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YOUR 2018 Day of Giving Gifts Made the Difference
Current news from HACC, April 25, 2018
HARRISBURG, Pa. – In an effort to transform lives and change futures for its students, HACC, Central Pennsylvania's Community College, held its 2018 Day of Giving on April 18, 2018.
The fundraising event was successful and – with your help – raised more than $59,000. Final totals are still being calculated.
The funds raised from the Day of Giving support the College's funds for excellence. Gifts to the funds for excellence give the College the capacity to meet pressing needs as they arise, aid students with housing and food insecurities, launch special initiatives and capitalize on new opportunities to strengthen student programs.
The Day of Giving website will be updated throughout April, and individuals are encouraged to visit the site to track HACC's continued fundraising progress.
HACC is YOUR community college, and we are grateful for the support of the community and our generous sponsors, WHTM abc27, Capital BlueCross and more.
Day of Giving photos and videos from across the College's five campuses can be found at hacc.edu/HeartHACC.
Dauphin County Commissioners Support Live at Rose Lehrman
HARRISBURG, Pa. – A $5,000 grant from Dauphin County Commissioners Jeff Haste, Mike Pries and George P. Hartwick III provides support for the Live at Rose Lehrman (LARL) Artist Series in 2018.
For 42 years, the LARL Artist Series and the Rose Lehrman Arts Center on the Harrisburg Campus of HACC, Central Pennsylvania's Community College, have served the College and the Central Pennsylvania region as a resource for cultural and artistic expression. Each year, the LARL series presents a variety of distinctive, diverse, high-quality and professional offerings of live dance, music and theatre events that bring audiences to the campus.
This funding will help to bring new patrons to the Rose Lehrman Arts Center by attracting audience members from outside of south-central Pennsylvania.
HACC and the HACC Foundation express thanks for the funding from the Dauphin County Commissioners to support access to the arts in the Harrisburg community and beyond.
About the HACC Foundation
The HACC Foundation is a 501(c)(3) nonprofit organization that was established in 1985 to raise private and corporate revenues in support of HACC, Central Pennsylvania's Community College. The HACC Foundation provides funding for student scholarships, innovative academic programs, state-of-the art training equipment and modernized facilities. To learn more about the HACC Foundation, please visit haccfoundation.org. To contribute to the HACC Foundation, please visit hacc.edu/GiveNow.


If you are looking for a delicious way to use up your zucchini bread, this chocolate chip zucchini bread recipe will be perfect recipe. It makes two loaves of moist chocolate chip bread, which means one loaf for you and one for a friend. If you don't want to share and you might not want to, you can freeze one loaf after baking to enjoy on another day.
We've replaced the oil with applesauce to make this even more healthier. Personally, when I grate my zucchini, I don't peel as this is very nutritious. However, if you have little kids that might freak out if they see something green, be sure to peel your zucchini and they will probably never know that there is a vegetable hidden in this bread.
Preheat oven to 350 degrees..
In a large bowl mix together eggs, vegetable oil, sugar, and vanilla extract until well blended.
In a separate bowl, mix together the flour, salt, baking powder, baking soda, cinnamon, and nutmeg.
Divide batter into two greased loaf pans.
Bake for 45 minutes or until toothpick inserted in center of loaf comes out clean.
I've always wanted to make zucchini bread but haven't gotten around to it yet; my bake wish list is LONG. This zucchini bread looks wonderful and I am thinking I can't possible make it without chocolate chips now. I look forward to making this. Thank you for sharing! Pinned!
Yum! This looks great, I would love if you would come share on my Friday Favorites Link-up (live now)!!


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Connecting readers with quality indie books
April 27, 2016 April 27, 2016 marnaehorejs
Thou Shalt Show, Not Tell
Whether or not you're a seasoned writer, chances are you've heard the 11th Commandment:
It's definitely the most common writing tip out there.
But how many people know what that means, and how many actually do it? Is it important?
In his bestselling YA novel, The Maze Runner, James Dashner shows us the culture of the kids in his world through the use of made-up slang. He uses creative words like "klunk" (substitute for poo) to showcase the boys' sense of humor and immaturity while also making it clear that they've been isolated.
But then he makes an annoyingly common mistake. He tells us what his words mean, even though the context makes it completely clear. He uses what I call the Kindergarten Method. Show and tell. And, honestly, it makes the reader feel like an infant. Surprisingly, even young adult readers have brains, and they can figure things out for themselves if you give them enough subtle clues. If you show them.
Trust your readers.
Let go of your need to control your readers' thoughts. If you do a good enough job showing your readers, you won't have to tell them.
Suzanne Collins, the author of The Hunger Games Trilogy, is excellent at showing the reader her characters' thoughts and motivation through action. In one of the most pivotal scenes in the story, she expertly balances a few of Katniss's thoughts with engaging action.
(Warning: spoilers ahead if you haven't read/seen The Hunger Games)
"My fingers fumble with the pouch on my belt, freeing it.
Peeta sees it and his hand clamps on my wrist. 'No, I won't let you.'
'Trust me,' I whisper. He holds my gaze for a long moment then lets go. I loosen the top of the pouch and pour a few spoonfuls of berries into his palm. Then I fill my own. 'On the count of three?'
Peeta leans down and kisses me once, very gently. 'The count of three,' he says. We stand, our backs pressed together, our empty hands locked tight. "Hold them out. I want everyone to see," he says.
I spread out my fingers, and the dark berries glisten in the sun. I give Peeta's hand one last squeeze as a signal, as a good-bye, and we begin counting. 'One.' Maybe I'm wrong. 'Two.' Maybe they don't care if we both die. 'Three!' It's too late to change my mind. I lift my hand to my mouth taking one last look at the world. The berries have just passed my lips when the trumpets begin to blare.
The frantic voice of Claudius Templesmith shouts above them. 'Stop! Stop! Ladies and gentlemen, I am pleased to present the victors of the 74th Hunger Games, Katniss Everdeen and Peeta Mellark! I give you – the tributes of District 12!'" -Suzanne Collins, The Hunger Games
See how engaging that was? Collins doesn't even explain what Katniss and Peeta are planning, but she shows their feelings through their dialogue and body language. As a result, we're sucked into the story. We feel Katniss's fear, Peeta's devotion, Templesmith's franticness. And it's pretty easy to figure out what's going on.
I've found that in the writing process, it helps some people to tell in their first draft so they know what they're going for and come back and show in the revision stage. That's totally fine. Also, sometimes it's okay to tell. Having a balance is important, and sometimes it's better to be direct. Just remember: the key is to get your ideas across in the most engaging way possible. That's what makes a good story.
Let's practice making our writing more engaging through showing with an example.
Tell: Barbara was a very tall and confident woman. She liked to be the center of attention, and she was always causing drama. When she saw Jim, a receptionist, she fell in love immediately.
Show: When Barbara strutted into the room wearing a bright pink pantsuit, everyone turned to stare at her. In her three-inch heels, she towered over almost everyone in the room. As soon as she reached the front desk and turned her back to the people in the lobby, a chorus of whispers broke out. Barbara ignored them, flashing a grin at the broad-shouldered man behind the desk. Jim, his name tag read.
By creating a scene with action, we are able to effectively show details about a character while making the reader feel more engaged. In this scene, we show that Barbara is tall by making her tower over almost everyone in the room. We show her confidence by making her strut and wear heels. We show that she likes to be the center of attention by making her wear a bright pink pantsuit. We show that she causes drama through the whispers of people in the lobby. We show that Jim is a receptionist by placing him behind the front desk and giving him a name tag. We hint subtly at Barbara's romantic interest in him through her grin and by focusing on his broad shoulders.
Now you try!
Today's prompt:
In the comments, respond to this character description with a short scene (1 or 2 paragraphs) that uses action to show us what he is like:
Archer was an amazing fighter. He was so strong and fast that he could take down five men easily. He was very quiet and seemed distant, but inside him was a strong desire for revenge.
More helpful resources for "show, don't tell:"
The Beginning Writer
Brandon Sanderson Lecture
marnaehorejs
Author and acquisitions editor at Pink Umbrella Books
Next Figurative Language: Let's Talk About The Camel in the Room
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Pink Umbrella News
SHOES Blog Tour
Book review: "Only Gossip Prospers: A Novel of Louisa May Alcott in New York" by Lorraine Tosiello — Louisa May Alcott is My Passion
More tea on ONLY GOSSIP PROSPERS: Part 2
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redpajama_set_name: RedPajamaCommonCrawl


If you would like buy Kimora Convertible Sofa By Willa Arlo Interiors , search for good quality wood joinery. If a bit is stuck collectively or maybe fingernails and anchoring screws are widely used to keep the furniture piece with each other, it does not final lengthy. It is advisable to spend more money to acquire a Kimora Convertible Sofa By Willa Arlo Interiors with a few exceptional wooden joinery work on it. Definitely look at the thighs associated with a Kimora Convertible Sofa By Willa Arlo Interiors you are considering getting. All those thighs and legs require not only to help weight, they'll also be in touch with your flooring surfaces. Once they seem like they'll do injury to your surface because of the components utilized (like steel), then you might like to choose a different fashion. When purchasing Kimora Convertible Sofa By Willa Arlo Interiors for the living room, opt for simple shades. You are able to alter the colors as well as other furnishings in the space by shifting accents, paint as well as other things. As a result, you can actually alter up the style of your living room area without spending lots of money.
Bar furniture are not just particular furniture intended to be utilized in pubs as the name suggests. If you are seeking to give your kitchen area, dining area of home a business-like appearance, then you need to choose the right bar furniture. The dinning furniture are earning a constantly-increasing existence in individuals homes because they search for that unique company-like existence at home. However, with a large number of club furniture to choose, from, getting the best deal can be a challenging job for most homeowners. For all those seeking to transform the dining area right into a vibrant contemporary bar, weve got you covered with some of the best bar furniture on the market presently. This bar table is a breakfast set ideal for homes with small dining areas. It's a pretty compact table that won't take too much space within the dining room. It functions caster wheels that allow for easy motion inside the house especially when cleaning. There is also some bar stools and decrease foliage giving you great bang for your buck. Made of natural Beachwood, this table is a great buy and comes as a whole and square shape.
Excellent customer support, I was assisted by Austin and he was really friendly and there was no pressure, he was patient and clarified my questions. There's a good quantity to choose from and lots of the sofas are completely easy to customize and that i was able to customize my couch to fit perfectly in my home. And the price is great for things i picked. General great experienc, I've no complaints.
The house furniture Organization! I heard about this place from the couple buddies that have bought their sofas came from here and that i really believed they looked amazing. And So I came to the shop to determine what I could possibly get. I had been greeted right away by Joan despite the fact that she was busy with another client. Angeline solved the problem to figure out things i wanted and provided some good recommendations to help me figure out precisely what I wanted. I was blown away through the great support and the incredible display room which was set up. Every thing was very clean and well-organized. I'm pleased with things i got and can suggest this place to everyone I know.


The 5th Gen Black OPS builds on its heritage with increased tactical material and features. MERC 5™ technology utilizes CNC machined G10 and aircraft grade aluminum. Super tough black type III "hard anodized" coating is added for a non-glare, field ready finish. These, in combination with proprietary HIT™ technology and QLC™ locking crowns create the ultimate in lightweight, low bulk protection that meets military specification drop-test requirements. Black OPS is the ultimate in covert protection.
NOTE: Wireless charging works with Black OPS 8/8 Plus when clip is removed.


United Rentals, Inc. (NYSE: URI) today announced that its subsidiary, United Rentals (North America), Inc. ("URNA"), is offering $925 million principal amount of Senior Notes due 2028 (the "Notes") in a registered public offering.
Net proceeds from the sale of the Notes are expected to be approximately $912 million, after underwriting discounts and commissions and payments of estimated fees and expenses. URNA intends to use the net proceeds from its offering of the Notes and additional borrowings of $53 million under its senior secured asset-based revolving credit facility to redeem all of the outstanding $925 million principal amount of its 6.125% Senior Notes due 2023 at a make whole redemption price that is currently estimated to be 104.371%, plus interest accrued to, but excluding, the date of redemption, and to pay the related expenses.
BofA Merrill Lynch, Barclays, Citigroup, J.P. Morgan, MUFG, Morgan Stanley, Scotiabank and Wells Fargo Securities are the joint book-running managers for the offering, with BofA Merrill Lynch serving as lead book-running manager.
URI has filed a registration statement (including a prospectus and a related preliminary prospectus supplement) with the U.S. Securities and Exchange Commission ("SEC") for the offering to which this communication relates. Before you invest, you should read the preliminary prospectus supplement and prospectus in that registration statement and other documents URI has filed with the SEC for more complete information about URI and this offering. You may get these documents for free by visiting EDGAR on the SEC's website at http://www.sec.gov. Alternatively, copies of the preliminary prospectus supplement and accompanying prospectus for the offering may be obtained by BofA Merrill Lynch, NC1-004-03-43, 200 North College Street, 3rd floor, Charlotte NC 28255-0001, Attn: Prospectus Department, or by email at dg.prospectus_requests@baml.com.


You often don't think about your muscles until you feel a sharp pain radiate from them or you wake up feeling stiff and sore. Your muscles, though, are active living tissues that need to be cared for and maintained on a routine basis to ensure overall health and wellness.
When the health of your muscles is compromised by physical or mental tension and stress, it can be beneficial to dig deep into the core of the muscular structure to heal and recuperate this living part of your body. The premise of deep tissue massage therapy does just that by getting beyond the surface of tense, sore muscles and focusing on healing the underlying layers that may be causing your pain and discomfort.
If you work in front of a computer all day, have an active job or engage in regular physical activities, you have more than likely experienced muscle knots, tension and discomfort. As muscle tension piles up in your body from daily wear and tear, you can quickly suffer from physical and mental pain.
Deep tissue massage can help alleviate intense muscle tension and knots by getting down deeper into the muscle to release trapped tension and working the muscles back into a good state of flexibility, elasticity and optimal performance potential.
Deep tissue can get a bad reputation of being a painful type of massage where the therapist digs into your muscles with sharp, pointy elbows while applying an uncomfortable amount of pressure. While this type of massage can be deeper and more intense than other modalities, Smith assures that a good deep tissue massage shouldn't be painful or leave you feeling really sore.
To start getting to the deep level of massage, Smith builds into it slowly by starting his massage strokes with his hands, fingers, thumbs and knuckles before using his forearms and elbows. He believes in the importance of warming up the muscles first and then moving into a deeper level of work that is dependent on each client's preferred pressure level.
From high-stress executives to marathon runners, deep tissue can be beneficial for unwinding and healing tight muscles, as well as diffusing high levels of stress. Active people, in particular, can have a lot of tension in their lower back area, as well as their hamstrings, quadriceps and calves. By using deep tissue massage techniques in the glute area, you can unlock a lot of the pain and tension from the lower back, as well as throughout the legs.
Deep tissue also is a great approach for doing focus work on the neck and shoulder areas, which are popular places for tension and stress to build up for office workers. Deep tissue can help break up the tension and heal muscle strain associated with sitting at a desk and working long hours in front of a computer.
Give your muscles the deep treatment they deserve with a deep tissue massage therapy session. Whether you choose to alternate deep work with a more relaxing Swedish session or you focus on deep tissue to heal a recurring condition, this massage technique can help you feel a new sense of reinvigorating relief both physically and mentally.


It is a fact that Nepal's Himalayas has attracted many adventurers, climbers and cultural enthusiasts all because of its nature and Sherpa people. Their warm hospitality, rugged terrain, their old aged culture, majestic mountains, primitive lifestyle, etc. are some of the attractions that have made the travelers to visit Nepal time and again. Nepal is a land of diversity from nature to its culture and people there is huge diversity which makes Nepal rich in culture and nature. Everest Region of Nepal has the world's most spectacular mountains, warm and hospitable people which will make your visit a lifetime experience. In this Everest Kala Patthar Trek, you will experience the moment of your life with spectacular mountain vistas, the land of Sherpa's, mighty Himalayas, green valleys and unique settlements and lots more.
Everest Kala Patthar Treks start After a flight of about 35 minutes from Kathmandu you will be landed at small airstrip of Lukla. Our other team member will help you in packing and take you to Namche where you will have an acclimatization day. It will be n opportunity to know everything about Sherpa's i.e. their culture, lifestyle, festivals, their beliefs and many more. Your trek begins from Namche to Kala Patthar and return back to where you started. While trekking you will have opportunities/experience of wildlife, nature, culture of different places. The photographic opportunities are limitless inspiring views like Khumbu Glacier, Everest and Nuptse, alpine scrub and junipers of the Sherpa region, and the pine forests and rhododendron flowers of the valleys. Those pictures taken will make you relive while on the way home. You will make your way through alpine forest, glacial rivers, waterfalls, stony trails, mountains and monasteries to a Kala Patthar from where 360 degree good view of mountains including Mt. Everest . Then you will head back for lukla to Kathmandu after achieving your target to Everest base camp (5400 M) and Kala Patthar.
Everest Kala Patthar Treks is of 15 days but need quality fitness. The price is fixed as per your request and trek planning. The best season to go Everest base camp is autumn (sep. to Dec) and spring (March to May) and its path will be crowded. Then weather is sunny and warm with outstanding views but the cold nights. Winter (Dec, Jan, and Feb) is also good for Everest Base Camp Trek, only issue is cold. Summer and monsoon (June and July) will be rainy but less crowded a when you can enjoy best of nature.
Day 11: Gorak Shep - Kala Patthar (5,545m) - Pheriche (4,280m): 7-8 hrs.
Day 13: Namche – Lukla (2,780m): 5-6 hrs.
After breakfast you will head toward Tribhuwan airport to fly for lukla. It is about 40 min. flight above great green and white mountains. After you reach at lukla airport our other team member will meet you there and help in your packing and other arrangement and then you will head through beautiful village of Lukla till you reach at Phakding.
This day is acclimatization day especially programmed taking care of your health. This day is a rest day and you can explore Sagarmatha National Park or Namchebazar and Khumjung Valley. It offers you internet, cafes, shops, restaurant, bakery and other where you can hang out and feel better for next day hike. Stay overnight at Namche Bazaar.
After breakfast you pass through Khumbu Glacier to Thangma Riju from where 360 degree views of mountains can be observed. Climbing steeply up to the top through the torrent of Changri Glacier, you will catch your first glimpse of Kala Patthar, a grey-green knoll beneath the Mt. Pumori and you will be at Gorakshep finding snow-capped mountains bright all around us including Mt. Everest. From there you take the trail to Everest Base Camp through the once vast Gorakshep Lake. Finally you are at your destination. Mountaineer's tents stand out in bright colors against the monotony of gray surroundings. Nuptse, Khumbuste and Pumori are the mountains are the mountains that can view from the base camp. You will explore Everest Base Camp and clicked some pictures. Stay overnight at Gorakshep.
After breakfast you climb 2-3 hrs. up to Kala Patthar (5545 m/18192 ft) to see first day sun light from top of the world (Mt. Everest) This is milestone of the trek to inspect panoramic view with the fantastic sunrise over Mt. Everest, Mt. Pumori, Mt. Lingtren, Khumbutse, Changtse, Mt. Lhotse, Mt. Nupte, Mt. Ama Dablam and capture some beautiful moment on your camera and many more After accomplish Kala Patthar, trek down to Gorakshep and retrace down to Pheriche to the warmer and better night sleep. Stay overnight at Pheriche.
After breakfast you now trail down to Lukla from where you started your real hike. The trail descends steeply downward so we need to walk slowly and under control as our shaky legs continuously battle the rocky terrain. Way down through Sherpa villages noticing impressive faith in Buddhism and culture of prayer stones and prayers flag, you feel completely different views. Upon arrival in Lukla, you stretch those aches and sore body parts and recall the experiences of the last couple of weeks. you experience the culmination of a fantastic trek on a happy note with everyone back safe and sound with smile on faces. Stay overnight in Lukla.
Today your Everest Kala Patthar Trek comes to an end so collects the photographs and gadget. Then our representative will help you to drop to the airport or if you have plenty of time to spend in Nepal, then feel free us to join another trip or adventurous acivities like hiking, river rafting, bunjy jumping, paragliding etc.
•Accommodation in Kathmandu at 3 star standard hotels with breakfast.
•Sightseeing in Kathmandu with tour guide.
•Accommodation on Lodge/Guest House while on treks.
•Meal on full board (breakfast, lunch and dinner) during trekking including Tea/coffee.
•Experienced government license holder trek guide and porter to carry your luggage.
•Insurance of our field staff.
•International /Domestic any air fare.
•All expenses due to unavoidable events e.g. flight cancellation, personal illness, strike, political disturbances etc.


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redpajama_set_name: RedPajamaGithub


> > huge fan ur so cool and i love your songs and videos too.i love lizzy mguire to!!!!!your everything i wanna be.My favorite episode was lizzy and kates big adventure because it showed a different side of kate and it made me feel like i should be myself and stop caring what other people think about me.
> > But i do have to say i do look like you people tll me that all the time!!!My favorite song on your 1st cd is medomorphises.the beat was way cool but your voice is way better.What was it like working with frankie munez on the set of agent cody banks.i saw the Lizzy Mguire movie to AWESOME!!!!!!!!!!!!!!!


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Malaysia: 'secret' execution planned for tomorrow
06 Feb 2014, 12:09pm
'For Malaysia to try to carry out executions in near-total secrecy is shameful' - Hazel Galang-Folli
The Malaysian authorities must immediately halt plans to carry a "secret" execution tomorrow, Amnesty International has said.
Amnesty has learned that the Malaysian authorities plan to execute a death row prisoner called Chandran on Friday, a man who has been imprisoned for murder for the past 11 years.
In contravention of international law, Chandran's death sentence was imposed mandatorily, giving the judge no chance to consider mitigating circumstances in the case. A review of Malaysia's mandatory laws was announced in 2012.
Generally, executions have been carried out in Malaysia in a secretive manner, without prior or posthumous announcements. Amnesty is pointing out that transparency on the use of the death penalty is an essential safeguard in death penalty cases, as it not only allows for informed and meaningful debates on the issue but also allows for the possibility of appeals to ensure that due process is followed.
Amnesty International's Malaysia researcher Hazel Galang-Folli said:
"For Malaysia to try to carry out executions in near-total secrecy is shameful - the government is essentially trying to hide its human rights violations from the world. Chandran's family was informed only yesterday, and they are at a complete loss as to what they can do.
"The execution of Chandran would be an enormous step backwards on human rights for Malaysia - the authorities must put a stop to these plans immediately.
"What makes this even more shocking is that we had actually seen some progress on the death penalty in Malaysia over the past years, with moves to limit mandatory death sentences."
Amnesty opposes the death penalty in all cases without exception. The organisation urges Malaysia to halt all plans for executions, commute existing death sentences and put in place a moratorium on the use of the death penalty as a first step towards abolition.
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Consider this scenario: at a recent church board meeting the lead pastor introduced a new ministry project proposal. The church would sell its aging building and highly valued property to the adjacent seniors residential complex. This organization in turn would demolish both facilities and build a totally new structure including a new church complex at no real cost to the congregation. A modest annual fee for service costs would be charged. The congregation would have use of the facility for ninety-nine years. Given the serious financial struggles the congregation was experiencing, the deteriorating condition of the current church facility, and the need to inject some hope and optimism into the congregational mindset, the board agreed to recommend the proposal to the congregation. They wanted the lead pastor to be successful, they wanted the congregation to grow, and they wanted to work in a cooperative way. No other equally good solution seemed to present itself. However, they had given no extended time to considering or exploring what other options might be available. Two of the more vocal board members had backed the proposal. Those who had misgivings felt constrained to go along. Several members in the congregation spoke clearly and articulately against the recommendation, but the weight of support from the board and the lead pastor persuaded the congregation to support it. Two years later after all the agreements were signed, the organization running the seniors facility sold its operations to another company who then decided it did not have the resources to go ahead with the plans for redevelopment.
The concept of "groupthink" emerged from the work of Irving Janis, a psychologist who sought to explain why some group decisions seem to be miscalculated or poorly conceived, resulting in disastrous consequences. The term "groupthink" reflects George Orwell's term "doublethink." Janis defined groupthink as "a mode of thinking that people engage in when they are deeply involved in a cohesive in-group, when the members striving for unanimity override their motivation to realistically appraise alternative courses of action" (I. Janis, Groupthink (Boston: Houghton Mifflin, 1982, 2nd ed). His theory is not accepted by all because attempts to verify it empirically have had mixed success. Some reject the concept entirely, suggesting that the cases analyzed have more to do with poor implementation of decisions, then the decisions themselves. But other critics accept the theory more or less and suggest modifications.
1. the group may be overestimating its power and the morality based upon which it is making its decisions. This attitude may result in the group deciding to take actions that are extremely risky because they have a sense of invulnerability.
2. the group may suffer from close-mindedness. The group fails to understand external factors, dismissing their potential for good or harm.
3. within the group there are significant pressures towards uniformity. Divergent opinions are dismissed, unanimity is superficial, and individual board members exercise self-censorship knowing the dynamics of the group. In other words group loyalty overwhelms prudence.
7. failure to work out contingency plans (Janis, 1982).
3. the group has adopted no norms to define a methodical decision-making process.
Church boards are groups and are engaged consistently in decision-making. The values that guide church boards normally include mutual love, servant leadership, humility, and submission to spiritual leadership. Further, the relationship between a lead pastor and church board often encourages a deferential attitude towards recommendations brought forward by a lead pastor. Board members do not like being tagged as negative thinkers or lacking sufficient "faith." In addition most church boards lack resources that enable them to gather good information or struggle to follow a clear decision-making process. Traditional processes overwhelm principles that could guide the board to better decisions. And then, once a decision is made the follow-through for ensuring accountable implementation is very weak. In other words the very values that contribute to the spiritual well-being of a church board can also become a basis for the subtle influences of groupthink.
In your role as chairperson you are responsible to serve the board and facilitate its effective operation. Enabling key decisions to be made in the best way brings this responsibility to a particular focus. Consider one of the major decisions that your church board has made in the last six months. Review the process in the light of Janis' "seven symptoms of poor decision-making." Were any of these factors operative in the decision-making process? What might you have done as chairperson to note these issues and challenge the board members to exercise greater prudence? Or perhaps as you reflect upon the implementation of the decision you can identify other aspects where the board has not exercised appropriate leadership?
Although Janis' concept of groupthink remains controversial, the issues he has raised about decision-making and implementation remain critical for effective church board decision-making. If a chairperson knowingly allows a church board to make defective decisions, he or she is not being the servant of the board.
This entry was posted in Board, Board Chair, Board Governance, Board Member, Senior Pastor and tagged Groupthink and Church Boards. Bookmark the permalink.


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18 January 2020, Saturday
Spiritual Links
Ratoath Junior NS
Ratoath Senior NS
St. Paul's NS
Rathbeggan NS
Ratoath College
Collectors & Counters
CI Features
Parish Bulletin 24th October 2010
Holy Trinity Church, Ratoath
" www.ratoathparish.ie
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Opening hours for the Parish Office: Monday, Tuesday, Thursday, Friday from 9.30am– 4.00pm
Priest on Duty: Fr. Brendan
Congratulations to Eugene Lyons (Dublin) Tigh Carey (St Oliver's Park) and to Omactbemi, Temisan & Queenslyn Arubi (Moulden Bridge) who were baptised recently.
Envelope Collection for the week ending 10th & 17th October €1,669.12
Many thanks for your continued support and generosity.
Volunteers needed for Church Cleaning, which will entail only 4 mornings in the year.
Contact Jackie 086 1271252
John Markham speaker affiliated to The Royal Horticultural Society of Ireland, will give a talk on "Twelve months of Colour and Interest" Monday 25th October at 8.30pm in the Ratoath Community Centre, New members welcome. Non members €6 Contact Anne-Marie Murphy
087 4135695 or Claire Bellis 087 9217786 e mail, This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Mission Sunday Today
On this special day we are given the opportunity to express our unity with and support to Christian communities everywhere.
World Mission Ireland provides spiritual and practical assistance to the Church's mission worldwide. "Together in Mission" we can all play an active role in helping over 1,096 dioceses and communities globally. This is the Church in action – communities supporting communities. Support is needed by prayer as well as financially.
On Mission Sunday 24th October 2010 please pray for the universal missions of the Church and give as generously as you can to the Mission Sunday Collection. Every cent of the money donated to this collection goes into a universal fund and is distributed to the missions most in need.
All aid is greatly appreciated by communities less fortunate than ourselves and "Together in Mission" may we continue to spread the good news in God's name.
Altar List of the Dead
Please take home a list of the dead sheet and return the completed list to the box at the back of the Church before the 2nd November (The Feast of All Souls). All our dead are remembered in our Masses during the month of November (The month of the Holy Souls) and on the First Friday Masses throughout the year.
31st Sunday in Ordinary Time
Vigil 7.00pm
Pat & Patricia McCabe
& John Reilly
Willie & Hella Vogelaar
& Desmond Crofton
Brendan Whyte
Sean Glynn
& Teresa & John McCann
Patsy Campbell
& William Dunne
Special Intention
Michael Maher
Monday Mass at 11.00am in the Nursing Home
Tuesday Joan Whelan
Thursday Deceased members of Reilly & Woods families
Saturday No morning Mass Joan Whelan
Excerpts from the press release following the October meeting of the Irish Bishops
International Eucharistic Congress in Ireland in 2012
The Catholic Church throughout Ireland has embarked on a journey of spiritual and practical preparation for the 50th International Eucharistic Congress which takes place from 10 to 17 June 2012. The theme of the Congress is 'The Eucharist: Communion with Christ and with one another'.
Bishops agreed that, as a key moment in the pastoral preparation for the International Eucharistic Congress, a national gathering would take place to coincide with the Solemnity of Corpus Christi on the last weekend of June 2011. Further details will be announced at the December General Meeting of the Episcopal Conference.
Archbishop Martin, President of the Congress, approved a new Eucharistic Congress Prayer, which is available in English, Irish, Polish, French, German, Italian and Spanish. The Eucharistic Congress Prayer draws its inspiration from the Gospel story of the two disciples on the road to Emmaus and from the words of the prophet Micah "This and only this is what the Lord God asks of you: to act justly, to love tenderly and to walk humbly with your God" Bishops invite the faithful to pray this new prayer on a daily basis. A short video reflection based on the prayer, along with other Eucharistic Congress resources, is on www.catholicbishops.ie.
The Congress hymn Though We Are Many, We Are One Body in Christ has been prepared for the Eucharistic Congress by the well known Irish composer Bernard Sexton.
A pastoral programme has been devised by the Eucharistic Congress Planning Committee. A range of catechetical material is now available to assist on our journey towards an encounter with Christ, to enable a rediscovery and a renewal with Him and one another. More details are available on www.iec2012.ie
New Missal expected to be in use in November 2011
The work of publishing an edition for Ireland has now begun and it is hoped that it will be in use on the First Sunday of Advent, 27 November 2011.
A new edition of the Latin Roman Missal - the book of prayers used at Mass - was published in 2002. The International Commission on English in the Liturgy (ICEL), established by Bishops in English-speaking countries during the Second Vatican Council (1962 – 1965) has, for the past six years, worked on the translation of this new edition of the Missal. Issued in twelve segments, the draft Missal was reviewed by the Bishops' Conferences and their consultors. The final draft received the approval of the Congregation for Divine Worship and the Discipline of the Sacraments.
Catholics have used our present English Missal at Mass since St Patrick's Day, 1975. Our new edition will include the many additions made since then, including Masses for over twenty feasts like St Maximilian Kolbe, St Teresa Benedicta of the Cross (Edith Stein), St Pius of Pietrelcina (Padre Pio), Our Lady of Guadalupe; our National Calendar of Saints with prayers for Mass and the three Eucharistic Prayers added since 1975.
The new edition will also be in a new translation. Bishops are very aware that this means changes in prayers that have been used and loved for almost forty years. From early 2011, explanatory material and workshops will be made available to priests and parishes.
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Black ESD T-Shirts for static control. ESD properties maintained for over 40 industrial washes.
A white ESD short sleeved T-Shirt with a black collar. ESD properties maintained for over 40 industrial washes.
ESD office shirts for all staff from managers, supervisors to the shop floor. Male fitting in a white ESD material.
ESD shirts for men in a black polyester and cotton material. Conforms to ESD standards.
Smart ESD blouse in light blue material, part of the Somerset ESD Business collection.
ESD lab coats in the popular dark grey material and now available with elasticated cuffs. This will ensure that personal non-ESD clothing are not exposed.
ESD lab coats in white material now available with elasticated cuffs. Ensures personal non-ESD garments are not exposed.
ESD lab coats in royal blue material now available with elasticated cuffs. Ensures personal non-ESD garments are not exposed.
ESD lab jackets in royal blue material with elasticated cuffs ensuring personal non-ESD garments are not exposed.
ESD lab jackets in white material with elasticated cuffs ensuring personal non-ESD garments are not exposed.
A tabard style garment that can be worn comfortably on top of other ESD garments such as sweatshirts, fleeces and polo shirts. In a Royal Blue material.
High visibility ESD safety garments. Be seen, be safe and be static protected.
For high visibility and static control. Quality ESD garments making you safe at work.
ESD gloves coated fingertips and elasticated wrists. For use within static controlled areas.


SART, what's that on my radar?
If you see the distinctive twelve pulse signature above on your radar screen, it means that someone in trouble has activated a Search and Rescue Radar Transponder (SART). You'll find them at the pulse closest to you. SARTs are a lesser known component of the Global Maritime Distress and Safety System (GMDSS), and thus are required on many commercial vessels, as well as some offshore races like the Fastnet. They're designed to be used in addition to DSC or EPIRB distress calls, helping already alerted rescuers zero in from about 10 miles to within about 500 feet. Simrad's new SA50 model is especially compact at about 10″ tall and 3″ wide. It can be set up to turn on when a life raft is deployed, or manually activated. It retails at $975, and uses a battery pack that does not require 'hazardous' handling and has a 5 year shelf life. (Why Simrad distributes highly angled and/or shadowy pictures baffles me, but I do appreciate seeing what a SART actually looks like in use).
Next story Onboard PC, what's the ideal?


Volunteers enhance and maintain landscaping around the church and school. Time commitment varies seasonally. For more information, contact Phil Adams at 648-6192 [email protected].
To support St. Thomas Pro Life activities, contact Dan Smith or Dr. Jeanne Smith, at 691-3611, or Mary Ann Schaffer.
The Backpack Giveaway serves families in need with students entering grades K through 6. Parents and children are invited to the giveaway of a new backpack with a collection of school supplies in the weeks leading up to the new school year. Games and haircuts are available for the kids. The parents hear brief educational presentations about community services. The parents participate in educational Parents may bring their children.
For more information, contact Carol Pitcher at 686-2186 or [email protected].
The Jobs Partnership Program helps people who have been incarcerated to re-integrate into society through gainful employment. For information about the Jobs Partnership, contact Jim Matarelli at 691-1993.


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4 dead, 4 injured in Walworth County crash
Four people were killed and four injured Saturday when a semitrailer truck struck a pickup, then veered into an SUV...
4 dead, 4 injured in Walworth County crash Four people were killed and four injured Saturday when a semitrailer truck struck a pickup, then veered into an SUV... Check out this story on jsonline.com: https://www.jsonline.com/story/news/local/wisconsin/2016/05/28/4-dead-4-injured-in-walworth-county-crash/85189460/
Four people were killed and four injured Saturday when a semitrailer truck struck a pickup, then veered into an SUV in Walworth County, the Sheriff's Office reported.
The semi was northbound on Highway K in Sharon Township when a Chevy pickup eastbound on Townhall Road went through a stop sign and was broadsided by the semi.
Three of the four people in the Chevy pickup were killed; the fourth was flown to a hospital and was in critical condition.
An SUV southbound on Highway K was also struck. One of two people in that GMC Envoy was killed and the other taken to a hospital with critical injuries.
The driver and a passenger in the semi were also taken to hospitals with multiple injuries.
Names of the victims and the semi driver were not released, pending notification of relatives and further investigation of the crash, according to the Sheriff's Office.
More than a dozen agencies from Wisconsin and Illinois responded to the crash.
Jill Carnegie, who operates Valley of the Kings wildlife sanctuary just east of the crash site, said roads leading to the intersection were still blocked hours later.
'One of our volunteers heard the crash shortly after 10 a.m.' Carnegie said, and noted it can take emergency responders quite a while to get to the area. The Sheriff's Office release stated its deputes arrived at 11:45 a.m.
Carnegie said a motorcyclist was killed at the intersection last May, also because he ignored a stop sign on Townhall Road and was hit by a semitrailer truck.
But she was surprised to learn the pickup in Saturday's crash was eastbound. She said westbound drivers are more apt to miss the stop sign, and not notice southbound traffic on K, because of foliage from a tree nursery on the northeast corner of the intersection.
'We see people blow that stop sign all the time,' she said.
Read or Share this story: https://www.jsonline.com/story/news/local/wisconsin/2016/05/28/4-dead-4-injured-in-walworth-county-crash/85189460/


Coffin bread 棺材板 sounds interesting, doesn't it? Well take a look at this video and find out more about what Coffin Bread 棺材板 really is as well as some more really interesting and tasty night market food which is very famous all over the great Island of Taiwan! Let me know what you think! What do you want to try the most?


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A native of Germany, Christian grew up near Lake Constance where he attended Schule Schloss Salem. He moved to the US where he went on to study Business Administration at Temple University in Philadelphia.
After working in New York at a private investment group in client relations and at a boutique marketing firm in Philadelphia, Christian joined YER USA. Fluent in German and English, Christian uses his international experience to help European companies develop and grow their teams across different businesses and industries.
During his free time Christian enjoys playing tennis, exploring diverse cuisines and new restaurants, and traveling to different countries.
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Siemens has strengthened its business ties with Russia, agreeing to participate in the Skolkovo innovation project and signing contracts with RZD, RusHydro and Rostechnology on Thursday.
In the backdrop of a meeting between President Medvedev and German Chancellor Angela Merkel in Ekaterinburg, Skolkovo Foundation President Viktor Vekselberg and Siemens CEO Peter Loescher signed a memorandum of understanding.
According to President Medvedev, Russia supports Siemens's plans to build a center in Skolkovo and Siemens participation in running the Skolkovo hi-tech hub.
Loescher also signed a memorandum of understanding with Russian Railways on the joint modernization of at least 22 sorting stations prior to 2026, with the aim of localizing production 80% within 5 years. This was coupled by another memorandum to set up a joint venture to manufacture, supply and service modern electric trains. According to the agreement, RZD will place an order at the new joint venture for 1200 DESIRO RUS – which are planned for suburban transportation use in big Russian cities.
RZD President, Vladimir Yakunin, was optimistic about the agreement and the link up with Siemens.
The agreements with Rostekhnology and RusHydro include the setting up of a joint venture to produce wind energy installations, according to Rostechnology head, Sergey Chemezov. He said the joint venture will be located in Volgograd, using a local plant which he added would be overhauled.
According to President Medvedev, all this comes in the wake of developing economic cooperation, which is strengthening despite the crisis.
"In January to May 2010 trade turnover between Russia and Germany grew by almost 50 %. The economies are recovering, the main trade sectors are recovering. According to our data, German investment in Russia's economy accounted for around $20 billion. That makes us really happy."


(iii) Strategic Lobby Promotions. With respect to Strategic Programs through Lobby Promotions ("Strategic Lobby Promotions"), Cinemark may utilize only such type and number of Inventory that is available to LLC in the applicable Theatre(s) on a pre-approved basis; provided, however, vehicle/motorcycle displays and floor mats will not be available for use in Strategic Lobby Promotions. Cinemark may purchase an additional amount of Inventory in excess of the Strategic Lobby Promotions described above or in excess of the Client Limitation at rate card rates and subject to availability, only with prior written consent of LLC, acting in its sole discretion.
Section 4.08 Cinemark Run-Out Obligations.
(a) Encumbered Theatres. Cinemark agrees to provide LLC written notice as much in advance as is reasonably practicable under the circumstances of, and to furnish LLC true and correct copies (reasonably redacted by Cinemark and subject to confidentiality) of all documentation evidencing, all valid, pre-existing contractual obligations (the "Run-Out Obligations") relating to any of the advertising, promotional and event activities and services in any Acquisition Theatres (collectively, the "Encumbered Theatres"); provided such disclosure does not violate the terms of any such agreements.
(i) No Run-Out Obligations. Agreements with advertisers that purchase advertising are Legacy Agreements and do not create Run-Out Obligations. Cinemark shall, effective upon acquisition of the Acquisition Theatre, terminate any agreements between Cinemark and an Affiliate relating to advertising, promotional and event activities and services in any Acquisition Theatre, so that any such agreements do not create Run-Out Obligations.
(ii) Run-Out Obligations. Cinemark and/or its Affiliates (as applicable) shall be permitted to abide by the terms of the Run-Out Obligations; however, Cinemark agrees, subject to legal constraints (if any), to use commercially reasonable efforts to obtain the termination of such Run-Out Obligations, including without limitation neither extending nor renewing such Run-Out Obligations (provided that Cinemark shall have no obligation to make any payment in connection with obtaining the termination of such Run-Out Obligations). Cinemark further agrees not to enter into any new agreement with any third party with respect to any Encumbered Theatre, or amend or modify any Run-Out Obligation, to the extent such agreement, amendment or modification would be inconsistent with the rights of LLC under Section 2.04 or have the effect of any extension. Prior to the expiration of the Run-Out Obligations, each Encumbered Theatre may, upon the mutual agreement of LLC and Cinemark, become a Theatre with respect to some or all of the Advertising Services, provided such election does not create a default under any Run-Out Obligation. In any event, except in accordance with Section 4.13 (Excluded Theatres; IMAX Screens) or as may be mutually agreed by the Parties in writing, each Encumbered Theatre shall automatically become a Theatre, for all purposes hereof, no later than the expiration of the Run-Out Obligations with respect to such Encumbered Theatre.


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2007 FRAMELINE31: OUT AT THE WEDDING—The Evening Class Interview With Mink Stole
Borrowing from Peaches Christ's website: "Mink Stole began her acting career in the early '70s as part of John Waters' cast of miscreants and has appeared in every John Waters film to date. She's often played memorable characters, acting as an embodiment of poor taste and a frequent arbiter of nasty schemes. Stole appeared in the infamous Pink Flamingos as Connie Marble, the red-haired villain in exaggerated cat-eye glasses and a fur coat. Stole's next two films marked her most memorable and prominent roles: obnoxious girl-child Taffy Davenport in Female Trouble and housewife-on-the-run Peggy Gravel in Desperate Living."
The morning after Frameline31's sold-out screening of Out At the Wedding at the Castro Theater, Mink Stole and I met over coffee at the Hotel Rex.
Michael Guillén: Congratulations on your participation in Lee Friedlander's Out At the Wedding.
Mink Stole: Thank you. It's a fun movie. I'm really pleased with it.
Guillén: Truly entertaining. I'm aware that the film recently won the Audience Award at the Newfest New York LGBT Film Festival and I think Out At the Wedding has a very good chance of winning Frameline's audience award as well.
Stole: That would be good. I really like this movie and I really like these people.
Guillén: That's what the Frameline publicists said to me when I requested this interview. They said you were really behind this movie and wanted to get the word out.
Stole: 100%.
Guillén: Clearly the film was loved by its audience and you were singled out by your adoring fans as the icon you are and the cinema outlaw you are. Was it really your first time on the Castro stage?
Stole: It was, yes! And I have always wanted to do a show there; I just haven't pushed it. One of these days I may.
Guillén: Do you know Marc Huestis?
Stole: I have met Marc Huestis.
Guillén: I can't believe he hasn't pulled you onto the Castro stage. I'll have to put a bug in his ear.
Stole: Well, it's going to be a little harder now because I'm moving back East for a while. So it's going to be a little more difficult to do it; but, not impossible. Planes go everywhere.
Guillén: Well, I'm glad you at least got to make an appearance on the Castro stage.
Stole: It was really exciting. I was really happy just to be at the Castro. It's a wonderful theater and it's drenched in history, and the [Mighty Wurlitzer]; it was really a thrill to have the movie there.
Guillén: I've grown up in that theater; I'm so lucky. You are, however, no stranger to San Francisco. You've shared the stage at the Bridge Theatre with Peaches Christ as part of Midnight Mass and are returning to kickstart her tenth season on the same weekend as John Waters. So this will be a reunion of sorts?
Stole: We see each other periodically. He should be there for my show and I should be there for his. He'll be in the audience for me; I'll be in the audience for him.
Guillén: I'm going to be interviewing Peaches on Monday about the new Midnight Mass line-up.
Stole: I adore Peaches Christ.
Guillén: So do I. One of the funniest people in the world.
Stole: And sweet. This will actually be my fourth time at Midnight Mass. I was his first live guest.
Guillén: Oh! I wasn't aware of that. The Midnight Mass montage they put together for your last appearance is fantastic. How did you connect with Peaches?
Stole: I was here doing Ronnie Larsen's play Sleeping With Straight Men at the Rhino. Peaches got in touch with me and said, "As long as …" [Pauses.] I think that's what happened. No, that's not how it happened. That was the second time I did [Midnight Mass]. The first time I did it … I don't know how it happened; I honestly don't.
Guillén: It was just one of those things that was meant to happen, eh?
Stole: I do remember them flying me up the first time. The second two times I was here.
Guillén: Speaking of Ronnie Larsen's Sleeping With Straight Men, you premiered that here in San Francisco at Theater Rhino and then you took it back East where it played off-Broadway, and then on to Boston. How was that, doing a play? Is it different than making a film?
Stole: Completely. They're both wonderful for totally different reasons. One of the wonderful things—and also horrible things—about film is that it's permanent. You do it once, you get it right—you hope you get it right—and then it's done and you move on to the next scene. With theater you repeat every night. Every night it's going to be a little bit different. There's this flying-without-a-net quality to theater because there's always something different. No matter how well you've rehearsed it. Some nights the audience is sitting on its hands and looking at its programs and they're not paying any attention….
Guillén: Being the fickle beast that they are.
Stole: Yeah. Then you go back and beat yourself up because the audience wasn't good. The nights when you've got the audience, there's nothing like it. But the thing I like really best—best being a relative term—I like being myself on stage.
Guillén: When do we get a one-woman show?
Stole: I've done one in L.A. a few times. I really enjoyed it; but, my life is topsy-turvy now with my moving back East so it will be a while before it happens again.
Guillén: I look forward to that when it does happen.
Stole: I really like it. I tell people it's like having dinner with me only I get to sing and you don't get to talk.
Guillén: Speaking of singing, you have your Wonderful Band.
Stole: I do have a wonderful band.
Guillén: Will they be backing you up at Midnight Mass?
Stole: No.
Guillén: Will you be bringing them back any time soon?
Stole: We did a gig here last year at the Café du Nord, which was fun. I had a really good time. I came up with my keyboard player Christian Hoffman who is terrific. He's also a songwriter. So he had his act and then played for mine.
Guillén: Returning to Sleeping With Straight Men, can you tell me about your role of Jill Johnson?
Stole: Jill Johnson was based on—what was her name?—Jenny Jones. The Jenny Jones talk show where a gay man came on and said he was in love with a straight guy and then the straight guy shot him. They came on together as a secret love and the straight guy shot him. I played the talk show host. It was an interesting show. It had problems. What I liked about it particularly is it didn't assign guilt. One of the things that was controversial about it was that it didn't blame the straight guy. It implied that the gay man was an accessory to his own murder. Not an accessory in the sense that he was asking to be shot, but, that he was doing something he had been warned was dangerous and inappropriate and was likely to result in nobody being happy. And he went ahead and did it anyway. Whether or not that was true with the actual real people, nobody knows. But there were people who saw the play who were angry because we didn't sanctify the gay man [who was shot]. But I thought it was interesting. I thought it was well-balanced. It also implicated my character, the Jill Johnson character, in what was going on because she was deliberately exploiting a potentially volatile situation. Ultimately, the only person who's to blame is the person who pulls the trigger; but, there are mitigating circumstances and provocations. People can do a lot of strange things when they're provoked that they wouldn't normally do.
Guillén: You have been involved in gay-affirmative projects from the get-go. You are regarded as a Universal Sister.
Stole: I am an honorary Gay.
Guillén: And we're blessed for that!
Stole: Thank you.
Guillén: And lately you've been playing a lot of mothers of lesbians.
Stole: Well, I played a mother of a lesbian in But, I'm A Cheerleader. Bud Cort and I were the parents of Natasha Lyonne. [Jamie Babbit's] latest film [Itty Bitty Titty Committee] is going to be closing [Frameline]. She's really good. She's a wonderful director. She and Andrea [Sperling] have been a terrific team for years. And then I played the mother of Robin in Girl Play, which I really enjoyed. That was my first production with the three women who are involved in [Out At the Wedding]. I've worked with Gina [Goff] and Laura [Kellam]; this is my fourth film with Gina and Laura. But it's my first film with Lee Friedlander. She is a terrific director.
Guillén: It's just as I commented during last night's Q&A when someone asked Lee to choose her favorite scene from the film, how could anyone choose one scene over the other? The continuity was flawless. It went from one funny scene to another.
Stole: It's like choosing your favorite child. You can't.
Guillén: And I appreciated how Out At the Wedding was commensurate in its portrayal of straights and gays. We're all on the same path trying to achieve joy.
Stole: Yes, exactly! Everybody's just trying to do the best they can and get as much out of life as they can.
Guillén: I do want to focus on the current film and I don't mean to indulge too much of the past….
Stole: But I have one! [Laughs.]
Guillén: Yes, you do have this wonderful shady and checkered past. The book. You have to write a book on your life and I understand that you don't want to do it unless someone sits down and prompts you. [Mink giggles.] I would gladly volunteer.
Stole: You don't want to live with me! I would need someone to actually be there in the morning and start jabbering at me when I first wake up. Nobody wants to live with me. I'm terrified of having people live with me. I'm not as nice 24 hours a day as I am during an interview, believe me. I'm not mean but I have my cranky moments.
Guillén: I wish the book would get written, though.
Stole: I should write it. It's partly that a lot of stuff I actually don't remember.
Guillén: That's why the coaxing would help.
Stole: The coaxing would help, yes, because the more I talk, the more comes back.
Guillén: I think it's important for you to write your memoirs because—as I was thinking about it last night—the early work you did with the Dreamlanders, you probably didn't have a sense of what you were really doing.
Stole: Of course not.
Guillén: And yet time has revealed that those films were the springboard for cultural and creative expressions among so many queer and transgendered individuals. It's phenomenal.
Stole: It's unbelievable. It is phenomenal. No, of course, none of us had any idea. If anyone had any idea, it would have been John [Waters]. But I don't think even he—because John was very ambitious and was very motivated and deliberately out to make a big name for himself—and the rest of us were very happy to tag along. We knew we were doing what was the most fun to be doing in Baltimore at the time. We did know that. We did have a sense that we were doing something really cool. But there was, of course, no way—because plenty of people make a splash and then they're gone—so there was no way to know. And I'm actually really glad we didn't know because we would have been really self-conscious.
Guillén: Good point. Because sometimes I see films that are emulating what you folks did back then and they don't quite work precisely because they are self-conscious.
Stole: And we really weren't. Here's something that I say in a lot of interviews. We were not unprofessional; we were untrained. I used to get really hot under the collar when people would call us unprofessional actors because to me professionalism was a work ethic as opposed to a training. Our work ethic was really strong. We arrived on time. We did our work. We knew our lines. We were not goofing off on the set. Between scenes, we'd get a laugh. We weren't rigid. We were having a good time. People still think, "You mean, you weren't all just taking drugs and making things up?" Not at all. Every word was scripted. We had to know our lines. There was no money for retakes and everything was shot in master. I've said this a lot of times but—if you had a five-minute scene and somebody blew a line four minutes and 48 seconds into the scene—we started at the top. Nobody wanted to be the one who blew five minutes worth of film. Nobody wanted to be that person. So we tried very very hard to do everything really well the first time. That's incredible training. We didn't know from marks on the floor. We hadn't had the training but we were incredibly professional.
Guillén: What I think is also culturally interesting is that—you may not have had training as the actors—but, audiences also hadn't had training in how to receive these films. Just as you were learning how to make the film as you went along; audiences were learning how to receive the films.
Stole: That's true! I never thought about that.
Guillén: For me that's what's so delightful and engaging about that period of work. We were all learning together what we thought was bad taste and what we enjoyed about bad taste.
Stole: John's taste is impeccable. His personal sense of taste and style is truly impeccable. So his knowledge of bad taste was as good as his knowledge of good taste.
Guillén: Now you guys got along, right? Because—as I was reviewing the films—you get killed….
Stole: A lot. [Laughs.]
Guillén: You get stabbed in the chest by Divine in Multiple Maniacs. You get shot in the head by Divine in Pink Flamingos after being gagged and tarred and feathered. You get strangled by Divine in Female Trouble. You get shot in the butt in Desperate Living. And you get strangled on a staircase in Polyester.
Stole: [Blithely] Yeah. I did. I got killed a lot. Mmmmm-hmmmmm. Oh, and I died in the opening scenes of Cecil B. Demented.
Guillén: That's right, you had a heart attack.
Stole: No, [John and I] actually did get along. But I was always the antagonist. I was always the uptight foil. I was a great foil for Divine. Divine and I could have gone on to do more fun things together because I loved working with Divine. If you look at those scenes in Female Trouble where it's just Divine and me, there's a real connection that we had. Divine was an incredibly generous performer. There was no trying to upstage to get a little more attention. We were incredibly focused on each other. I loved that. I loved knowing that. I felt really safe. The emotional commitment was equal between us. I really loved working with him. I loved being his foil. I wanted to win once. I thought it would really be nice to win once. And I was sort of on the winning side in Hairspray; but, that was like the first time. Yeah, and I guess sort of in Dirty Shame I was on the winning side; I flipped to the winning side at the end of the movie. But that was the first time that I was on the side of the winners, was in Hairspray.
Guillén: Speaking of Hairspray, of course there's all this hoopla going on about the current movie that's about to come out based on the Broadway show. Did you ever see the Broadway musical?
Stole: Yes, I saw it twice. I saw it in New York with Harvey Fierstein and then I saw it in L.A. with Bruce Vilanch.
Guillén: Any thoughts on the musical adaptation?
Stole: It's fluffy. Certainly a lot of the real depth of the movie isn't there. But it's a light, entertaining way of telling a story that was a true story.
Guillén: Hairspray remains one of my favorites of John's films. It marks a crossover where John's style or the Dreamland style becomes more accessible to the public.
Stole: Which caused some problems because parents who had rented Hairspray for their kids would go back to the video store and go, "Oh, Pink Flamingos! We loved Hairspray!" And then, oh my God. It caused a few problems there but Hairspray was such a sweet story and Ricki Lake was such a find. The whole time on the set she was like this big adorable St. Bernard puppy. She was just, "Love me, love me." And you couldn't not love Ricki. She's still one of the nicest people in the world.
Guillén: Were you approached to cameo in the new Hairspray movie?
Stole: I wasn't. John's in the movie and Ricki might have a cameo in the movie, but, I wasn't.
Guillén: Well, that's not fair.
Stole: I agree totally. I was hugely put out. [Laughs.] It would have been nice to be part of that but I think that—if they had too many people from the original film—it would have been more like acknowledging the original. This is a movie of the musical; it's not a remake of the movie. My character in the original movie got blended with Deborah Harry's character in the Broadway show so now Michelle Pfeiffer is playing me and Debby [in the new film].
Guillén: Any reminisces on Tab Hunter in Polyester? What was it like working with Tab Hunter?
Stole: I didn't really work with him that much. He was perfectly lovely. I mean, he was perfectly nice; but, I didn't really have scenes with him except for the end scene where I get killed. He was lovely. And he was in Baltimore working on our little low-budget film. We didn't have all the amenities. I think we might have had snacks on the set. It wasn't even a union film. There were no craft services or anything like that.
Guillén: All that water under that fabulous Dreamland bridge, you have continued on making movies elsewhere. You're a shining example of perseverance and what it takes to remain an actor in this business. You've done—what?—30 more films?
Stole: I've done a lot of movies.
Guillén: I just saw you recently in a bit part in Flirting With Anthony.
Stole: I haven't seen that. How did that come out?
Guillén: You're a prognosticating Tarot card psychic!
Stole: [Laughs.] But I've never seen the film.
Guillén: You're kidding?! I had issues with the film; but, I was happy to see you in it.
Stole: I did that movie because friends of mine asked me to do it and not because it was going to be any great career move for me. Very few of my films are great career moves.
Guillén: Clearly you participate for the love of doing it?
Stole: I kind of do.
Guillén: So many of the bit parts and cameos that I've seen you in—sometimes they're not even scene stealing—are always welcome because it's you, it's your presence.
Stole: Thank you. I do truly love it. A happy day is a day when I have to get up at 4:00 to be on a set at 5:30.
Guillén: So with your Frameline entry Out At the Wedding, how did that all come about? Were you approached?
Stole: Yes. Like I said, this is the fourth movie I've made with Gina Goff and Laura Kellam who are the producers and the second movie that Lee Friedlander has been involved with them. I worked on Girl Play with that team.
Guillén: But Girl Play didn't get anywhere near the reception Out At the Wedding did at last night's screening.
Stole: No. Girl Play did well. I liked Girl Play a lot; but, Girl Play wasn't as laugh outloud funny as this one, not as consistently funny as this one. Last night was the first time I'd seen [Out At the Wedding] and I was very happy.
Guillén: You must have been.
Stole: I was. I was very pleased. Because you never know. It was a good time on the set and I watched a lot of the scenes being done and they looked good; but, I'm not behind the camera. I'm not in the editing room. I don't know what's going to happen. I trust Lee. I think she's a really good director.
Guillén: I was impressed.
Stole: I do. I trust her. She's really an outstanding director and she's a wonderful actors' director because she just lets you go and then occasionally throws a little suggestion here and there, something you might do to tweak it a little bit, but it's not an overpowering, "You need to do it this way." John's a little overpowering. "I need it this way."
Guillén: Describe your character Sunny in Out At the Wedding.
Stole: I'm the doting mother and beloved wife. I really like the characters. I adored Reginald Veljohnson. I fell in love with him. I think I walked into the dressing room and he was standing there in his boxer shorts and it was just, "Honey, I love you." We just instantly clicked. He was so easy, so smooth. One of my favorite scenes is actually the scene with Reggie in the bedroom where I'm just rubbing his head. I think that showed how comfortable we were together. Instantly. We had to be, married 30 years. The Jewish [thing] was irrelevant to me because I don't think people walk around [broadcasting] their religion.
Guillén: I took that as a necessary set-up for Mike Farrell's punchline.
Stole: Yes, it was. But [in Out At the Wedding, Reginald Veljohnson and I] are a mixed racial couple and we have this beautiful son and I'm very concerned. Something strange is going on and my son is involved. I don't want anyone to hurt my son. So I'm very suspicious of Alex [Andrea Marcellus] and of what's going on. I'm very concerned that something's going to hurt my son. But I'm happy when it works out.
Guillén: Will you be traveling with the film around the festival circuit?
Stole: I'm not going to be traveling. I'll go to Outfest because I love Outfest; it's a terrific festival. But that's probably it. I know it's going to be in Philadelphia in July, but, I'm moving. I have a lot of work to do.
Guillén: What's precipitating the move back East?
Stole: My mom is getting older—she's nearly 90—and she's still well; but, I just thought I want to be with her while she's still my mom. Before she turns into a cabbage. …I just decided maybe it's time to take a really big fork in the road. I'm still processing [my decision]. I'm still completely in denial that I'm doing it and yet excited that I'm doing it. …She, apparently—I didn't realize—is excited at the prospect of having me back.
Guillén: How has she accepted your career?
Stole: She hated it. She loathed it. First of all, she thought—being as monocentric as everybody is—that I was doing it deliberately to ruin her life. It had nothing to do with me; it had everything to do with her. Since Polyester, she's mellowed. She's actually in Hairspray. She's an extra in the big auto show scene. She goes to all the premieres. She loves the parties. It took the world telling her that I was okay. She couldn't come to that on her own. Of course she won't acknowledge that now. Everybody's memory is selective.
Guillén: You must admit you came off as a problem child.
Stole: I did. And I wasn't an easy child ever. I was never an easy child. So the fact that it was making my mother miserable was kind of fun for me, I'll admit it. It's not why I did it; but, the fact that it was having that effect was a plus.
Guillén: So, according to IMdb, you're just finished the role of School Secretary Stole in Matthew Buzzell's Sunny & Share Love You.
Stole: Y'know, I really don't know anything about that movie. I was on it for one day. I'm going to see it in a couple of weeks at Outfest. But I never read the script. I read my pages.
Guillén: Does this happen often where you're brought in for just one day or two days on one scene or two?
Stole: Sometimes, yeah. On this one, a friend of mine was one of the producers and she asked me to come in to do it. So I did it. That happens a lot, that someone will ask me to come in. I don't really have an agent. I live very simply. I'll probably have to get an agent when I go back to Baltimore because people won't be able to call me up to come over—"Can you drop in this afternoon and shoot a scene?"—it's not quite that casual but a lot of the work comes from friends and people that I've worked with.
Guillén: In your Dreamland period, what was your favorite film? And after your Dreamland period, what was your favorite film?
Stole: Female Trouble will always be my favorite, always, of every film I've ever done.
Guillén: And that's where Taffy Davenport has her infamous line: "I wouldn't suck your lousy dick if I was suffocating and there was oxygen in your balls!" [Laughs.] One of the funniest lines in cinema history.
Stole: It was never my favorite line. It's too long. I liked the ones [adopting Taffy's voice]: "Mother, there's a shithead here to see you." Actually, I don't really remember most of the lines. People come up to me and start [quoting] and I'm like, "What are you talking about?" But I loved that movie. And I loved Serial Mom.
Guillén: How was working with Kathleen Turner?
Stole: She was great. She was really fun. She had a wonderful time making Serial Mom and I think when people are having fun, they radiate.
Guillén: It was one of her best performances, I thought.
Stole: Truly.
Guillén: Was it true that she had issues with your being cast in the film?
Stole: I had been told that there was somebody else she wanted for the role; that she wasn't happy when she didn't get her way. Anyway, when I met her, I got called up for a makeup check unexpectedly and I didn't have my contacts with me. So I'm sitting in the makeup wagon, totally blind, and all of a sudden this person looms behind me, [doing a breathy Kathleen Turner] "Hello, I'm Kathleeeeeeeeeen." I already knew that she had wanted somebody else and I was really nervous—and also she was the biggest movie star I'd ever met—so I was nervous to meet her. I was like, [timid] "Hi." She left and then a little while later I was standing outside and I was in full [costume], my makeup was done, my hair was done, I was in an outfit, and she sort of breezed past me and she said, "Well, you do have a certain flair." [Laughs.] Phew!!
Guillén: Well, I'm glad she didn't get her way.
Stole: Me too. But we got along absolutely fine after that. I think it was just a power play.
Guillén: After the Dreamland period, of the many films you've made?
Stole: I really love But, I'm A Cheerleader. I love [Out At the Wedding].
Guillén: It has a lot going for it.
Stole: I'm really happy with this one. I've got another movie that just came out on video called Eating Out 2, have you seen that? I like that one too.
Guillén: I haven't; but, I know of it. The thing is, I'm not a great fan of gay comedies. That's why I was so pleased last night with Out At the Wedding. I really felt you guys nailed the whole screwball comedy of errors down pat.
Stole: And it's not really a gay movie. I mean, it has gay elements, but, it's about family. It's really a story of two sisters. There's a lot in it. It touches upon so many [issues]. It's an interracial movie, if you want to go there.
Guillén: And the performances of the ensemble are evenly-balanced with fine performances throughout.
Stole: They cast it really well.
Guillén: Well, I wish you well on the move back to Baltimore. Again, congratulations on your performance in Out At the Wedding and I thank you so much for taking the time to speak with me today. I'm looking forward to seeing you at Midnight Mass with Peaches Christ. I have such great respect for your continuing artistry and your continuing activism.
Stole: That's so sweet, thank you. There are things that are important. I'm going to give you a hug. [We embrace.] This was a lovely interview; I really enjoyed it. I do a lot of them and not all of them are good.
Guillén: Well, I never thought I would reach a point in my life where I'd have the opportunity to sit down to talk to someone like you, Mink. And mainly it's just to say thank you. That's what this is all about for me. Thank you for all these years of entertainment and inspiration.
Stole: Believe me, I would be nothing if it weren't for the people. And I don't want to say that and sound sappy; but, you have no idea. Because I've never made any money. You don't make a lot of money making indie films. But what I get: the love that I felt when I walked on the stage at the Castro. I feel, "This is better than money." Money would be nice—let's not kid ourselves—but there's something that I get [from audiences], especially in San Francisco; San Francisco has treated me better than any place I ever go. I don't want to live here because then it would stop. Then I would just be, "Oh, her…." San Francisco treats me like royalty and I love it! [Laughs.]
Brian Darr said...
Wonderful interview, Michael! Mink Stole's first appearance at Midnight Mass in 2001 was also the occassion of my first appearance in a Midnight Mass audience. And my first time seeing Desperate Living. It was a John Waters experience yet to be topped. I'll be very excited to read your interview with Peaches Christ.
Tuesday, June 26, 2007 at 11:55:00 PM PDT
Hello, Brian, long time no see. Thanks for stopping by. I'm glad you enjoyed my chat with Mink. She's so lovely and open. Will you be attending opening weekend of Midnight Mass. It's a conflict I know because it's at the same time as the Silent Film Festival; but, I'm going to go for it. Probably I'll just catch Peaches' opening acts and skip on the films.
Wednesday, June 27, 2007 at 10:17:00 AM PDT
As tempting as it might be to relive my first Midnight Mass experience and see Desperate Living again there, and to see Female Trouble with that audience, I really doubt I'll have the stamina to do that and see everything I want to see at the Silent Film Festival. The idea of popping in for the pre-show but not for the films has some appeal, but not to my bank account.
But I'll definitely be buying my ticket to the Creature From the Black Lagoon screening with Elvira in person!
Wednesday, June 27, 2007 at 3:09:00 PM PDT
Well then, it will be your responsibility to nudge me awake at the afternoon Silent Film Festival screenings. Heh. No, not really. I'm responsible for my own catnaps. Michael Hawley's actually going to have a car that weekend so he's promised me to drive me home after Peaches pre-show theatrics. That will help somewhat. Then I figured I'd just shave off the morning screenings at the festival and stick to the mid-day through evening stuff.
Wednesday, June 27, 2007 at 10:14:00 PM PDT
I hope that doesn't mean missing Retour de Flamme, which is surely going to be one of the best programs in the festival. Seeing Melies (and other early French) films on the big screen in good prints, with the SFF audience is probably what I'm anticipating more than anything else this year.
Thursday, June 28, 2007 at 10:18:00 AM PDT
Because I trust your judgment implicitly, I will make sure not to miss Retour de Flamme.
2007 FRAMELINE31: THE FALL OF '55—The Evening Clas...
2007 FRAMELINE31—Michael Hawley's Wrap-Up
2007 FRAMELINE31—Awards
2007 FRAMELINE31—Itty Bitty Titty Committee
TURNER CLASSIC MOVIES: SPIELBERG ON SPIELBERG—The ...
I HAD TO SAY SOMETHING—The Evening Class Interview...
MAYA, CUMMING & WINTERBOTTOM
2007 FRAMELINE31: OUT AT THE WEDDING—The Evening C...
2007 FRAMELINE31: THE BUBBLE—The Evening Class Int...
2007 FRAMELINE31: SUFFERING MAN'S CHARITY—The Even...
2007 FRAMELINE31: RED WITHOUT BLUE—The Evening Cla...
A MIGHTY HEART—The SF360 Interview With Michael Wi...
2007 HOLEHEAD: MAN FROM EARTH—The Evening Class In...
2007 HOLEHEAD—Man From Earth
DAVID HUDSON & THE GREENCINE DAILY—The Cinematical...
2007 FRAMELINE31—Michael Hawley's Preview Picks
TRANSGENDER CINEMA—Enough Man Q&A With Director Lu...
2007 FRAMELINE31—SF360 Coverage
SILENTS ARE GOLDEN—Festival Lineups
3RD I—Pride Month Screenings
THE GLOBAL FILM INITIATIVE—Awards Granted to Six P...
2007 HOLEHEAD—The SF360 Interview With Dennis Nyback
LA VIE EN ROSE—The Evening Class Interview With Ol...
HOSTEL 2—The Evening Class Roundtable Interview Wi...
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BAMAKO—The Greencine Interview With Danny Glover
2007 HOLEHEAD—SF360 Picks & Opening Night
ONCE—The SF360 Interview with John Carney, Glen Ha...


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• West Virginia • Beckley
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Introduction >
Situated on a lofty plateau surrounded by green valleys in southern West Virginia, Beckley is the state's coal heritage capital. The small town is an important stop on the Coal Heritage Trail, a National Scenic Byway, detailing life in the region when coal was king. While mining was once Beckley's primary occupation, the town is now a commercial, medical and tourist center.
Coal car tours of underground mine passageways conducted by veteran miners at Beckley Exhibition Coal Mine introduce visitors to the area's industry from April through October. Located in Beckley's downtown New River Park, the site also features a coal company house and superintendent's home. The Youth Museum of Southern West Virginia, at the same location, has hands-on exhibits and a planetarium.
West Virginia arts, crafts, music and foods are showcased at Tamarack. The cultural center features year-round festivals, performing arts, theatre and fine dining. In addition to fast food, other dining options at Beckley include fine dining at The Char, a family-owned steak house and Pasquale Mira Restaurant featuring lasagna, fettuccine, steaks and seafood.
Tennis, swimming, trails and a campground are available at New River Park. Lake Stephens, west of town, is a 303-acre lake with swimming, fishing and boating. Nearby, the northern end of the New River Gorge National River is surrounded by 90 wooded acres with overlooks of the gorge and Horseshoe Bend. The area features hiking, picnicking and playgrounds. Whitewater rafting is popular on the New and Gauley Rivers. Skiers will want to try nearby Winterplace Ski Resort on southern West Virginia's highest peak.
Beckley is located about one hour southeast of Charleston, WV. Take East 60 to I-64E to exit 44.


EIA's latest Short-Term Energy Outlook, issued in May 2015, reflects continued production growth in 2015 and 2016, albeit at a slower pace than in 2013 and 2014, with U.S. crude oil production in 2016 forecast to reach 9.2 million bbl/d. Beyond 2016, the Annual Energy Outlook 2015 (AEO2015) projects further production growth, although its pace and duration remains highly uncertain.
Recent increases in domestic crude oil production and the prospect of continued supply growth have sparked discussion on the topic of how rising crude volumes might be absorbed. As EIA noted nearly two years ago, relaxation of restrictions on U.S. exports of crude oil is only one among several ways to accommodate growing near-term flows of domestic production (EIA, This Week in Petroleum, "Absorbing increases in U.S. crude oil production," May 1, 2013). Recognizing that some options, such as like-for-like replacement of import streams, are inherently limited, the question of how a relaxation in current limitations on crude exports might affect domestic and international markets for both crude oil and products continues to hold great interest for policymakers, industry, and the public. In response to multiple requests, EIA is developing analyses that shed light on this question, including earlier reports on gasoline price determinants (EIA, What drives gasoline prices?, October 2014), changes in U.S. crude oil imports to accommodate increased domestic production (This Week in Petroleum, "Crude oil imports continue to decline," January 23, 2014), options for refinery capacity expansion (EIA, Technical Options for Processing Additional Light Tight Oil Volumes within the United States, March 2015), and refinery responses to higher, but fixed, levels of domestic crude oil production under both current crude oil export restrictions and with unrestricted crude oil exports (Implications of higher domestic crude oil production for U.S. refining, May 2015).


Anthony E. Beebe, PhD, EdD, has been both an instructor and an administrator during his nearly 30 years in higher education. Dr. Beebe is currently Superintendent-President of Santa Barbara City College, which has been formally acknowledged as one of the top community colleges in the country.
Anthony earned a Doctor of Education degree from Oregon State University, an MBA from California State University, Sacramento, a Bachelor's degree in business administration from the University of Oregon in Eugene, and an Associate's degree from Lane Community College, also in Eugene. In 2003, he completed the Harvard University Graduate Institute for Higher Education Management Development Program. In the Spring of 2017, he completed a PhD in Human and Organizational Systems from Fielding Graduate University in Santa Barbara..


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Socialist Party | Print
Making Criminals Out Of Us All
HOME SECRETARY David Blunkett hopes to introduce Identity (ID) Cards which we would have to carry to gain access to public services such as health, benefits and education.
By John Reid
The card-carrying may be 'voluntary' but if you're on benefits or unemployed it will in effect be compulsory. Refusal to carry the card or even losing it may carry fines.
ID cards were abandoned in 1951 due to huge opposition including civil disobedience. Now the card is being put forward as a cure-all solution to crime, terrorism and 'illegal' asylum.
But even Peter Lilley - a former Tory minister - says that the police "almost never had problems identifying suspects, only in catching and convicting them.
"The security services explained that terrorists rarely conceal their identity". Organised criminals and terrorist organisations could anyway quite easily obtain forged documents.
All so-called 'illegal' immigrants, most of whom quite legitimately claim asylum, nonetheless have their fingerprints taken, which are stored on a central computer. They are given an identity document without which they cannot legally obtain a job or benefits.
People may say carrying a credit card identifies you, is carrying just one more bit of plastic a problem? But if you forget your credit card it's not a criminal offence. If you were stopped and didn't have your identity card it would be.
If you fail to report that you've lost it, you would commit a criminal offence; likewise if you don't notify a change of address. It would potentially criminalise thousands of law-abiding citizens, without helping catch one criminal or terrorist.
Even right-wing President Bush does not consider IDs worth introducing in the USA. So the scheme, estimated to cost £1 billion, would have little effect on reducing crime or terrorism or even so-called 'illegal' immigration, it would just alienate and criminalise large sections of the population.
ID cards would also increase the police's stop and search policies. Blacks, Asians, indeed anybody who looked 'foreign' could be stopped and searched. This would cause even more tension between the police and the population, particularly the Black and Asian communities.
If a poll was carried out now most people might favour bringing in ID cards. When an attempt was made to introduce a similar ID scheme to Australia, initially the polls showed support for the scheme, but as opposition groups explained its implications, opposition grew to 90% in the polls and the plans were abandoned.
A similar campaign needs to be waged in Britain to get the scheme ditched here. I was involved in the campaign against ID cards in 1989, when Thatcher attempted to introduce them for football fans. I am certain a successful mass campaign can be built and won.
http://www.socialistparty.org.uk/articles/24660