixed with some hip hop including Eminem. The posing music was a good choice and Jorge looked good.
Ladislav Kurchik was another bodybuilder in the show with a great tan and great oil. His physique was also very balanced and he had cuts everywhere, including rock hard glutes and a great most muscular pose.
Roberto posed to the song "Basket Case" by Green Day. He was very big and certainly pro material.
Marcelo had the same freaky grainy conditioning that current top pro Branch Warren has. Marcelo was one big dude.
Fabio had a great chest and some great size going on. He posed fast and hard and really looked to be enjoying the pose. He was another competitor from Brazil - it only makes sense that there would be a higher proportion of bodybuilders from Brazil at the show, since travel costs are extremely high when it comes to travelling around the world to compete at shows - another reason why bodybuilders should be reimbursed - at least for travel costs.
Piotr was very big and in great shape. He hit some classic poses and looked good doing it. His abs and serratus were sharp and his chest was big and full. His arms were also big and balanced. He posed to the song "Bang Bang" by Cher.
Edson was very shredded. His chest was extremely striated and his oil and tan really brought out his cuts. He posed to the song "Emotions" by Mariah Carey.
Mohamed was able to pull a vacuum when he was hitting poses and that is something seldom seen these days. His shape had a great genetic shape and he had very balanced musculature. He was able to hit the abs and thigh pose in two separate ways - both with the vacuum and without - circa the 1980s.
Luke was in good shape but lacked size to hold up well compared to his fellow competitors. The conditioning of his legs was very eye catching though.
Glayson was a big bodybuilder. His arms were particularly impressive as were his legs when viewed from the side. He hit some classic poses and I noticed his waist seemed somewhat wide or that his taper was lacking somewhat (hard to pinpoint the exact flaw but easy to notice when you look at him). He definitely looked good though.
David posed to "Diesel Power" by Prodigy. He was in excellent shape and was huge as well. His delts were very three dimensional which improved many of his poses.
Lourival had a great tan and good oil and showed fantastic cuts when he hit the most muscular pose.
Chris posed to the song "Freak Me" by Another Level. He was shredded and very full. His waist was somewhat wide, but he had great muscularity to go along with it.
Steve posed to the song "Set You Free" by N-trance. Steve showed excellent condition but seemed lacking somewhat in size compared to some other competitors in his class. His most muscular pose was freaky shredded.
Cleber posed to the song "Candy Shop" by 50 Cent. His physique was very balanced and he posed to the music well. He hit a lot of mandatories and that's always a good thing, as it makes it easier for judges to assess a physique.
Stephane looked good but didn't have any knockouts to his physique. He was lacking compared to some of the stronger competitors in his class but his showing was still respectable and his legs were shredded.
Hedwig was very much into his posing routine and displayed his physique well. He had long limbs and filled them out well and was also in great condition.
Piotr Gluchowski was announced to be the overall champion of the show and posed for pictures and also did so with the figure champion of the show.
A photo gallery was included in the DVD which was a good addition and allowed the viewer to get a recap of the caliber of competitors in the show.
This is another gem from GMV that makes me wonder where the bodybuilding world would be without them. Certainly there are not too many people who would be willing to put the time and effort into filming amateur shows like GMV is. I'm thankful to have them doing so when no one else does.


September is a FANTASTIC time to see the Garden - lush summer foliage and flowers spill onto walkways with vibrant colors! It's not to soon to start thinking about fall and start your plans for participating for Scarecrows In the Garden - registration to participate is due September 21.
Weekends in September: September is a busy time for butterflies in the Garden. Pick up a butterfly survey in the visitor center to take as you explore outside and to record what butterflies you may see!
Thursday, September 6: Bring your 4-legged family member to sniff and stroll with you on Dog Night.
Thursday, September 20: Members Only Plant Sale is 5 to 8 p.m., plus we'll have Garden Rhythms with drums and more from starting at 6:30 p.m. Food truck and cash bar from 5 to 8 p.m.
Saturday, September 22: Our Fall Plant Sale is open to the public from 10 a.m. to 1 p.m.
Tuesday, September 25: Garden Circle Members enjoy cocktails, music and demonstrations at Circle In the Square.
Thursday, September 27: Come after work for a guided Nature Connection Walk at 6 p.m.
Saturday, September 29: Our third annual literary brunch: Writers with Dirty Hands, The Garden Passions of Vita Sackville-West and Eudora Welty. - limited seating under a tent at the top of the Tandy Floral Terraces. Make your reservations now.


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The Guide: A novel
By (author): Heller, Peter
Subject: FICTION / Action & Adventure
FICTION / General
Publisher: Alfred A. Knopf
Format: Book-hardcover
Size: 8.25in x 5.50in
From The Publisher* The best-selling author of The River returns with a heart-racing thriller about a young man who, escaping his own grief, is hired by an elite fishing lodge in Colorado, where amid the natural beauty of sun-drenched streams and forests he uncovers a plot of shocking menace.
Kingfisher Lodge, nestled in a canyon on a mile and a half of the most pristine river water on the planet, is known by locals as "Billionaire's Mile" and is locked behind a heavy gate. Sandwiched between barbed wire and a meadow with a sign that reads "Don't Get Shot!" the resort boasts boutique fishing at its finest. Safe from viruses that have plagued America for years, Kingfisher offers a respite for wealthy clients. Now it also promises a second chance for Jack, a return to normalcy after a young life filled with loss. When he is assigned to guide a well-known singer, his only job is to rig her line, carry her gear, and steer her to the best trout he can find.
But then a human scream pierces the night, and Jack soon realizes that this idyllic fishing lodge may be merely a cover for a far more sinister operation. A novel as gripping as it is lyrical, as frightening as it is moving, The Guide is another masterpiece from Peter Heller.
Review Quote* A Veranda Magazine Best Book of Summer
A LitHub Most Anticipated Book of 2021
"Heller presents another brilliantly paced, unnerving wilderness thriller paired with an absorbing depiction of a remote natural paradise. … Masterful evocations of nature are not surprising, given Heller's award-winning nonfiction about his own outdoor experiences, while his ability to inject shocking menace into a novel that might otherwise serve as a lyrical paean to nature is remarkable."
-Booklist, starred
"Heller's lush descriptions of fishing and river country are matched with a riveting, surprising mystery that captures the difference between the filthy rich and everyone else. The novel's speculative approach to the lingering effects of Covid-19 is frightening in its subtlety and one of the book's special charms. Readers looking for a credible couple and a story of redemption will love this."
-Publishers Weekly
"Fisherman's noir isn't a genre, but maybe it should be... This is an unconventional mystery, an unconventional romance, and an unconventional adventure, creepy and spiritual in equal measure... The author clearly knows his way around a river; the long, descriptive passages create a vivid sense of place and action... By the time Jack and Alison encounter a young woman running down the road in a hospital gown in a scene right out of the sinister noir Kiss Me Deadly, they're in too deep, and they're too curious, to quit the dangerous puzzle before them. You might feel the same. There's danger at the end of the line in this unconventional mystery."
-Kirkus
"Peter Heller is the poet laureate of the literary thriller, and The Guide offers further proof for the case. Powered by Heller's trademark prose, which alternately thunders and eddies like his beloved western rivers, this sinister and soulful story unfurls so skillfully that it's easy to ignore all the layers beneath-but you shouldn't. Heller writes about the eternal questions and the exquisite details, and he knows the places where they intersect in the human heart and the natural world."
-Michael Koryta, New York Times bestselling author of Those Who Wish Me Dead
"Peter Heller's riveting thriller is set in the American wilderness, but the threats gathering around Jack, the young fishing guide of the title, come from man, not nature... Unnerving... A chilling reminder of the dangers that might lie in wait for us all."
-Connie Ogle, Minneapolis Star-Tribune
Biographical Note PETER HELLER is the national best-selling author of The River, Celine, The Painter, and The Dog Stars. The Painter was a finalist for the Los Angeles Times Book Prize and won the prestigious Reading the West Book Award, and The Dog Stars has been published in twenty-two languages to date. Heller is also the author of four nonfiction books, including Kook: What Surfing Taught Me About Love, Life, and Catching the Perfect Wave, which was awarded the National Outdoor Book Award for Literature. He holds an MFA from the Iowa Writers' Workshop in poetry and fiction and lives in Denver, Colorado.
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Macauley, David (2005) "The Domestication of Water: Filtering Nature Through Technology," Essays in Philosophy: Vol. 6: Iss. 1, Article 23.
This paper examines some of the key ways in which water is mediated by technology and human artifacts. I show how the modes in which we conceive and experience this vital fluid are affected deeply by the techniques and instruments we use to interact with it. I argue that a notion of the domestication of water enables us to better grasp our relations with the environment given that vast volumes of water are now neither completely natural nor artificial in the conventional senses of the terms. Instead, water is often filtered through an expansive technological network that not merely changes its flows and phenomenal forms but greatly alters or multiplies its meanings. As examples of this process, I investigate the practical engagement with water by the first Western philosopher; the construction of several large hydrological projects; efforts at river management in the aesthetic landscape; and the emergence of bottled water.


This class and my principalship here at Stevens are exactly the same age and so I ask that you indulge me for a few moments so I can share some last thoughts with these young adults while I have their undivided attention.
When I was spending a wonderful week in our nation's capitol –– Washington D.C. –– this past April, with a number of these seniors, a t-shirt in the Newseum gift shop caught my eye –– show shirt. At that moment I knew what I would say at graduation.
"Our lives begin to end the day we become silent about things that matter." -- Dr. Martin Luther King Jr.
That described me. Often alone, but comfortable in the silence into which I had been born, many nights simply having conversations with myself in the dark, my world often played itself out entirely in the recesses of my imagination. I could not have known then how valuable that would be –– to be comfortable, even to NEED silence, in order to maintain my equilibrium, my inner peace. The preciousness of quiet, the beauty of no sound, the value of listening only to one's own thoughts or just hearing bird song, waves or simply the wind was something I valued.
As I grew older, I came to realize, however, that silence often had far more disastrous results. That silence, in times of trouble or turmoil, could actually be deadly.
It was the first time I heard, or read, the word cancer. Long before my own father would succumb to it when I was only 19.
And so here is the point in the speech when I tell you that My grandfather was a Nazi. Ah, I bet you didn't see that one coming. Why is that relevant? Well it has to do with silence, with the difference between empathy (to feel with someone) sympathy (to feel for someone) and apathy (to feel nothing at all).
I have always been proud to say that I am a first generation American, born to two off-the-boat Germans, who came to this country, to find a freedom and a life that had been destroyed by two world wars in their own homeland. I didn't realize that their accents set them apart. I didn't understand why my mother wasn't welcomed into certain social circles, why my dad couldn't get into some of organizations, or the reason my first grade teacher hated me so was because my parents were foreign. To me they were my parents, who worked from dawn to dusk to give me all the things that had never been an option for them.
She told me about having polio when she was 10 and she was "invited" to the hospital and at the last minute her father, my grandfather, no. 800 in the Nazi party, was alerted that she would be one of thousands of imperfect children who would be experimented on, and that he would never see her again. He had to sneak her out of the hospital in the middle of the night, otherwise I would not be here with you tonight.
That same Nazi was put into a concentration camp for German officers. Why? Because he would not stay silent. Once his eyes were open, he couldn't close them again. He survived the war and lived to a hearty 81 years old and I had the chance to meet him many times, to learn what a loving and good man he was.
Why am I telling you all of this? Because in all the noise and chaos and politics of that time there was an awful lot of silence about what was really happening and it led to an entire generation believing in something that wasn't real. They listened to the hype, the propaganda, to the fake news and they took it all in and then, when it was too late, they stood and watched the ruins of an entire civilization and shook their heads wondering how it could have happened to them.
How could it after the world had witnessed such horrors? I visit my 90 year old mother every weekend. She is now in a wheelchair, the polio has come back, and I listen to the stories she tells and watch as she shakes her head at seeing some of those same prejudices rearing their ugly heads.
Here we are in 2018 and your generation is faced with the same challenges. You are being asked to decide things like whose lives matter most? Black lives or blue lives. Why are we in a place where we need to pick one over the other?
You are asked about immigration, about walls, about who should stay and who should go and what is right and what is left, who is right, the red side or the blue, and no one is talking about the middle, about the moderate about how we can come together and compromise, as if compromise is a dirty word. We are sitting in our living rooms in complete silence, shouting through Facebook at each other and the irony comes back to me in those lyrics from 50 years ago.
I could not have imagined when I was 11 that there would be a world where silence and sound would have such very different meanings and messages. That there would be ways for us to argue with each other over a wireless world, a world that would have become more at war with itself than it was in that most turbulent of years in 1968.
And so, another reminder from MLK. We need to make sure we say the things that are in our heart.
Someone took a chance on me –– gave me a job, a job that turned out to be the passion I was looking for, a job that put me in a place called Claremont, a place that was too far away from my home that I needed to rent an apartment so I could do the job that was my passion.
Then I got a diagnosis that changed my world but because I had that apartment in a place called Claremont I decided to go to another place called Dartmouth Hitchcock –– there they found a second tumor that the first diagnosis had overlooked. Today I am healthy because someone gave me a job in a place called Claremont. Someone took a chance on me. Thank you, Dr. McGoodwin. I truly owe you my life.
So what do you do with a life that has been given to you, not once but twice? This is what I have learned.
We started this school year with a crazy thing called Chaos and Kindness and I want you to remember their message –– to be kind. That in a world of chaos it is important to spread kindness.
Don't be a bystander. Don't be the person with your phone out videotaping. Be the person in there helping, doing, saving. BE in your world. Live it, breath it, experience it. Look into the eyes of those around you and have conversations that are face to face.
Don't be silent. SPEAK. SPEAK UP AND OUT AND LOUDLY about the things you care about. Your generation has enormous power, more so than any generation since the Baby Boomers. The power to set the policy, laws and the future of this country. You have our attention. Use it wisely.
Speak up about student debt, safe schools, saving the planet, helping those less fortunate, gays rights, PEOPLE rights, reduced funding for public education and the arts, whatever is your passion yell it from the rooftops and then go out and fix it. Because, the alternative is apathy and apathy is "silence like a cancer grows." Apathy is the lack of all feeling. Awaken. Awaken to a life of giving, of doing, of changing, of spreading kindness and light.
In 1968 Simon and Garfunkel felt that their words were falling on deaf ears. The war in Vietnam was raging, young people wanted peace and love and freedom but they were fighting against a world that said they had no choice.
Give your song a different ending. Make a noise class of 2018. Make a great and mighty noise that is so loud that no one will ever be able to drown you out. Make that noise through your music, your acting, your sport, your writing, your speaking, your working, your loving, your giving, your kindness.
We will be here and we will be listening and we will be waiting to hear the roar that is the legacy of the Class of 2018.
Pat Berry is the principal at Stevens High School in Claremont. Her speech is shared with her permission.
The Claremont community is so fortunate to have someone like Pat inspiring not just the students but all of us! Thank you, Pat, for all your work!


Blurb: 1961: On a sweltering summer's day while her family picnics by the stream on their Suffolk farm, sixteen-year-old Laurel hides out in her childhood tree house dreaming of a boy called Billy, a move to London, and the bright future she can't wait to seize. But before the idyllic afternoon is over, Laurel will have witnessed a shocking crime that changes everything.
Shifting between the 1930s, the 1960s and the present, The Secret Keeper is a spellbinding story of mysteries and secrets, threatre and thievery, murder and enduring love.


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16 More Places Available at the World Final as The Jones Center Announces LCQ
The Jones Center which is set to host the Red Bull Pump Track World Championship Final on the 13th of October has announced that it will hold a 'Last Chance Qualifier' on the 12th of October which will see a further 8 men and 8 women qualify for the World Final.
Earlier this month the Velosolutions team began construction on the largest asphalt pump track of its kind in North America ready to host the most talented riders from around the world. The Red Bull Pump Track World Championship has travelled to over 20 countries and bike riders from all disciplines have been battling it out for their chance to be crowned the World Champion in Springdale, Arkansas later this year.
With 4 men and 4 women qualifying from each event the Red Bull Pump Track World Championship has brought together an array of cycling talent from Olympians to World Champions and local heroes. At the heart of the events mission is to be the most accessible cycling World Championship and together with the Jones Center the announcement of the LCQ will give the residents of Arkansas the chance to compete in their home state. On top of this, the LCQ is open to everyone across North America and around the world and with 16 places up for grabs, a riders chances of making the final is doubled.
Pump tracks are a worldwide success, combining rolling jumps with banked turns, they are accessible to all. Riders use the track features to gain momentum and attack the track as fast as possible. The LCQ will be the first time the unique track designed by Velosolutions founder Claudio Caluori will be raced on. The bespoke design allows riders to race head to head on an identical track layout, starting and finishing from the same position. Spectators will be treated to an incredible race atmosphere and exhilarating head to head to battles.
The format of the LCQ will be the same as all qualifiers. Riders will first put down a seeding run from which the top 32 will continue in to the head to head knockouts. With 8 men and 8 women set qualify for the World Final the next day, all will be to play for.
Tickets to the world final are now available to purchase at: https://stubs.net/e/2187/velosolutions/g3awc


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CommentaryNewsPreview
El Clásico TODAY!
November 29, 2010 — by Suman — 2
The game we've all been waiting for kicks off in just over an hour (3pm ET, 9pm local time–at the Camp Nou). El derbi español, "más conocido como El Clásico"–Barcelona vs Real Madrid, which also means: Catalans vs Castilians, L'Equip Blaugrana vs Los Blancos, La Masia vs Los Galacticos, Los Cules vs Los Madridistas, regionalism vs centralism, Cryuff vs Franco, Guardiola vs Mourinho, Messi vs Ronaldo.
It's no wonder that Sid Lowe saw the need to talk us down from all the El Clásico hype–before talking it up:
Contrary to what you might have heard, the world will not end on Monday night. The sun will rise on Tuesday morning. And there is life beyond the clásico. It's just that right now, it doesn't feel like it — it feels like nothing else matters, like no other games exist, like no other teams do. Every year Barcelona versus Madrid, already the biggest club game in world soccer, seems to get bigger. Even the old title seems worthless now. Derby? No thanks, this is the clásico. It's even moved on from that. Now it's the Super Clásico. Carry on like this and soon we'll run out of superlatives.
And it's certainly superlative. It's almost ridiculous….Whichever way you look at it, this is probably the most extraordinary club match there has ever been. Until the next time, at least.
In terms of talent per square meter, you could argue that there has never been a game like it. It is possible that no two teams have ever dominated the planet's talent like Barcelona and Madrid do now.
To get a better idea of how all that talent will matchup on the field today, take a look at this, which lists five key matchups to watch (1. Carles Puyol/Daniel Alves vs Cristiano Ronaldo/Ángel Di Maria; 2. Javier Mascherano or Sergio Busquets vs Mesut Ozil; 3. Ricardo Carvalho/Pepe versus David Villa; 4. Sami Khedira vs Xavi Hernández; 5. José Mourinho vs Pep Guardiola); or this, which gives a longer and largely different list of matchups–but closes with the same managerial matchup:
"Por que tu es un canalla"
José Mourinho vs. Pep Guardiola from the sidelines, in the locker rooms, in front of the press, and on the training pitch. The Special One is the best in the world outside of Pep or Sir Alex at this point in time. But, it's hard to pick a clear favorite here being that Mourinho won a Treble last year, while Guardiola won six trophies the season before. Last year, Mourinho won-out eliminating Barcelona from the Champions League. Has Guardiola learned from that lesson? I think he has. However, I see this coaching-bout being a draw between Emperor Mourinho Palpatine and Pep Skywalker Guardiola.
That latter preview also mentions each side's most-used formations (4-2-3-1 for Real Madrid, 4-3-3 for Barcelona'sand For more on tactics, see Zonal Marking's detailed tactical preview, which includes the probable starting lineups shown below. For squad statistics, play around with Marca.com's nice interactive graphic.
FC Barcelona (blue) vs Real Madrid (white)
And for an idea of the historical context surrounding El Clásico, take a look at this column from 2002 by Phil Ball (who wrote Morbo: The Story of Spanish Football):
Not only is the dislike between the two clubs an interesting phenomenon in sporting terms, it also has implications that stray deeply into the sociology and politics of the country. It might not be going too far to say that the strife and struggles between the two clubs from 1905 onwards accurately mirror the very essence of twentieth-century Spanish history. The two cities have always been moving in different directions, partly through bloody-mindedness, partly through political allegiance, but mainly through clear cultural differences.
A supporter of Real Madrid seems a very distinct creature from a supporter of Barcelona, a fact that cannot be attributed wholly to the fact that they probably talk about football in a different language. Madrid is a bourgeois, grand, rather suffocating sort of city on first acquaintance. The surrounding countryside is bleak and bare, – suggestive of some harshness in the citizens. To an outsider it is not a welcoming city – its taxi drivers grumpy and sullen, its waiters coldly efficient, its shops too self-consciously trendy. Madrid was built on and is sustained by the notion of centralisation – in this century exemplified by Franco's obsessive opposition to regional nationalism, which he regarded as one of the principal reasons for the turmoil of Spain's ill-fated second republic.
Madrid was symbolically in the geographical centre of the country, put there by Felipe II in the mid-sixteenth century. It is part and parcel of the Madrid-Barcelona morbo that the latter seems to inhabit a different planet. Despite the fact that Madrid has the Prado, the seat of government and the royal family, according to John Hopper's book The New Spaniards almost all the ideas that have shaped Spain's modern history – republicanism, federalism, anarchism, syndicalism and communism – have found their way into Spain by way of Catalonia.
Zonal Marking
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Home Radio and Music Industry News Don Cheadle as Miles Davis in "Miles Ahead"(full movie)
Don Cheadle as Miles Davis in "Miles Ahead"(full movie)
Radio Facts: Cheadle played Miles Davis and made his feature directorial debut from a script co-written with Steven Baigelman.
BiFrost principal Daniel Wagner is financing and will produce the project along with Robert Ogden Barnum, Cheadle and Lenore Zerman for their Crescendo Productions banner, Darryl Porter, and Vince Wilburn Jr.
Executive producers are Pamela Hirsch, Cheryl Davis, Erin Davis, and Baigelman. Herbie Hancock, a legend in his own right and close collaborator of Davis, will participate in the project as well. The project was packaged by UTA which arranged the financing and is representing U.S. rights. Leading international films sales company IM Global is handling international distribution and will be introducing the title at the upcoming American Film Market.
Wagner commented, "Don is one of our generation's greatest actors, and this is the role he was born to play. His take on the conventional biopic of one of music's most celebrated icons is cinematic "jazz" and too unique to resist. It fits naturally with BiFrost's commitment to support talent and their passion projects, so we are thrilled to work with Don on his feature directorial debut."
Cheadle is best known for roles in CRASH, Steven Soderbergh's OCEAN'S TWELVE and OCEAN'S THIRTEEN, as well as for his Academy Award-nominated performance as Best Actor in 2004's HOTEL RWANDA. He has most recently been seen as Colonel James Rhodes in IRON MAN 3 and as Marty Kaan in the Showtime series "House of Lies," for which he won a Golden Globe in 2013. Cheadle is represented by UTA.
McGregor is best known for his roles in THE IMPOSSIBLE, GHOST WRITER, BEGINNERS, MOULIN ROUGE, TRAINSPOTTING and the STAR WARS franchise. McGregor was nominated for a Golden Globe last year for his work on the feature SALMON FISHING IN THE YEMEN. He will next be seen in the crime drama SON OF A GUN and he is currently shooting MORTDECAI opposite Johnny Depp and Gwyneth Paltrow. McGregor is represented by UTA, Sloane Offer and United Agents in the UK.
BiFrost Pictures' current slate of projects include Paul Bettany's directorial debut SHELTER, with Jennifer Connelly and Anthony Mackie; THE GIRL WHO CONNED THE IVY LEAGUE, to be directed by Rob Epstein and Jeffrey Friedman and starring Amanda Seyfried; and the recently completed THE WORLD MADE STRAIGHT, directed by David Burris and starring Minka Kelly, Haley Joel Osment, and Noah Wyle and based on the award-winning novel by Ron Rash.
https://www.youtube.com/watch?v=XUmDXHE7QW0
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Alone I poured out my soul before God in prayer that He would rebuke the disease and strengthen my husband to endure the journey. The case was urgent, and my faith firmly grasped the promises of God. I there obtained the evidence that if we should proceed on our journey to Michigan, the angel of God would go with us. When I related to my husband the exercise of my mind, he said that his own mind had been exercised in a similar manner, and we decided to go, trusting in the Lord. Every mile we traveled he felt strengthened. The Lord sustained him. And while he was preaching the word, I felt assured that angels of God were standing by his side to sustain him in his labors.
On this journey my husband's mind was much exercised upon the subject of spiritualism, and soon after our return he engaged in writing the book entitled, Signs of the Times. He was still feeble, and could sleep but little, but the Lord was his support. When his mind was in a confused, suffering state, we would bow before God, and in our distress cry unto Him. He heard our earnest prayers, and often blessed my husband so that with refreshed spirits he went on with the work. Many times in the day did we thus go before the Lord in earnest prayer. That book was not written in his own strength.
About this time a celebrated physician who gave counsel free visited Rochester, and I decided to have him examine my eye. He thought the swelling would prove to be a cancer. But upon feeling my pulse, he said: "You are much diseased, and will die of apoplexy before that swelling shall break out. You are in a dangerous condition with disease of the heart." This did not startle me, for I had been aware that without speedy relief I must go down to the grave. Two other women who had come for counsel were suffering with the same disease. The physician said that I was in a more dangerous condition than either of them, and it could not be more than three weeks before I would be afflicted with paralysis. I asked if he thought his medicine would cure me. He did not give me much encouragement. I tried the remedies which he prescribed, but received no benefit.
The brethren and sisters came together to make my case a special subject of prayer. My desire was granted; I received the blessing of God, and had the assurance that He loved me. But the pain continued, and I grew more feeble every hour. Again the brethren and sisters assembled to present my case to the Lord. I was so weak that I could not pray vocally. My appearance seemed to weaken the faith of those around me. Then the promises of God were arrayed before me as I had never viewed them before. It seemed to me that Satan was striving to tear me from my husband and children and lay me in the grave, and these questions were suggested to my mind: Can you believe the naked promise of God? Can you walk out by faith, let the appearance be what it may? Faith revived. I whispered to my husband: "I believe that I shall recover." He answered: "I wish I could believe it." I retired that night without relief, yet relying with firm confidence upon the promises of God. I could not sleep, but continued my silent prayer. Just before day I fell asleep.
As we were preparing to take the train, we felt very solemn, and proposed a season of prayer. And as we there committed ourselves to God, we could not refrain from weeping. We went to the depot with feelings of deep solemnity. On boarding the train, we went into a forward car, which had seats with high backs, hoping that we might sleep some that night. The car was full, and we passed back into the next, and there found seats. I did not, as usual when traveling in the night, lay off my bonnet, but held my carpetbag in my hand, as if waiting for something. We both spoke of our singular feelings.


Fones4All provides affordable phone service to low income households.
"On behalf of the City of Wilmington and, particularly, my Office Of Cultural Affairs, I would like to thank Appletree for three years of fine service.
The success of Theature N at Nemours, the DuPont Clifford Brown Jazz Festival, the Riverfront Blues Festival and First Night Wilmington can be attributed in part to the role your staff played in taking orders for our patrons over the phone.
"Most hospitals offer an "answering service" to doctors, which the hospital uses for a small fee. This service is merely in the event that someone is trying to reach the doctor for an emergency situation or if another doctor is trying to reach them. Basically they will take the call then page the doctor.
The value that your service brings to a practice is so much more: Around the clock patient appointment scheduling and complete patient customer service for all issues, the ability to fill a doctor's schedule with new clients and a direct line of communication to the doctor (via email and/or phone) for all medical issues. Furthermore, this service allows a medical practice to expand the custom base and customer service department without paying a dedicated person to sit there 24/7 to accept all these calls. From a business standpoint, this translates into better customer service without having to add the business expense of salary, health care coverage, workman's comp coverage, sick days, etc. Out of necessity, many doctors have to add multiple locations to increase the pull of patients in order to generate the same amount of revenue that they did years ago with just one office. Keeping overhead low has become the name of the game. Overstaff and you're back to square one.


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Why Honda's Unloading Electric Cars for Cheap
By Angela Greiling Keane and Alan Ohnsman June 20, 2013, Photograph by Qilai Shen/Bloomberg
When Honda Motor (HMC) introduced its all-electric Fit EV in July 2012, it set a modest goal of delivering 1,100 of the lease-only cars in two years. Yet through May, the company had found just 176 takers for the plug-in. Consumers didn't leap to pay $389 a month for a subcompact that can go only about 82 miles before it needs recharging, especially when the gas-powered version gets 30 miles a gallon and costs half as much. General Motors (GM), maker of the plug-in Chevy Volt hybrid, and Nissan Motor (7201:JP), which makes the all-electric Leaf, have also seen sales fall short of their goals.
This is a problem for automakers under increasing pressure to push zero-emission vehicles on skeptical consumers. Nine states, including New York, Massachusetts, and New Jersey, have followed California's lead in requiring that electric, plug-in hybrid, and hydrogen-powered models make up 15 percent of new-car sales and leases by 2025. They've got a long way to go: About one-third of 1 percent of the 6.4 million new vehicles sold in the first five months of 2013 were zero-emission, says the National Automobile Dealers Association.
Under a complicated formula that varies by state, automakers earn "zero emission vehicle" credits for each electric vehicle they sell or lease, and they're expected to rack up a certain number of credits each year. Not all green cars are equal: All-electric models such as the Fit EV are worth more credits than plug-in hybrid models with gasoline engines like the Volt. The number of credits the carmakers must earn rises each year, and the companies face fines for falling short. (They can buy credits from other companies, such as electric-only Tesla Motors (TSLA), that sell too few cars to be subject to regulation yet still earn credits which they are allowed to sell. Tesla made $85 million selling California and federal credits in the first quarter of 2013.)
The Fit EV, along with Ford Motor's (F) all-electric Focus and Toyota Motor's (TM) battery-powered RAV4, are known within the industry as "compliance cars," limited-edition models manufactured to meet the zero-emission sales requirements. The Fit EV is on the market only in California and the other states with electric car quotas. "They are essentially forcing vehicles to be built and delivered to dealers who are forced to sell them," says Bailey Wood, the dealer association's legislative director.
This has left car companies struggling to find ways to make their electric offerings more attractive. One thing that's working: leasing the cars at fire sale prices. With a two-year supply of Fit EVs sitting on dealer lots, Honda cut its 36-month lease rate in June by about one-third, to $259 a month, with no down payment and unlimited mileage. GM and Nissan are also offering steeply discounted leases on plug-ins. Demand for the Fit has surged; within weeks, Honda went from bemoaning a stockpile of cars to apologizing to customers put on a waiting list and promising that more Fit EVs are on the way.
The car's newfound popularity will help Honda meet its quotas, but the low prices may not be sustainable. Rock-bottom leases likely mean little to no profit—Honda won't say whether it's losing money on the Fit—and condition buyers to expect the car to come cheap. Requiring minimum numbers of plug-in vehicle sales is "inherently a risky strategy," says Edward Cohen, Honda's vice president for government and industry affairs. The mandate "directs manufacturers to offer consumers technology options along a predetermined time frame and with specified numbers, notwithstanding whether the technology and market are ready."
In March the Alliance of Automobile Manufacturers, whose members include GM and Toyota, and the Association of Global Automakers, which counts Honda among its members, filed a petition with the U.S. Environmental Protection Agency to block California's sales targets. "The sales data tell the story of what consumers want," says Alliance spokeswoman Gloria Bergquist. "The early adopters have purchased plug-in electric vehicles, but mainstream consumers have not followed."
Yet electric car advocates say the temporarily low prices will ultimately lead to greater sales as buyers give the cars a try, get over their doubts, and become converts. "Both a market push and market pull are needed, and they need to be in sync," says Roland Hwang of the Natural Resources Defense Council. "We need both a long-term, stable signal for automakers to produce electric cars and a robust, growing consumer market."
Source and for the entire story: Bloomberg BusinessWeek
By: greenlivingguy
On: January 11, 2014
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I pride myself on being a continual student of life. I am always looking to learn more about what I do not know. I also know that if I am going to continue to do my work in the area of diversity, equity, and inclusion, I can never become too arrogant to think I have it all figured out. Enter the word BIPOC, which is a word I am afraid to admit I just learned about in 2020. I first thought it meant "BIsexual People of Color." In what I have learned about this term, I have come believe that this term is problematic for several reasons and organizations especially should stop using the term immediately.
According to the New York Times, the term first started appearing in social media circles in 2013. The term started to gain more prominence in 2020 in the wake of protests over the killings of George Floyd, Breonna Taylor, Ahmaud Arbery, and others. Since then, the term has sprung up everywhere. Organizations such as the BIPOC project are centered on a mission to "build authentic and lasting solidarity among Black, Indigenous and People of Color (BIPOC), in order to undo Native invisibility, anti-Blackness, dismantle white supremacy and advance racial justice." They also state that they use the term BIPOC to "highlight the unique relationship to whiteness that Indigenous and Black (African Americans) people have, which shapes the experiences of and relationship to white supremacy for all people of color within a U.S. context." While I respect their mission and the sentiments of others who identify with this word, this term should no longer be adopted into our lexicon for the following four reasons.
The term "BIPOC" is like a double negative (or double positive if you prefer).
If Black people are "people of color" and our indigenous or Native American people are "people of color" than the term itself is repetitive.
Black & Indigenous people don't have that much in common.
While the term BIPOC exists to express solidarity, it groups together a group of people whose histories could not be more different. The experience of Native Americans is like no other and is an extremely understudied aspect of American history. Native American history is often told from the perspective of the people who arrived on boats as opposed to from the perspective of people who were on the soil whereas black people were brought to this country through the transatlantic slave trade.
Both black people and Native Americans have experienced great oppression but their stories are also complicated by the fact that some Native Americans were also owners of enslaved Africans. Then of course, we can talk about the African American soldiers known as the Buffalo Soldiers who killed Native Americans in the 1800s. So what do these two groups really have in common? Queue reason #3 to stop using BIPOC—whiteness.
Uniting around whiteness is not the way to go.
Black people and Native Americans have experienced severe forms of oppression at the hands of white colonizers and enslavers. Native Americans were also enslaved by colonizers. There are indeed countless examples of Native Americans and black people working towards unity, demonstrated in the 20th century by the fight for equality and civil rights and black & brown empowerment movements. The point here is that historically, most of the times that Native American and black solidarity has been demonstrated has been in response to white oppression. Is this reason enough to combine these groups in such a generic fashion? We cannot build movements based off of opposition to another group because real solidarity does not fully exist if it can only exist with a common enemy.
Why do white people just get to be white?
I have seen so many terms used to describe nonwhite people throughout American history from Negro, colored, and Hispanic, to Indian, people of color, and LatinX. Now we have BIPOC. Throughout all of this, white people just still get to be called white. Not only is this annoying because, last time I checked, white is a color too, but also because the more terms we come up with, the more white people are viewed as being the original people and everyone else is colored into that white narrative of originality. Putting white people basically at the center of creation is not historically accurate. I have written more extensively about the broader problems the term "people of color" creates and why we should not use it so I will not revisit that here. I will just say that the more time we spend coming up with new terms to describe nonwhite groups, the more we actually strengthen the narrative of white Eurocentric dominance in America.
At the end of the day, I do not have the right to challenge how any one individual chooses to identify with a culture or identity. I am speaking to the challenges that exist on a collective level when we continually create new terms for people who ultimately do not have that much in common, as we have done with the term "people of color." I argue for us to be intellectually energetic enough to treat each group with the respect they deserve in the same way we do white people. Both white people and Native Americans owned slaves but no one has come up with the term WIPOC to express solidarity. Let us tell the story of Native Americans, black people, and all cultural or racial groups with the individual respect they deserve. This is crucial in your commitment to create communities where everyone is celebrated and not tolerated. Let's GO!
Tags: American Indian, antiracism, bipoc, black, diversity, equity, inclusion, Native American
https://www.upstanderinternational.com/wp-content/uploads/2017/10/OmekongoLogo.png 0 0 Dr. Omekongo Dibinga https://www.upstanderinternational.com/wp-content/uploads/2017/10/OmekongoLogo.png Dr. Omekongo Dibinga2021-02-13 15:37:332021-02-18 13:29:504 Reasons to Stop Using the Word BIPOC…Like Now!


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The box of minimally invasive surgical procedure (MIS) has now taken centre degree in sleek medical perform. With ever altering applied sciences within the box of MIS, similar to robotics, there's now the necessity to educate the health care provider to the following measure. education through simulation, no matter if digital, hybrid, or actual, permits the general practitioner to rehearse, research, enhance or keep their abilities in a secure and pressure loose environment.
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This recipe was provided by Jen Reviews, as part of an article on the ever-popular healthy Mediterranean Diet. The original recipe was adapted from this Health recipe.
Mix together mayonnaise, olive, oil and basil in a small bowl. Spread evenly on the inside and outside of the 8 bread slices.
Layer bread with zucchini, American cheese, peppers, and shredded chicken.
Cook sandwiches in a nonstick pan over medium heat or directly on a griddle. If you have a panini press, now is the time to use it.
Flip the sandwiches once during the cooking process and cook until the bread is crispy and the cheese is melty. On our stovetop in a cast iron skillet, this took about 5 minutes.
While the original recipe calls for both provolone cheese and bacon, which tastes so delicious, we prefer American cheese and grilled chicken on this sandwich for a more filling, protein-packed meal. The American cheese also melts beautifully.
Finish off your wholesome lunch with a touch of sweet.


These bars are seriously MY FAVORITE ever! They are the #1 request of my husband and his "Sea Donkey" surf crew because there's nothing better on a road trip or for a work-out recovery. I enjoy making them for new Mom's, to me they were the most satisfying snack and nursing a newborn always made me feel totally famished. We often use them as just a quick on the go breakfast or afternoon snack. The only other bar I make are the Chocolate Date Nut Bars I posted a few months ago. Those are amazing, but more of a smooth chocolate treat, whereas these have all sorts of dimension with chewy dates and coconut, crunchy almonds and other nuts, plus hearty oatmeal and melty chocolate. I always double this recipe, then I cut and wrap them individually with plastic wrap and put them in the fridge. We eat them for weeks – and you can wrap them then freeze them too! They freeze beautifully which is another reason I always make as many as I can. The original recipe was from Smitten Kitchen – her almond date breakfast bars were the inspiration, but I've made a number of changes over the years to make them my own. This a recipe begging to be messed with – sometimes I add other nuts like those Trader Joe's coconut cashews, or pecans, and sometimes I will add another dried fruit such as tart cherries or apricots – it always turns out epic. Have fun and make it your own. I'm certain you'll love them as much as we do!
Preheat your oven to 350. Line an 8×8 pan with parchment laying it in an X going first in one direction than perpendicularly in the other so you can easily pull out your bars when they are done. I almost always double the above recipe and bake them in a 9×13 – but we eat these for days and like to have enough to give away so suit yourself.
Stir together the dates, oats, flour, wheat germ, almonds (or whatever nuts you're using) coconut, and chocolate chips.
In a separate bowl whisk together the salt, cinnamon, almond butter, coconut oil, honey, and extracts until smooth. Pour the wet ingredients over the dry ingredients and stir them until the dry ingredients are evenly coated. Spread the batter in the prepared pan, pressing firmly into the bottom, edges and corners to ensure they are molded to the shape of the pan. It's handy to use a piece of plastic wrap or parchment while you do this so your hands don't get super sticky.
Bake the bars for 20-25 minutes until they are brown around the edges and there's a little color on the top too.
Cool the bars in their pan placed on a cooling rack. After 20-30 minutes you can pull them up with your parchment sling and put that on the rack to speed the cooling process. I recommend cooling them in the fridge for about 30 minutes before cutting. I forgot to do this last time, which made them a little crumbly when cutting. If they are a little chilled they are easier to cut. I like to take the cut bars and wrap them individually then put them in a gallon bag in the fridge or even freeze half of them and enjoy them for weeks and months!
Recipe adapted from Smitten Kitchen Almond Date Breakfast Bars in The Smitten Kitchen Cookbook by Deb Perelman.
This entry was posted in Bars, brownies and bars, favorites, Uncategorized and tagged coconut chocolate date granola bars, date nut chocolate granola bars, homemade granola bars. Bookmark the permalink.


28 years coaching experience in single skating and specializing in Synchronized skating.
Coach of many provincial, Canadian and international medalists.
Background in Design and Behavioural Science.
I believe in a coaching philosophy that is interlaced with hard work, integrity and a passion for our sport. I believe that I am one part of a larger team, and I share learning and teaching with those around me. To coach with enthusiasm, encouragement and personal attention, is the key to every skater having a positive individual experience in the skating environment.
Coaching PhilosophyMy coaching philosophy is to give skaters the tools and experiences to reach their full potential, to be the best that they can be and to accomplish their goals.
I am the coach of the Beginner II synchronized skating team, and this is my first time coaching here at Skate Oakville. I have been skating synchro for over 15 years and have spent several of them competing at the senior level.
Skate Canada Professional Coach for 15 years (Canskate to Senior Competitive levels), Choreographer for 22 years. 8 years coaching with The Toronto Cricket Skating & Curling Club.
Competed up to the Senior Competitive Singles Level at Sectionals and Divisionals.
5-Time Adult National Champion in Interpretive, 2-Time Pairs and 1-Time Dance Champion.
Principle Soloist, Adagio Pair skater and Choreographer in the 2002 U.S. tour of Holiday Spectacular On Ice.
I believe that every skater has their own journey to glide through. My role is to encourage, inspire and help guide them down their skating pathway. Skating is for life, let's enjoy every moment!


This alert flashed on the TV at the motel. It was only for 1 hour, and I was safely in the motel room. The audio warned of large hail, and to get your cars under shelter. The warning area included Big Bend National Park. Should be okay to go there tomorrow, right?
I won't bother with pictures of the drive over to Big Bend. It was mostly similar to what you see here. But I did go through the town of Marathon, and got to preview what I will be riding in a couple days.
So glad I didn't have to bike to Big Bend. It was a long drive even in a car. And on a bike, it would have meant no services all day, camping on the side of the road, then no services until the park. Then, see what I could, if I had any energy left. Then, repeat no services, roadside camp, no services on the way out.
This was a picture at the visitor center, warning campers to secure their food.
I'm at an overlook near the Fossil Exhibit in the park.
One of these bugs dropped onto the bench at the Chiso Basin Store, where I was eating a Coco Popsicle. This is his friend that was on the nearby newspaper vending box. I had to hold the popsicle in my teeth to snap this picture. Oh, and these fly, by the way.
I had lunch at the lodge. Rather pricey, but I needed vegetables, so I ordered a chicken salad wrap for $10, and a one trip salad bar for $6. The waiter asked what I wanted for my side. Side? I get a side? That's a lot of food. Fries? All the vegetable and fruit choices were already on the salad bar. While I hesitated, he said he'd let me have the salad bar as a side. What a deal! I left a good tip, splitting what the extra salad bar would have cost.
This was the view out the window during lunch.
On the patio after lunch, I met Scott (middle) and Helen (left). They were actually from Florida, and recommended Anastasia State Park in St. Augustine when I got there. Scott used to work in technology, too.
Behind the lodge, there was a trail marker. The famous Window trail that the guy in Alpine recommended. But I had neither the shoes nor the water to go 5 miles. That's longer than Lanipo (one way), or Aiea Loop Trail, although to be fair, humidity is not an issue, here. I thought about walking down to the campground to see what it was like, but realized it would be more efficient to drive down there, then hike the trail up if there was time.
I found this in the Basin Store. Not a bike tire patch kit, but the cement is probably just what I need for Rema Tip Top patches. I. only had about $27 cash at the time, so was watching my purchases carefully, or trying to use the credit card. The campsite would be $14, deposit cash or check in the envelope. So I needed to break my $20 to have $14. I got the repair kit.
I walked up to find the amphiteatre, because I heard there would be an interdenominational service there on Sunday. I saw some college students (or at least, 20-ish people) go up just before me. Turned out they were staff, and actually the worship team for the next day. Service would be at 9 am. There was Sabra, a college senior from Arkansas, Emma from Champaign, IL, Laura from North Carolina, Claire, a sophomore from Dallas, and Darius, also from Dallas. Should have taken a picture. Maybe tomorrow?
After that, I decided to hike up to the lodge. It wasn't very far, but about as much walking as I wanted to do in my biking shoes. As I was coming back down, big, infrequent drops of rain began to fall. Now where had I experienced that, before? I got back to my shelter just as it started to thunder and rain hard. Then I heard some small rocks hitting the metal roof of my shelter. At first, I thought it was kids playing around, but then realized it was hail. The car was exposed, but did not seem to get damaged.
As the rain let up, I went into the car to eat my dinner and listen to Siruis XM. I see why they equip the rental car with Sirius. I couldn't get ANY terrestrial stations, neither AM nor FM. The rain had flushed out termites or some kind of flying insect, and there was a roadrunner scooping them up. This was the best picture I could get – through the windshield, and telephoto. As far as I can tell, roadrunners don't actually make that beep, beep sound.
Okay, now I see why site #26 wasn't popular. It floods when it rains, which explains all the sand and gravel. I decided that I was not going to pitch my tent in the rain. Since I'm just one person, I'll be able to simply sleep on the table. I'll stow all my things in the bear locker, of course. For a brief instant, I considered sleeping in the bear locker, as it was big enough if I curled up. Nah.
I slept pretty well, but occasionally woke up to look at the stars. There were strange, dim flashes of light across the entire sky. I didn't hear any thunder, so if it was lightning, it must have been very far away. Maybe these were the legendary Marfa Lights?
You didn't post yesterday; it's good to know you're safe. I join you in prayer for wisdom and protection on this trek. I believe Road Runner would make a "meep, meep" sound.
Yes, no connectivity at the campground. And no wood or ground fires allowed. So most people went to sleep pretty early. The roadrunner didn't make the revving turbo sound either when it was shooting down the road, but it definitely was a fast runner.
Wait, what, you camped out at Big Bend?
I camped at the organized campground in Basin. $14, but that meant that I got a metal roof over my shelter (not every campsite had one), and a bathroom (no showers in the desert). I saw NO mammals at all in the whole area of the park that I visited, other than humans and their dogs. Not even a mouse or squirrel. Lots of bugs, but nothing that bit. Although I used the bear locker, I really doubted that any bear would wander into camp with all the people around.
Come to think of it, I did see one sign of a mammal on the drive into the park. On the side of the road, in the bike lane, was a skeleton (possibly a deer?), complete with ribcage, but no head. I assume buzzards had picked it clean, and flies and ants had done the rest.
Hi Rod! We just got home to Florida after our four month camping trip and finally got a chance to check out your blog… we carried your calling card all the way from Big Bend NP north through Texas, New Mexico, Colorado, Utah, Idaho, Oregon, Washington, Montana, and back east! What an amazing journey you had! It was really fun to see your photo with us in your Big Bend post! Glad you made it back home safely.


Buddy Fruits squeeze pouches and dried fruits are discount on Zulily today. 18 squeeze pouches are priced at $13.99 ($0.77 each) and 18 pack dried fruits are $12.99 ($0.72 each).
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 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
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public class OpBehavior {

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redpajama_set_name: RedPajamaGithub


The wonderful textured honeycomb frame of this champagne gilt rectangle wall mirror is hand-worked with impeccable attention to detail.
The stunning metal frame of this contemporary rectangle wall mirror from Jamie Young Company is hand-worked by trained artisanal metalsmiths. Its unusual look combines a graphic honeycomb pattern with a timeless champagne gilt finish that will blend in with any decor. Contains smooth, non-beveled mirror glass, and may be hung in either direction.
29 1/2" wide x 39 1/4" high x 1" deep. Hang weight is 20 lbs.
Glass only section is 20" wide x 29 3/4" high x 1/2" deep. Surrounding frame is 4 1/2" wide.
Honeycomb collection rectangle wall mirror by Jamie Young Company.
Champagne gilt finish. Hand-worked metal frame construction. Non-beveled glass.
Gatco Cafe Chrome 28 1/4" x 32 1/2"
Accent a bathroom vanity or any space in need of a sparkling makeover with this rectangular vanity mirror in a narrow chrome frame.
Soft brown tones of twisted seagrass roping on this coastal style rectangle wall mirror will add organic beauty and natural warmth to your room.


Kourawhero has flexible conference facilities and packages to match your requirements.
Conference facilities are available in the main Lodge and in The Barn to cater for up to 150 conference guests.
Please contact us about our conference facility availability and package prices.
The meeting room can cater for up to 30 delegates in a variety of room settings. The room has Internet access, AV projector and screen, white-board and a refreshment area. The meeting room also features one wall which can be opened up into the main courtyard.
The board room is well suited to small groups of up to 10 people and can also be used as a break-out room from the main meeting room. There is Internet access, a projector and screen and white-board available.
We can provide conference and accommodation packages for up to 36 guests and can also arrange catering, team-building activities and transport to and from the estate.
Let us help you plan your next meeting or corporate event. Contact our events manager, Fleur McDermott on 09 425 9336 or 027 539 6021 or email fleur.m@kourawhero.co.nz with your requirements.


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Home » News » General Mills to Close Yogurt Plant in California
General Mills to Close Yogurt Plant in California
November 23, 2020 February 19, 2019 by Abasto
General Mills Inc. announced that it will close its yogurt manufacturing facility in Carson, Calif., as part of a new restructuring program approved earlier last week.
Established in 1979, the Carson facility produces General Mills yogurt products such as Yoplait and Mountain High Yogurt and distributes them to major retail grocery chains, wholesalers, and club stores.
The consumer foods company based in Minnesota, has not said how many employees will be affected by the decision to close the Carson facility but it said it expects to incur about $130 million in expenses, including $25 million in severance costs, as part of the restructuring, which will focus on consolidating production and "optimizing" labor, logistics and manufacturing operations.
The expenses will also include about $105 million in exit and project-related costs, primarily asset write-offs. The company expects the restructuring to be completed by the end of fiscal 2021.
Over the past 12 months, the company's share value is said to have dropped by 22%.
During an investor conference at the Consumer Analyst Group of New York (CAGNY) that took place on February 19th, General Mills reaffirmed its key financial targets for the fiscal year ending May 26, 2019. Those targets include:
Organic net sales are expected to be in a range between flat and up 1 percent. Including the impact of the Blue Buffalo acquisition, net sales are expected to increase 9 to 10 percent in constant currency.
Constant-currency adjusted operating profit is expected to increase 6 to 9 percent.
Constant-currency adjusted diluted EPS are expected to range between flat and down 3 percent.
The company expects free cash flow conversion of at least 95 percent of adjusted after-tax earnings.
Currency translation is expected to reduce reported net sales by 1 to 2 percentage points in fiscal 2019 and is not expected to have a material impact on full-year adjusted operating profit or adjusted diluted EPS.
Related Article: The Company Focuses on Mexican Food and Three Other Categories
According to a press release, General Mills is pursuing its Consumer First strategy and executing against its three key global growth priorities to drive consistent topline growth:
1) Competing effectively through strong innovation, effective consumer marketing, and excellent in-store execution.
2) Accelerating growth on its four differential growth platforms including Häagen-Dazs ice cream, snack bars, Old El Paso Mexican food, and its portfolio of natural and organic food brands.
3) Reshaping its portfolio through growth-enhancing acquisitions and divestitures, including the acquisition of Blue Buffalo, the leading brand in the fast-growing wholesome natural pet food category in the U.S.
By combining consistent topline growth, margin expansion, and disciplined cash conversion and cash returns, General Mills expects to generate top-tier total shareholder returns over the long term.
McLane Opens New Grocery Distribution Center in Ocala
PepsiCo Buys CytoSport, Maker of Muscle Milk