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Hopefully, in a week-and-a-half, when the research comes to an end, Miller and I will both have some more exciting results to share with you. Until then, you can simply stare in awe of my fantastic engineering feat.
But after 25 years of use, emoticons have started to jump off the page and into our spoken language. Even grown men on Wall Street, for example, will weave the term 'QQ' (referring to an emoticon that symbolizes two eyes crying) into conversation as a sarcastic way of saying 'boo hoo,'" Alex Williams writes.
Zuckerman, left, on a panel with Al Gore and Roger Ailes.
After amassing a fortune as chairman of Boston Properties, the power-hungry billionaire decided to play a hand in the course of history. The purchase of three influential publications allowed him to acquire such a role. The Atlantic, U.S. News and World Report, and the New York Daily News target three different audiences and provide Zuckerman a bully pulpit from which to advance his views.
As a hawkish Democrat, Zuckerman often plays a convincing neoconservative, a characteristic especially noticible in his McLaughlin Group punditry. During the lead-up to the Iraq War, Zuckerman was a strong supporter of invasion; even in 2004, his Daily News endorsed Bush. Only recently, like so many others, has he started to come around to reality. "[He] now deems the war, and the Administration, to be a disaster, though one worth seeing through; he supports the surge."
On McLaughlin Group, one often catches him after a policy mission to Israel. The Jewish State's Ambassador to the United Nations, Dan Gillerman, considers Zuckerman to be a "roving ambassador to and from the United States and Israel." Often annoyed with Pat Buchanan's de facto anti-Israel rhetoric, Zuckerman takes over the group's Middle East discussions at McLaughlin's behest and maps out the real picture, or a synthesis of the pictures perceived by the D.C. emissarial establishment and Tel Aviv government.
Influence is a finite commodity, valuable due to its scarcity. Through persistence, charm, and shrewd business acumen, Zuckerman makes out with a fair share of the available stock. As the chairman of the Conference of Presidents of Major American Jewish Organizations, he holds the highest position in the hierarchy of Jewish advocacy institutions. Abraham Foxman, head of the Anti-Defamation League, calls the rank "the King of the Jews," making Zuckerman a latter-day Solomon; a representative, in Ambassador Gillerman's eyes, of the Jewish people, not just Israel or the United States.
A small but significant clique of powerful Jews share Zuckerman's bellicose foreign policy views. Zuckerman labels Iran an irrational actor, Lebanon a haven for Hezbollah, Hamas a band of terrorists. Iraq's WMDs embodied a mortal threat to the Jewish State. Like coreligionists Paul Wolfowitz and Douglas Feith, Zuckerman often takes stances in response to the worst-case scenario for Israel. And those who simultaneously breathe the rarefied air of neoconservatism and wield political power often make decisions that create unpredictable and dangerous results.
In the Times article, Gina Kolata writes:
"If the new research is correct, it may say that something in the environment seeded what some call an obesity epidemic, making a few people gain weight. Then social networks let the obesity spread rapidly.
It may also mean that the way to avoid becoming fat is to avoid having fat friends."
From anecdotal evidence, I'd say you're more likely to become obese if your friends eat slow. Hardly a day goes by at the dinning hall when I eat more than I need simply because my eating partner is a sloth of an eater.
From left to right: loser, loser, winner.
Mike Gravel let loose barbs upon the other candidates, accusing Hillary, Barack, and Edwards of taking money from the evil corporate interests. He also took a train instead of a jet, if anyone cares. The cameramen loved low-angle closeups of the Alaskan senator's mug as it spewed vitriol all over the stage.
Kucinich, the other zero percent chance of winning longshot, is obviously supported by telecom companies. Every utterance out of his mouth involved telling people to text message the letters P-E-A-C-E. No information was provided as to where you should direct the text. Atop Long Mountain, looking west toward Mount Norwottuck.
Atop Long Mountain, looking southwest.
Atop Rattlesnake Knob, looking east toward Long Mountain.
Atop Rattlesnake Knob, looking north. The red arrow points out Memorial Hill at our fair College, with the towers of UMass looming only a few pixels behind as specks.
JT, another reasearch fellow, and I set off after a slightly too filling lunch upon the longest hike of my life. From Amherst College, the Holyoke Range looks like a line of hills, roughly level with the top of Memorial Hill. After traveling to the ridge, I can tell you that hill is the word used by people who haven't made the journey.
The Holyoke Range stretches over 50 miles. It represents the erosional remnants of a basaltic lava flow from the early Jurassic Period, almost 200 million years ago. Before the Atlantic Ocean formed, there was a series of failed rifting incidents in what is now the Eastern United States. Analogous to what is now happening in the Great Rift Valley of Eastern Africa, an upwelling of magma spread the crust under paleo-Massachusetts, creating a rift valley and lava extrusions in the thinnest areas. Also related to this event was the deposition of sediment in a deltaic setting inhabited by a variety of dinosaurs, resulting in the preservation of dinosaur footprints. With the lithified material currently located in the Connecticut River Valley, Edward Hitchcock, the third president of Amherst College, collected many specimens, thereby amassing the largest assemblage of dinosaur footprints in the world. It is now housed in the College's Natural History Museum.
Bruckner as a silhouette entering heaven. He is greeted from left to right by Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, and Bach, at the organ.
Bruckner's Seventh Symphony, the most popular of his oeuvre since its release, passes motives through every conceivable key, mode, possible dynamic, and section of the orchestra. The observation that Bruckner's orchestral effects echo the rumblings of an organ loft remains a proper cliche. All of the symphonies' finales let loose the brass like organ stops; supporting harmonic oscillation takes after pedal point. Although his idiosyncratic style broke with tradition, Bruckner's music is exceptional in its simplicity. As the final movement of the Seventh approaches its climax, for example, the composer repeats his theme over and over, with each iteration only gaining an interval and layer of sound until the ultimate blast of affirmation. Gustav Mahler, one of Bruckner's greatest admirers, described the man as "half simpleton, half God."
A standing Nielsen with the members of the Copenhagen Wind Quintet. Nielsen wrote a great quintet for the group, and concerti for the flautist and clarinetist.
Nielsen tinkers with melodies so that even his grandest symphonic edifice bears structurally compromising cracks. His most mature music is proliferated with so many flutters that the trill and turn are more substantive than the occasional outburst of melodic meat. As a result of these meanderings, Nielsen's music is extremely hard to play. Osmo Vanska, maestro of the Minnesota Orchestra, claimed before a concert with the piece on the program that Nielsen's Sixth, subtitled "Sinfonia Semplice" ("Simple Symphony"), is the hardest symphony ever composed. Amongst clarinetists, it is common knowledge that his Clarinet Concerto is the most technically ardous piece in the repertoire -- upon receiving the manuscript, dedicatee Aage Oxenvad of the Copenhagen Wind Quintet grumbled that to have written such obscure and squeaky sequences of notes, Nielsen must have known how to play the clarinet. In contrast to Brucker's late masterpieces, which conclude with the heraldically triumphant, in full praise of the Almighty (he intended to write a major key final movement for the unfinished Ninth Symphony), the Nielsen Clarinet Concerto and Fifth and Sixth Symphonies leave earthy and esoteric afterthoughts. Composer and Nielsen scholar Robert Simpson writes, "The tense Clarinet Concerto, hitting every nail ruthlessly on the head, is the finest since Mozart's masterpiece, and the problems it raises will have powerful significance while there is trouble in the world."