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Last March, I began thinking constantly about a stranger named Ann Goldstein. Things like: What would Ann Goldstein do? I bet Ann Goldstein never has to look things up on grammar blogs. I wonder how Ann Goldstein felt about doing that sex scene.

Most readers who succumb to the phenomenon known as Ferrante Fever become obsessed with the Italian writer whose pen name is Elena Ferrante, and with the friends Elena and Lila, who form the center of Ferrante’s tetralogy known as the Neapolitan novels. I was no different, only my obsession also extended to Ferrante’s translator into English, Ann Goldstein. I fell under the spell of Ferrante-Goldstein just as I was working on line edits for my translation of The Complete Stories, by Brazilian writer Clarice Lispector. Lispector, or Clarice, as she is known in Brazil, inspires a similarly passionate devotion and is now having her own moment of Lispectormania in English.

As I sped through the first three Neapolitan Novels, then lingered over the leaner, less addictive, yet equally absorbing novels Troubling Love, The Days of Abandonment, and The Lost Daughter, I kept comparing Ferrante and Lispector, Goldstein and myself. I was nearing the end of a delirious two years spent translating a story collection that spanned Lispector’s entire writing life. I followed her development from the age of nineteen in 1940 through her death in 1977, as she invented heroines at different stages of women’s experience—girls, young ladies, wives, mothers, grandmothers, widows. This trajectory came echoing back to me as I accompanied Ferrante’s heroine Elena from My Brilliant Friend onward, as she grows up and becomes a writer, narrating the lives of women in 1950s Italy to the present.

I was also struck by a certain force, even violence, in both Ferrante’s and Lispector’s writing. Their styles don’t always converge, yet both have a way of handling a description, or even a single sentence, with a stark originality and truth that can punch you in the gut. I’ve felt alternately seduced and trapped by both authors, who envelop the reader in their characters’ interior worlds.

Lispector’s The Complete Stories was my first book-length translation. By the end of it, I was a transformed woman. I was also a wreck, going cross-eyed from pages and pages of proofs, anxiously tweaking words, worn out from the emotional weight of Lispector’s characters. I wished I were Ann Goldstein, as I imagined her: unflappable, expertly laying down “elegant, burnished English,” as James Wood described her translations of Ferrante in The New Yorker. Her work possesses an assurance that comes from over twenty years of translating, ten of them spent with Ferrante’s books, as well as a singular training—forty years at The New Yorker, where she is head of the copy department.

Last August, I traveled to New York for the launch of Lispector’s The Complete Stories and wrote to Goldstein asking if she’d like to meet. I wanted to bask in her aura of a nonchalant badass but also had practical questions on translation, Ferrante, the mysteries of the publishing world. We had cocktails and salads on a Friday night near The New Yorker offices at One World Trade Center. For Goldstein, September would bring the launch of not only the final Neapolitan novel, The Story of the Lost Child, but also the three-volume The Complete Works of Primo Levi, for which Goldstein served as editor, coordinating the work of nine translators besides herself. Her forthcoming translations include a collection of Ferrante’s interviews and essays called Frantumaglia: Bits and Pieces of Uncertain Origin, Pier Paolo Pasolini’s novel The Street Kids, and In Other Words, a book by Jhumpa Lahiri about Italy, her recently adopted home.

In November, Goldstein visited San Francisco for a panel on Primo Levi. She came over for tea on a Sunday afternoon, where we took up the threads of our previous conversation, including both the public secrets of Ferrante and Lispector, and all those that cannot be divulged.

Katrina Dodson for Guernica

Guernica: What has it been like to accompany Ferrante’s work and its reception over the course of ten years and seven novels? How has your experience of representing her developed over the years, both in translating her and in being called upon to speak on her behalf whenever a new book comes out?

Ann Goldstein: You know, that only really happened recently, that I became the face of Elena Ferrante, if I can even put it like that. Well, her representative in the world, at the moment. When The Days of Abandonment came out, that was the first book that was published in English, and it was well received. But it didn’t make a deep impression in the literary world, and there wasn’t a huge amount of speculation about who she was. But just after My Brilliant Friend came out, James Wood wrote that piece in The New Yorker, and that is considered the turning point of when she began to get attention. The third Neapolitan novel [Those Who Leave and Those Who Stay] was the beginning of Ferrante Fever. It’s only been with the fourth one [The Story of the Lost Child] that I’ve had to do a lot of representing. They couldn’t have the writer, so they would take the translator. I’ve been on panels or discussions with so many different writers, it’s incredible. Last year I did a few events, but not to this extent. I mean, it’s just been wild.

Guernica: It’s interesting, because usually the translator is an anonymous presence.

Ann Goldstein: Right. And besides talking at events, I’ve also been interviewed, which I never was before, except on obscure Italian websites. When this was beginning, I thought, this is a great moment for translators. To have the translator be a figure in the book’s presentation seems like a big thing, especially for a book that’s really popular.

Guernica: I think of Ferrante’s novels in two groups. There are the Neapolitan novels, with their epic, historical sweep, addictive plot twists, and detailed portraits of neighborhood life in Naples. And then there is the trio of Troubling Love, The Days of Abandonment, and The Lost Daughter, which feel sparser in their language, more claustrophobic in how they enter into their heroines’ psyches. Time speeds up in the Neapolitan novels, and I’ve burned through some of them in just a couple days, whereas time seems to move very slowly in the other novels, which make for a more arduous read. What were the differences for you in translating the Neapolitan series versus the others?

Ann Goldstein: The Days of Abandonment was the first one that I translated and the first one that I read. It was a very intense experience because it is such an intense novel. I think in some ways it’s harder, and the language is very dense. It’s so psychological and so much in the mind of the narrator. Of course, the Neapolitan novels are in the mind of someone, but they cover sixty years, in which this person does many different things and has many different experiences, whereas The Days of Abandonment—actually all three of those novels—is in the mind of someone over a very short span of time and basically focused on one experience. So I think in that way they’re harder emotionally, and in terms of the language. In some ways they are harder because they’re more condensed. But you know, it’s all hard [laughs].

The Neapolitan novels have a lot of references to things outside, to things of the world, to culture, politics, the city of Naples. People have mentioned that Naples is like a character in the novels. Actually, some of the hardest things in terms of translation are the descriptions of Naples. At the end of book four [The Story of the Lost Child], where she’s talking about going around Naples with her daughter and the daughter is repeating all the things that Lila’s said about the history of Naples, that is very complex language. The vocabulary and the structure of the sentences are different because they’re so packed with historical references and descriptions. There’s nothing like that in the other books.

Guernica: How do you feel about the Neapolitan series coming to a close?

Ann Goldstein: I was very worried about getting to the end. I thought I would feel upset. And I was worried about how Ferrante was going to end it. Would it be satisfying? Would it not be? I found that it was wonderful. I thought the ending was amazing, that it worked. It didn’t leave me wanting more. I thought it was very emotional. It seemed real and it seemed sad in a very lifelike way. It ended the way you think things happen in life, with many questions unanswered—which you could feel was unsatisfying or even unfair on the part of the author. But I thought, she’s really giving you this woman’s life. And this is what happens in life. And that’s one of the ways that her novels are so affecting. Because they cut into you in a way that’s very lifelike.

Guernica: And they’re messy. The lives in them are messy and difficult.

Ann Goldstein: Yes, I always hesitate to say that something is lifelike. Why is that praised? But what I mean by that is that it’s affecting, in a strong way. It’s as if this is something that could happen to you.

Also, at the end, I had the realization of how much the book is about writing.

Guernica: Especially the last book.

Ann Goldstein: It’s so much about what it’s like to be a writer, to fail as a writer, to look at your books and feel that you haven’t done anything. Whether you’re a writer or not, you can imagine looking at your life and thinking, “What have I done?” What she’s doing in these books is asking, “What does my life mean?” She’s using that concrete image of being a writer and having a friendship, but she’s investigating the meaning of life.

Guernica: It seems that the last book comes full circle, around to Elena Ferrante the author, because ironically, there’s so much about doing publicity as a writer. The character Elena is very involved in promoting her books, and she gets interviewed and there’s the picture of her in the paper.

Ann Goldstein: That’s true. That’s a huge subject—a writer refusing to do publicity but writing about publicity.

Guernica: And writing about it like someone who seems to know what it’s like.

Ann Goldstein: Enough to reject it.

Guernica: You’ve said that you don’t know Elena Ferrante’s real identity. But you’ve clearly developed a sense of what she might be like. For example, you’ve said that you never doubted she was a woman and that you imagine she comes from the same generation as you. What have you learned about her through her writing, which feels so personal even if not directly autobiographical?

Ann Goldstein: What I’ve learned from all these books and from the interviews in Frantumaglia is that she’s obviously an incredibly well-read person. She’s read everything, I think.

Guernica: And she recently wrote the introduction for Sense and Sensibility. That was such a shock to see.

Ann Goldstein: I know. That’s one of the reasons I know that she’s read a lot of things. In The Paris Review she talked about reading Jane Austen. So yes, she’s read a lot. She’s obviously incredibly intelligent. She has a very strong literary background, or formation, but she doesn’t force it on you. It’s not obvious, in that she’s not hitting you over the head with her knowledge of books and literature.

Guernica: In the Neapolitan novels, you get some of Elena’s literary formation, but for me it’s also been through the interviews that I’ve realized, “Oh, you’re reading Donna Haraway and Shulamith Firestone, Judith Butler and Teresa de Lauretis.” And I’ve thought, “Ah, this person’s an intellectual.”

Ann Goldstein: Yes, she’s definitely an intellectual. And she works hard, she revises. There were ten years between her first two novels, Troubling Love and The Days of Abandonment. And she doesn’t want to publish anything unless she feels that it’s got to where she wants to get. She has a strong sense of who she is and what she wants to say. And I think that comes out in her work. There are the biographical things—that she grew up in Naples, that she left Naples, that she’s lived in other places. And she’s read all the Italian feminism and French feminism. I think she probably has children. Those are external details. As for how her mind works, she’s very strong-minded. You have to be pretty strong to write those novels, especially the Neapolitan novels, in the sense of having these characters in your head and going deeply into the psychology of all these people in a very specific and detailed and concrete way.

Guernica: Both Ferrante and Lispector write about women who are wives and mothers in countries marked by very traditionally defined gender roles—Italy and Brazil—and who rebel in different ways against these roles. There is a lot of turmoil and conflict in their work, and for me, having to inhabit these feelings so intimately as a translator became just as taxing as the more intellectual work of translation. How does that compare to your experience translating Ferrante? Were you haunted by her characters?

Ann Goldstein: Oh yes. With The Days of Abandonment, partly because it was the first one and partly because it is so haunting, and it’s so concentrated, I was very upset by it. There were things in it that I think everyone recognizes. Like the scene with the key where she thinks she’s locked herself in—I have trouble with keys.

…one naturally identifies to some extent with an “I” female narrator going through something that you recognize whether you’ve gone through it or not.

And with something like that, she’s writing your nightmare. Those things really did upset me and haunt me. I identified with the narrator—one naturally identifies to some extent with an “I” female narrator going through something that you recognize whether you’ve gone through it or not. But many times with Ferrante there’s a point where I feel that I wouldn’t do that, so then I would be really upset by thinking, “Oh, what is this person doing, what’s going to happen, where’s she going to go?” When I started translating the first Neapolitan novel, My Brilliant Friend, I had not read the other ones, of course, because they weren’t written yet. So it wasn’t until I got to the end of the last one that I knew the whole story. That was a strange experience: to be reading something, or translating something, that I didn’t really know the end of.

Guernica: You’re taken along for the ride.

Ann Goldstein: In some ways—going back to this idea—it’s like life. You don’t know what’s going to happen to you. I didn’t know I was going to go around representing Elena Ferrante. Or trying to speak for her, which of course I can’t, because I’m only the words.

Guernica: Lispector’s Portuguese can be very distorted and ungrammatical at certain moments—she’ll change word endings, use a non-standard preposition, all these things you have to catch and realize, “Oh, that’s not how you’re supposed to say it in Portuguese.” In contrast, Ferrante’s writing feels more fluid. She even seems to be doing the work of translation, as when she tells us that characters are speaking in dialect but she herself doesn’t write in dialect. Can you talk more about what her style is like and the experience of reading her in the original Italian?

Ann Goldstein: It’s interesting because her books do seem very readable in Italian. There are occasional weird idiomatic expressions that are Neapolitan words. She talks so much about people’s use of language. She tells us when someone’s speaking in dialect. She talks about how when Lila wants to, she can speak in a beautiful, educated type of Italian. We don’t really get examples of this, but Ferrante says, “She spoke like this,” or every once in awhile Elena will also fall into dialect. There’s this moment where she no longer wants to speak in dialect, it feels strange to her, but then sometimes she can go back into it. The obvious reason Ferrante doesn’t use dialect is because many Italians wouldn’t understand it. But a second reason may be that, as an Italian professor at CUNY was saying, Neapolitan dialect is very much a spoken language, and if she were writing it, there would be no point, in a way. It would lose the character that it has as a spoken language.

Right now, I’m actually working on a Pasolini novel [The Street Kids], which is really hard, because a lot of it is written in Romanesco, the dialect from Rome. The novel in Italian has a glossary, but the glossary doesn’t have all the words. I found a Romanesco-Italian dictionary, which is helpful, but still not perfect. A lot of the dialogue is not only Roman but slang.

Guernica: How do you navigate the slang?

Ann Goldstein: I’m still struggling with it. It’s one of the hardest things, as you probably know, to translate anything that’s not standard. My policy in general has been not to mess with it, not to try to make some weird English out of it. I just try to be more colloquial in some way. What did you do with Lispector’s odd prepositions?

Guernica: There were moments in which I could bring over some things, but the prepositions were difficult. That’s why Lispector is always going to end up sounding stranger in Portuguese. But she’s not always inventing things, so sometimes it will sound strange to be going along in standard English and then all of a sudden you have just one word that’s different.

Ann Goldstein: That is odd. And it’s kind of hard to leave it.

Guernica: It’s very difficult. And you can’t always do it in English. What holds it together in the original is a sense of rhythm, a certain cadence or way of speaking that sounds like her. So in the English I would try to reproduce a certain rhythm. But one of the benefits of having The Complete Stories is that you can accompany her over all 85 stories and you start to see the patterns. So the more you read her, the more you get that she has these odd twists and turns in her language, and it doesn’t sound so strange.

I think that being an editor, someone who works with words, is very good training for being a translator because it trains you to be attentive to words in a very specific, very concrete, very literal way.

Speaking of standardization, I’m fascinated by the fact that alongside your tremendous translation work, you’ve been at The New Yorker for over forty years, where you are currently head of the copy department. How does your work at The New Yorker intersect with your translation work?

Ann Goldstein: I think that being an editor, someone who works with words, is very good training for being a translator because it trains you to be attentive to words in a very specific, very concrete, very literal way. And I think that’s part of the reason that I have the patience to translate.

Guernica: I think about how much of your stamina must come from all these years at The New Yorker, doing it week in and week out, like clockwork. It must be this incredible literary and linguistic foundation.

Ann Goldstein: Yes, it is. In some ways it’s constricting because I have very strict rules in my head that seem to me to be the way things should sound. I think there’s a myth that all New Yorker writers sound the same—I think that’s ridiculous—but they do all sound grammatical.

Guernica: One of my favorite moments during our conversation in New York was when I asked about what it was like to get to write some dirty and shocking stuff as Elena Ferrante, and you said, “That’s nothing, you should see Pasolini’s Petrolio.” The New Yorker is known for having a more understated, genteel style, especially in past decades. Does writing some of these scenes feel like a release from the more proper nature of your work as a New Yorker editor?

Ann Goldstein: No, it doesn’t seem like a release. It just seems like… those scenes are complicated. I think that physical actions are always hard to describe, to translate. Like, [a pivotal sex scene in the final Neapolitan novel] was really complicated. It was very hard to write it so that the images were correct. Well, first of all the moment is completely horrifying, even though you know he’s a bad guy. It’s an amazing scene. But from the technical point of view of describing it…

Guernica: So with these graphic scenes of sex and all those bodily fluids happening in Ferrante, it seems that you take a very professional approach [laughs].

Ann Goldstein: You know, you kind of have to. I doubt if you’ve actually ever read Petrolio, because about three people in the world have [laughs], but there’s this very, very long scene in the middle of the book where the main character goes to a field somewhere near Rome, and he has something like twenty young guys come up to him and he does… whatever he does with them. So you have to describe these sexual encounters, and getting the body parts, the movements right, the whole thing is very hard!

Guernica: One similarity between your translation of Ferrante’s work and mine with Lispector, is that we both worked with a language editor, that is, an editor who went over every single word in the original language. It’s unusual to have this extra layer of editing in the publishing industry, at least in the U.S. In some ways, it’s even a luxury. What was it like to work with Michael Reynolds at Europa as your editor for the Ferrante books?

Ann Goldstein: We’ve been working together for a long time. There’s usually not all that much. It’s very civilized. He always finds something. There’s always something that you miss, there’s always some mistake somewhere. Or a dropped line. So there’s that kind of thing you can only be grateful for. And then sometimes he’ll just point out a place where he says, “I don’t think this is working,” or he’ll make some suggestions, but there’s not that much. But it is unusual. Does New Directions do that automatically?

Guernica: No. This was Ben Moser’s project as the Lispector series editor, so it was a special situation.

Ann Goldstein: And you had a much more intense time with him. He was much more involved.

Guernica: Yes, and it was him inviting me onto a project that already had multiple translators. One of the goals in having Ben as the series editor has been to have a consistency to Lispector’s voice in English. As you were saying with The New Yorker, there’s a certain “Clarice house style.” But from knowing her work so well and reading the other new translations very carefully, I can see every translator’s individual fingerprints. You just imprint the work, without even meaning to, with your English. Ben has a very active presence as an editor, but I appreciated it. It can be very intense, as with anything in which you’re working very closely with another person. You have to have the same approach to translating, and I think the work is a lot stronger for us discussing a lot of the thornier issues. Just having someone else to talk with about those things is great.

Ann Goldstein: Well, it’s true, that’s a luxury. And I sometimes leave questions in the text for Michael, and I say to him, “What do you think? Should we do it that way?”

Guernica: Yeah, I did that a lot with Ben, especially in the beginning when I was still figuring out my voice for her. I do this thing that my friend calls “the slash game,” where I would say, “One May evening / night,” or “She shivered / trembled.”

Ann Goldstein: That’s my game!

Guernica: You do that too? And then you go back and think about which works better. Because certain words are wobblier than others and you can’t work them out until you really hear them in context. This is a good segue into talking about your work as a language editor on the Primo Levi books. I think it’s incredible that you put out The Complete Works of Primo Levi in September, the same month that the final Ferrante launched. Three volumes, fourteen books, 3,000 pages, and you were working with nine other translators, as well as translating three books yourself. You’re a powerhouse!

Ann Goldstein: Well, that’s just what it looks like. We’d been working on the Levi for ten, eleven years, so it just happened to come out at the same time. I imposed my style, to some extent, for that same reason—I wanted to have a uniform voice, as much as possible. With the books I translated myself, obviously I had a more intimate relationship to them, but with the others, I worked on them and I worked on them over the course of years. Luckily, the copy editor had a copy editor! Norton had someone who oversaw all the copy editing and every pass and kept notes of style things, which was incredible. That was hugely helpful. By that point, I couldn’t remember what I had done.

Guernica: Yeah, you can’t keep it all in your head. I had an Excel spreadsheet at one point where I kept track of all these different key words and how I was translating them, but then it just got to be too complicated!

Ann Goldstein: I’ve never really done that. I’ve thought about that, and I just think it’s kind of impossible, you know? Because, after all, think of a word in English—you don’t always use it in the same way. When I worked on the Leopardi, the Zibaldone, the editors were amazing. It was a much more scholarly project, but they had lists of words and how they were used in different places. But I didn’t do that with Levi. I didn’t even try to do it, actually, and I didn’t even think of doing it, maybe because I don’t know how to use an Excel spreadsheet!

Guernica: I read that the very first story you translated was published in The New Yorker. “Chekhov in Sondrio,” by Aldo Buzzi.

Ann Goldstein: Aldo Buzzi was a friend of Saul Steinberg, the legendary New Yorker artist, who had studied in Italy before the war. Steinberg sent a book by his friend to the editor of The New Yorker, who at the time was Bob Gottlieb, and he knew that I could read Italian and said, “Can you read this as a favor to Steinberg?” So I did and I really liked it. And I thought, “You know, I’m going to try translating it.” I just did it for myself, really. One of the reasons I started translating was because I thought it was a more direct way of studying Italian and getting inside the language. I thought, “What the hell, I’ll give it to Bob and see what he thinks.” And he liked it, so he published it [in the September 14, 1992 issue]. It was kind of serendipitous, the whole thing.

Guernica: And did you also start studying Italian at The New Yorker?

Ann Goldstein: Yes. Because I had always wanted to read Dante in Italian. And it turned out that there were a number of people at The New Yorker who were also interested in studying Italian. We had one year of study and then we started reading Dante, for the next two years. We actually read all of Dante. It was kind of ridiculous. It was just an hour a week. In those days, companies did things like pay for education classes. So if you were studying a language, they would pay for it.

Guernica: That’s amazing. What year was that?

Ann Goldstein: That was 1987, when we started. And that continued until the ’90s. We had that class for many years, and then it turned into a sort of conversation class where we would go out to dinner with a teacher. We’ve recently reinstated it, so we still do it. The truth is, just to hear other people speaking Italian is really worth it. It keeps the sound in your ear.

Katrina Dodson

Katrina Dodson's work has appeared in Granta, McSweeney's, and Two Lines. She is a PhD candidate in Comparative Literature at the University of California, Berkeley.

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3 Comments on “Ann Goldstein: The Face of Ferrante

  1. Ferrante or her narrating characters seem to hold Neapolitan dialect in contempt. It being “very much a spoken language” hardly explains their attitude. Elena often feels aggressed when she overhears spurts of dialect or has them directed at her. This is peculiar, because one doesn’t meet many Neapolitans who feel that way. The lyrics of Neapolitan popular music or the language of the theatre in Neapolitan is no more barbed than equivalents in the national language. Characters’ distaste for dialect appears to be more a distaste for the city and their origins, which they are all fleeing without success. Dialect comes to represent a kind of id they are stuck with. The contrast with Pasolini couldn’t be more marked. Dialect for him is genuine expression and the national language become a hollow make-do imposed by TV. He wrote distinguished poetry in the language of Friuli and used Romanesco to get to the heart of what he called the sub-proletariat, the only social class he had no reservations about.

  2. @ Peter Byrne:
    “Characters’ distaste for dialect appears to be more a distaste for the city and their origins, which they are all fleeing without success.”

    That seems to be correct. In Italy, as elsewhere, dialect used to be a marker of the working class. Especially for people of Ferrante’s age: often children of her generation would learn Italian only once they started attending school. The younger generations speak dialect less and less (I understand it when I hear my grandparents, but I can’t speak it).
    Pasolini didn’t come from a poor background, which could perhaps help to explain his fascination for the lower classes and different Italian dialects.
    Italian itself, as a language, has kind of a bizarre history and there is some truth in Pasolini’s feeling that it was artificial. Still, it was a lingua franca that Italy, which is made up of culturally distant territories (Italian dialects very often aren’t mutually understandable, to give you an idea), very much needed in the process of national unification.

  3. I wouldn’t be so bold as to generalize about Italian dialects and the different attitudes their speakers have toward them. But there is something interesting in the way Ferrante uses hers. She’s not reporting what has happened but inventing a story. So when she is so careful to tell us when exactly someone is speaking in dialect or leaves it for Italian, she must be making a dramatic or storyteller’s point. Without actually reproducing dialect, it becomes another one of her tools as a novelist. So we could say that if Naples is a main character in her four-volume cycle, then Neapolitan dialect is at least a significant minor character.

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Microsoft (NASDAQ:MSFT)

Microsoft Corporation is engaged in developing, manufacturing, licensing and supporting a range of software products and services for different types of computing devices. Its software products and services include operating systems, server applications, information worker productivity applications, business solutions applications, computing applications, software development tools, and video games. It also designs and sells hardware, including the Xbox 360 gaming and entertainment console and accessories, the Zune digital music and entertainment device and accessories, and Microsoft personal computer (PC) hardware products.

Their shares trade around $26.68, with a P/E ratio of 11.31 and an EPS of $2.36.In the last quarter of 2010, Microsoft had revenue of $19.53 billion and a net income of $6.63 billion. Cloud computing and mobile device have become increasingly dominant aspects of the computing market, but despite the strength of its competitors, Microsoft is well-positioned. Van Den Berg evaluates Micorsoft’s potential: “Given the return potential of this company, along with its AAA financial security, we have to ask the following question: Why would investors buy its bonds, or for that matter U.S. Treasury bonds, instead of Microsoft stock?”

Walmart Stores Inc. (NYSE:WMT)

Wal,art Stores Inc. operates retail stores. The company operates in three business segments: Walmart U.S., International and Sam’s Club. The Walmart U.S. segment operates retail stores in different formats in the United States, as well as Walmart’s online retail operations, walmart.com. The international segment consists of retail operations in 14 countries and Puerto Rico. The international segment includes different formats of retail stores and restaurants, including discount stores, supercenters and Sam’s Clubs that operate outside the United States. The Sam’s Club segment consists of membership warehouse clubs in the United States and the segment’s online retail operations, samsclub.com.

Their shares trade around $55.02, with a P/E ratio of 13.1 and an EPS of $4.02. In the last quarter of 2010, Walmart had revenue of $116 billion and a net income of $7.42 billion. Walmart has continued to grow over the last ten years, and it’s entire 39 year history has showed an increase in yield. Walmart has become a staple of the American consumer, providing cheap goods and services targeting the average family. Van Den Berg has run several scenarios surrounding Walmart’s financial numbers, but he firmly believes Walmart will provide excellent profits over the coming years, and has confidently made it a crucial holding in his portfolio.

CocaCola (NYSE:KO)

The Coca-Cola Company is the owner and marketer of nonalcoholic beverage brands. It also manufactures, distributes and markets concentrates and syrups used to produce nonalcoholic beverages. The Company owns or licenses and markets more than 500 nonalcoholic beverage brands, primarily sparkling beverages but also a variety of still beverages, such as waters, enhanced waters, juices and juice drinks, ready-to-drink teas and coffees, and energy and sports drinks.

Their shares trade around $64.00, with a P/E ratio of 12.68 and an EPS of $5.05. In the last quarter of 2010, CocaCola had revenue of $10.4 billion and a net income of $5.7 billion.

Applied Materials Inc. (NASDAQ:AMAT)

Applied Material, Inc. provides manufacturing equipment, services and software to the global semiconductor, flat panel display, solar photovoltaic and related industries. Applied’s customers include manufacturers of semiconductor wafers and chips, flat panel liquid crystal displays , solar PV cells and modules, and other electronic devices. These customers may use what they manufacture in their own end products or sell the items to other companies for use in advanced electronic components. Applied is a semiconductor fabrication equipment supplier. It is also a supplier of LCD fabrication equipment to the flat panel display industry and is the supplier of solar PV manufacturing systems to the solar industry. Applied operates in four segments: Silicon Systems Group, Applied Global Services, Display, and Energy and Environmental Solutions.

Their shares trade around $15.23, with a P/E ratio of 17.73 and an EPS of $4.79.In the last quarter of 2010, Applied Materials had revenue of $2.69 billion and a net income of $680 million.

Colgate-Palmolive (NYSE:CL)

Colgate-Palmolive Company is a consumer products company. Colgate’s products are marketed in over 200 countries and territories. The company manages its business in two product segments: Oral, Personal and Home Care, and Pet Nutrition. The Oral, Personal and Home Care segment is operated through four operating segments: North America, Latin America, Europe/South Pacific and Greater Asia/Africa. During the year ended December 31, 2010, the revenues of Oral, Personal and Home Care products accounted for 43%, 22% and 22%, respectively, of its total revenues. During 2010, the revenues of Pet Nutrition products accounted for 13% of the Company’s total revenues.

Their shares trade around $84.88, with a P/E ratio of 17.73 and an EPS of $4.79. In the last quarter of 2010, Colgate Palmolive had revenue of $3.99 billion and a net income of $899 million.

To check the complete list of Top Growth Companies of Arnold Van Den Berg, please go to http://www.gurufocus.com/holdings.php?GuruName=Arnold+Van+Den+Berg&tab=growth

Also check out the Undervalued Stocks, Top Growth Companies, and High Yield stocks of Arnold Van Den Berg.

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Hairstyles, Hair Care & Fashion

This trend represents another key topic of the season: pure, black elegance and magic! The haircut shows a short, gradated contour with long top hair. Heavy bangs, a key characteristic of the current haircuts, fall long and tear shaped across the face.
To make this look even more dramatic, deep blue and green hues were incorporated into the hair. On the midnight black hair they shimmer like oil on water.
The heavy bangs bring drama also to the styling variation. Instead of deep black hair, a dark brown tone provides enough depth.
modern men's hairstyle
Collection: The Fusion Collection
Photo: Schwarzkopf
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The biggest selection of costumes in the world!

Flapper Wig

Item # CA70098BK /      Read Reviews (5) Write Review
Flapper Wig
Flapper Wig
Buy New$8.99
Select a Size
Product Description

Ever feel the need to transport back to a jazzier era where singing the right words and flashing the right smile amidst the flash and spectacle of shimmering sequins could put you on the fast road to success and fame? The Roaring ‘20s had it all with its speakeasies and teased hair, its flapper dancers and suave suits. And, we dare not forget about all that jazz!

The intrigue, the flash, the drama! And, dare we forget to mention the fashion that walked the perfect line between classy and seductive!? Go back to the smoky jazz clubs of the Roaring ‘20s era Chicago and feel the style and energy as the talent of their flappers leaves little competition, and do it all without worrying about a single strand of hair going awry with this Flapper Wig, a black bob cut and short bangs that will leave you knowing you can certainly do it alone!

  • 100% synthetic fibers
  • Black bob cut style w/ short bangs
  • Mesh net interior
Items Included
  • Short, flapper style hair.
Recommended Accessories
Product Reviews       Write A Review
     By Current Customer / September 14, 2016
This wig seems to be made nicely. It fits good on my head, but the one I received was not cut even around the bottom. One side was shorter then the other...need to shape it up. :-(
Was this review helpful to you?YesNo2 people thought so and 0 didn't.

     By Anonymous / December 24, 2013
A little shorter then I thought it would be.
Was this review helpful to you?YesNo1 person thought so and 0 didn't.

     By Anonymous / November 16, 2013
Wig was nothing like it looked, even after I combed it and put it on a wig stand for a couple days. It was terrible. I ended up not wearing a wig at all.
Was this review helpful to you?YesNo1 person thought so and 0 didn't.

The wig looked perfect, but...
     By Anonymous / October 21, 2016
The picture made this wig seem like the perfect addition to my Halloween costume. However, when it came, it was not what I expected. It was frizzy, and didn't even look like the picture! It barely fit as well. I was very disappointed!
Was this review helpful to you?YesNo

Lots of hair!
     By Anonymous / November 6, 2014
This wig has lots of hair to it. Very full! And the hair is soft. It wasn't as smooth as in the photo, but better than many wigs that come out of plastic bags!
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4-Channel Pre-Amplifier (NL844)

4-Channel Pre-Amplifier (NL844)

The NL844 pre-amplifier is specifically designed to operate in conjunction with the NL820A Isolator. Its low noise and high impedance differential inputs make it particularly suitable for use as a headstage pre-amplifier close to the preparation, ideal for isolated EMG, EEG or ECG applications.

  • Very low noise
  • Up to four channels can be used
  • Fast recovery time from stimulus artifact pulses

Item# Description U.S. List Price Quantity
65-0362 (NL844) 4-Channel preamplifier
Login for U.S. Pricing

The NL844 features 4 pairs of colour coded 1.5mm DIN touch proof sockets for electrode connection as well as a COM input. The unit can be operated in 1, 2, 3 or 4 channel modes with unused channels switched off using the rear panel toggle switches.

This unit is particularly suited for use where there are very large stimulus artifacts, for example when used close to a magnetic stimulator coil. The input circuit automatically adjusts to the DC input conditions plus a non-linear filter modifies its time constant if the differential input signal exceeds its normal ± 0mV working range. Therefore, fast, short artifacts do not block the subsequent stages. This results in an amplifier with a very fast recovery time from stimulus artifact pulses.

Gain x100, x1,000, x10,000 (operated in channel pairs)
Low Frequency Cut 3, 10, 30 Hz (operated in channel pairs)
High Frequency Cut With NL820A > 35 kHz -3dB
Input Impedance 100 MO
Input Channels 4
Common Mode 10,000:1 (-80 dB) (with NL820A -120 dB)
Noise 5 ¼V RMS full bandwidth
Lead Length 2.5 m


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Service and Owner Information
1984 CB650SC Owner Manual
Factory issued owner's guide. Information within each model specific manual has been developed by Honda to give owners a basic understanding of the operation of their Honda vehicle. Provides important safety information, service and maintenance schedules, storage information and recommendations for appearance care. Owner's manuals include technical information, instructions for routine maintenance including oil change information, as well as a basic troubleshooting guide. Make sure you are fully equipped to ride, keep your owner's manual with your ATV, motorcycle or scooter at all times.
Price: $23.95
Print to Order - Reproduction of Original Publication
Pkg Qty: 1
Media: Paper
Language: English
Item/Part #: 31ME5610
Years and Models Covered
1984 Nighthawk 650
Related Items
61ME503 1983 CB550SC/1983-1985 CB650 SC Service Manual
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Saturday, October 21, 2017
Current weather in Hendersonville, NC 46.9° Oct 21's Weather
HI: 70.3 LOW: 45.3
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Here's the city's complete response on water system

City of Hendersonville
Official Response to Proposed Henderson County Board of Commissioners Actions Effecting Hendersonville Water and Sewer

It has come to the attention of the City of Hendersonville that at their regular meeting on Wednesday, March 15, 2017, the Henderson County Board of Commissioners will consider a resolution requesting the City to turn over its utility to a regional authority or become a regulated utility under the oversight of the North Carolina Public Utilities Commission. Furthermore, it is the City’s understanding that this initiative directly stems from Commissioner Bill Lapsley’s belief that the public interest is not protected under the City’s ownership of the utility system.
Commissioner Lapsley has recently met with Henderson County municipalities and other political leaders to discuss his proposal. During these meetings he has discussed his concerns regarding the following topics:
• Long Range Planning
• Inside /Outside Rate Differentials
• Water and Sewer Expansion Policies
• 2000 Mud Creek Settlement Agreement
• Financial Management
• Customer Service/Disenfranchisement
The City of Hendersonville contends that Commissioner Lapsley’s opinions are misconstrued, taken out of context or simply inaccurate. The City seeks to provide data and facts refuting each of the concerns listed above, and the following are examples of proactive initiatives or improvements made by Hendersonville Water and Sewer over the last four years:
Long Range Planning
Stakeholder Meetings and Technical Advisory Committee
In 2015 the Hendersonville City Council directed staff to interview City water and sewer system stakeholders to determine what we are doing well and where improvements can be made. A third party consultant, Warren Miller with FountainWorks, was hired to speak to a wide range of stakeholders. The following stakeholders were interviewed:

• Town of Fletcher
• Town of Laurel Park
• Henderson County Commissioners
• Henderson County Staff
• Town of Mills River
• Village of Flat Rock
• Henderson County Partnership for Economic Development (HCPED)
• Agriculture Henderson County
• Senator Tom Apodaca
• Representative McGrady

The information generated from these interviews is currently being used to “operate a great utility for our customers” (Mission Statement). These interviews led to the formation of the Water and Sewer Technical Advisory Committee. This Committee is made up of professional staff from Henderson County and local municipalities, Henderson County Partnership for Economic Development and Agriculture Henderson County. We have just recently added representatives from the Henderson County Board of Realtors and Henderson/Transylvania Homebuilders Association. The purpose of the Committee is to provide input regarding areas of concern and future water and sewer needs in Henderson County.

Partnerships Henderson County Fire Department
In 2016 Hendersonville Water and Sewer partnered with the Henderson County Fire Chiefs’ Association to create a hydraulic model of the entire water system. This model and its data have been provided to each fire department to give them up to date information regarding fire flow data and pressure data in their individual fire districts. The completion of the model has dramatically reduced the time each fire department must dedicate to flowing water at fire hydrants to determine fire flows required for maintaining ISO ratings.

In addition, Hendersonville Water and Sewer representative met with Jay Alley, Gerton Fire Chief, following the Grand Highlands Clubhouse structure fire to discuss water supply on the top of Bearwallow Mountain. A similar meeting is scheduled for March 23 to discuss the recent structure fire in Kenmure with Chief Ray of the Blue Ridge Fire and Rescue Department. It is our intention to hold these meetings following major structure fires.

Information gathered during the creation of the water system hydraulic model has been utilized to develop a Water System Master Plan. A draft copy is attached or can be found at the following link HVL Water Master Plan . The master plan was developed utilizing NCDOT TAZ (Transportation Area Zones) and input from Henderson County staff, HCPED and other stakeholders. A formal presentation for all stakeholders will be made on April 11, 2017 at 4:00pm. This master plan provides a blueprint for water system growth over the next twenty-three years. However, the City recognizes that the master plan is a living document and will change as circumstances change in Henderson County. A similar plan is being developed for sanitary sewer. We anticipate this plan being complete in early 2018. However, in the meantime, the City has requested that our consultant (Black & Veatch) work with Henderson County staff in providing sewer to Edneyville Elementary School.

Specific Project Examples:
Etowah Water System Improvements
Eastside Water Line Extension – Edneyville/Dana
Northside Water System Improvements – Fletcher
Kenmure/Old Distillery Water Line Extension – Flat Rock

Inside/Outside Rate Differentials
Traditionally, the City of Hendersonville, like most municipal utility systems, has charged outside customers more than inside customers. The justification being that Hendersonville residents have historically taken the risk to build and maintain the system and the higher rates served as an incentive for customers to come into the corporate limits. Hendersonville’s rate differential has fluctuated through the years and prior to 2016 was approximately 166 percent. According to the UNC School of Government the median rate differential for all N.C. municipal utilities is 194 percent. Following our stakeholder interviews in 2015, the Hendersonville City Council established a policy that the rate differential should not exceed 150 percent. The current average rate differential is 148 percent. The City of Hendersonville will be performing a comprehensive rate study in 2017. One of the components of this study will be to evaluate how to create a uniform rate structure that can be implemented over a reasonable period of time.

Water and Sewer Expansion Policies
Commissioner Lapsley has stated that Hendersonville’s unwillingness to expand its water and sewer system has hurt Henderson County residents. The City will concede that prior to the early 2000’s there was little willingness to expand the water and sewer system. However, since Mud Creek Settlement Agreement in the early 2000’s, the water and sewer system has grown tremendously. From 2003 to 2008 most of the system’s growth, as with most utility systems was driven by development, and in our case, this development occurred outside of the corporate limits. However, since 2008 the City of Hendersonville has taken a much more proactive role in system expansion. The City has completed one larger water system expansion project (Eastside, Phase 1 – booster pump station and 1.5-MG water storage tank that has stabilized supply on the eastern side of Henderson County and are currently designing phase 2 and 3 of this project), one smaller water project that was in response to an area that was experiencing contaminated individual drinking water wells (20-wells exceeded the groundwater standard for deldrin and many others that were very close to this limit) in the Dana area (Academy Rd. water system project), extension of water along Schoolhouse Road in Mills River by City forces in response to the growth of agri-business in that area (Bold Rock and Tri-Hishtil) and three large sewer projects (Jackson Park, Atkinson and Wolfpen) that improved sewer service availability along the edges of Hendersonville and into the rural areas of Henderson County. City staff is also actively participating in Henderson County’s Technical Review Committee to assist with providing utilities into growing areas of Henderson County identified as part of the Urban Services Area and the Urban-Rural Transitional Area, as described in the County’s comprehensive plan.

Etowah Sewer Company
Commissioner Lapsley alleges that the customers of Etowah Sewer Company had no say so in the purchase of the system by the City of Hendersonville. First, it is the City’s understanding that Henderson County was offered the right to purchase the system and Henderson County refused. Secondly, the system is in dire need of repairs and the private company does not have the funds to make the repairs. Therefore, the existing customers and Henderson County are at risk if the system was not transferred to a larger utility entity. Etowah Sewer Company is a regulated utility and therefore the sale of the utility had to go through a public process with the North Carolina Utilities Commission (NCUC) which included notification of the impending sale to all customers on that system. The City and the Etowah Sewer Company received only two comments during the required public comment period. Due to the limited number of comments, the NCUC did not require a public hearing and approved the sale. Each Etowah Sewer Company customer received two notices of the sale and were given significant time to submit comments to the NCUC.
Specific Project Examples
Atkinson Elementary School Sewer Improvement (Joint Project with Henderson County to provide public sewer to elementary school with failing septic system)
Jackson Park Interceptor Sewer (Large project which had benefit of removing a large pump station from Jackson Park and providing gravity sewer service availability to other areas of the park)
Academy Road Water Extension (Public Health Emergency - Dana)
Schoolhouse Road Water Extension (Agri-Business Economic Development – Mills River)
Etowah Sewer Company Purchase

2000 Mud Creek Settlement Agreement
The 2000 Mud Creek Sewer District Purchase Agreement was executed prior to the hiring of current City and County management teams. The Advisory Council appointed with this agreement has not met since approximately 2003. It should also be noted that City staff has been in constant contact with Henderson County staff regarding water and sewer expansion plans over the last several years and no questions were ever raised regarding these projects. In fact, at least two of the City’s most recent sewer extension projects were discussed by the Board of Commissioners and directly benefited Henderson County (Jackson Park and Atkinson). The sewer system expansions have been well reported in the news media and no comments were received from Henderson County. To my knowledge, there has never been a prepared Annual Report and much of this information is available on our website, within the North Carolina Department of Environmental Quality (NCDEQ, formally known as the NC Department of Environment and Natural Resources or NCDENR) Annual Reports or upon request. Specifically, as it relates to the purchase of Etowah Sewer Company, John Connet, the City Manager, inquired on two different occasions if additional approvals were needed from Henderson County and he was told that no additional approvals were required at this time.
Financial Management
In addition to the aforementioned rate study, the City is taking steps to ensure that the water and sewer system remains is in very good financial condition. Our reserves are strong and contrary to public perception, we are not using utility funds to subsidize the General Fund. The Water and Sewer Enterprise Fund does support its portion of internal services (fleet maintenance, legal, administration, engineering and financial management), but only on a proportionate share of expenditures basis. The City Council has instructed staff to reinvest our capital reserves into operations and system improvements.

Specific Project Examples:

Leak Detection Program has reduced water losses from 34% down to 20% over the last 1-1/2 years.
Inflow and Infiltration Reduction Program has eliminated approximately 500,000-gallons per day of potable water entering the sewer collection system over the past 1-1/2 years.

Customer Service / Disenfranchisement
Commissioner Lapsley believes that water and sewer customers who live outside the city limits are “disenfranchised” or receive less customer service than City residents. It is the standard practice of the f Hendersonville City Council and staff to respond to any customer inquiry or concern regardless of the customer’s “inside” or “outside” status. The City Council is very responsive to any customer concern or issue. The Hendersonville Customer Service Team responds to over 800 calls a week and they never ask whether a customer resides inside or outside the city. All rate increases are look reviewed from an “entire customer base perspective”.
Specific Examples
Haywood Veterinary Clinic
Old Distillery Road
Academy Road Water Project

In conclusion, the City of Hendersonville believes any action to force the City into a Water and Sewer Authority or under the oversight of the NCUC is overreaching and unjustified. The City is troubled by the fact that Commissioner Lapsley’s concerns have not been brought to us directly prior to this proposed action. Several of the topics were discussed during the stakeholder interviews, and as illustrated above, the City has been open to comments, suggestions and improvements by its customers and surrounding communities. If Hendersonville Water and Sewer customers had truly been negatively impacted over the years by the items Mr. Lapsley is now stating; surely the most logical step would have been to have honest and constructive discussions with City elected officials and staff at the time. Therefore, we believe this action is simply politically motivated and not in the best interest of the Hendersonville Water and Sewer customers.

For more information regarding this response, please contact John Connet, City Manager, at (828) 233-3201


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Looking for Home Automation Services in Hogarth Range (2469)

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Home Automation Services - Hogarth Range (2469)

the Northern Rivers, New South Wales (NSW)

Best match results for: CATEGORY = Home Automation Services + LOCATION = Hogarth Range (2469)

Results include related home improvement specialists and neighbouring locations.

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All Coast Cable Guys
AllCoast CableGuys have over 20 years experience and specialise in all television and digital reception needs. We believe in good old fashioned honest service and are happy to discuss various service options available to meet your needs and budget. Call us today for a free quote and advice you can rely on.

Other security & home automation services - greater than 60km from Hogarth Range (2469)

Bee Safe Security
We are the local Crimsafe Licensee for Lismore and Ballina, servicing from Kingscliff to Evans Head, keeping homes secure throughout the Northern Rivers region. Crimsafe Security Screens are renowned as market leading products in the security screen industry. At Bee Safe Security, we have built our reputation on producing top quality products at competitive prices in the shortest possible turnaround time from order to installation. We measure, manufacture and install Crimsafe Security Screen Windows, ...
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First Steps On How to Build a Home Studio

building a home studio

If you want to learn how to build a recording studio, then you should set off some myths before starting your journey to achieving your dream. Let's find out what's true or myth about setting up a recording studio. Keep reading…

big recording studioMany people want to set up a recording studio, but they do not always find the correct, clear and objective information on all aspects about studio creation process. This is a serious problem because it is very easy to get confused at every stage of the project and even during the recording studio's operation.

We can say that the process of creating a Home Studio is almost like a "ritual" that must be followed precisely, and so, at the end, everything works out very well. Another way of saying this is to think of a recipe for cakes, where you have to mix the ingredients in the right amount and in the correct sequence, either our cake doesn't look good, yes or yes?

In music the process is not very different from the one quoted above because you have to capture the ingredients, arrange them at a audio software, then do the mixing of everything in addition to putting "your" seasoning. This seasoning is what we call "the sound of your recording studio," the audio producer's signature, anyway.

You Will Need a Step-by-step System To Set Up Your Home Studio

cientific methodIt is very common to find an infinity of recipes on how to set up a recording studio, how to mix it, how to record it, all this can be done in several ways. It's not difficult to find a 300 pages book, talking specific about "mixing", all trying to transfer some concepts on these subjects.

One of our concerns in producing these materials on how to set up a studio is to compile all this knowledge into packages that are easier to understand. A good example of this is the Kindle Book “Home Studio Start”, where you could learn in a complete and compact way about all the fundamental aspects about the assembly and operation of a Home Studio.

How Much Does It Cost To Put Together a Recording Studio?

woman recording blueA great myth about how to set up a recording studio is on projects cost. If you read somewhere that it costs US$40,000, then you must be thinking: this business is not for everyone... In fact, it doesn't cost even 10% of it. Can you believe it? So… The world has changed ... We are in the 21st century, the technology is there to help you in almost everything, so with the studio set-up is no different.

Going back to the subject, inside the book we present the formula on how to record high quality audio, so you could get this same result with your recording studio.

By following a step-by-step system you will gain the freedom that a Home Studio can offer.

If you thought that a musical studio was something unthinkable, out of your reach, then now you know this is possible, and your dream of recording audio may be close to being realized.

I'll see you in the next post.

An extra tip from Rodrigo: If you want to know How To Build a Home Recording Studio From Scratch And Get High Quality Using a Production Process, I recommend you take a look at our kindle book right now.


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  • Rubilinda (6-5) finds the wire just in time to take the Pebbles Stakes.Posted 6 days ago
  • Engage (1-2) rolls home from last to win the Grade 3 Futurity Stakes.Posted 6 days ago
  • Bolt d'Oro is the 12-1 favorite in the current Las Vegas line for Kentucky Derby 2018.Posted 9 days ago
  • Romantic Vision (6-1) takes the sloppy Spinster (G1) at Keeneland.Posted 12 days ago
  • Unique Bella (1-5) returns with a clear victory in the L. A. Woman (G3) at Santa Anita.Posted 12 days ago
  • Flameaway (5-1) wins a three-horse photo finish in the Dixiana Bourbon (G3) at a wet Keeneland.Posted 12 days ago
  • War Flag (9-1) wins the stretch battle in Belmont's Flower Bowl (G1).Posted 12 days ago
  • Separationofpowers (9-5) impresses in the Frizette at Belmont Park.Posted 12 days ago
  • Roy H (4-5) lives up to favoritism in the Grade 1 Santa Anita Sprint Championship.Posted 13 days ago
Breeders' Cup 2017

Indian Gracey runs down English Royal

We’ve seen this before.

A Jerry Hollendorfer trained horse zooms down the stretch under Russell Baze and gets up at the wire to win a stakes a race?

Ok, what about this?

A Jerry Hollendorfer trained horse zooms down the stretch under Julien Couton to catch Russell Baze at the wire to win a stakes race.

I know the second scenario is the least favored choice but that’s exactly what happened Saturday when Indian Gracey ran down the pace setting English Royal to beat the favorite by a head in the $75,000 California State Fair Sprint Handicap at Cal Expo.

Baze appeared to be as good as home when he built a 2 ½ length lead in mid stretch but a flying Gracey and Couton came running at the end and returned a healthy $23.60 mutual for Hollendorfer backers.

“The race set up perfectly,” Couton said. “I just laid behind Russell down the backside and down the lane she came back to me. I thought it would be really tight and the leader got a little tired and we just kept running.”

Well this was the first win for Indian Gracey since August of 2011 when she was ridden to victory by then apprentice Kyle Frey. In Gracey’s last start, she finished 4th behind the winner English Royal (sound familiar ? If not go back and read again) That day Baze rode Indian Gracey.

The third place finisher Saturday was Paris in April who came from Boise with jockey Robert Webb. Webb is just 4 wins shy of 1,000 for his career.

New Apprentice gets taste of Sacramento

Arnold Perez, who started his career at Hollywood Park in June, came north this weekend to try his luck at Cal Expo. Having three career races under his belt before this weekend, the 21-year old nearly made the trip a winning one but his attempt to get win number one on Lightning Mcque fell just short when the pace setter he was passed late, by none other than hall of famer, Russell Baze, who won the race by a tight length.

Perez now returns to southern California when he will ride the meet at Del Mar.

"It will be a difficult experience to be riding against the top dogs" Perez said. "But i have family there and some things lined up. I'm as competitive as anyone and I feel this is the right time for me. I'm comfortable and ready."

Walk the Track with Frank

Every day after the first race, TVG commentator and bay area summer announcer and publicist Frank Mirahmadi, took a group of up to 40 people onto the track at Cal Expo. As they all got to fill a vile of dirt from the track as a souvenir, Frank gave them a quick tutorial about racing at the Cal Expo strip and what it takes to make the track ready for the horses for the two week meet.

The track walk was a big success with Frank ending his talk Saturday with “What other track in America lets the fans come onto the track?” and one happy father yelled out “Nobody!”

On Deck

Next week, racing hits the Sonoma County Fair in Santa Rosa for a three week meet (July 25th-August 12th). Seven stakes races are on tap for the meet with the headliner being the two-year old races ($75,000) each scheduled for August 11th and 12th.

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Older Comments about Indian Gracey runs down English Royal...

I'm pretty excited about the Santa Rosa meet getting going. Easily my favorite on the fair circuit, maybe its the turf course.

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  • Rubilinda (6-5) finds the wire just in time to take the Pebbles Stakes.Posted 6 days ago
  • Engage (1-2) rolls home from last to win the Grade 3 Futurity Stakes.Posted 6 days ago
  • Bolt d'Oro is the 12-1 favorite in the current Las Vegas line for Kentucky Derby 2018.Posted 9 days ago
  • Romantic Vision (6-1) takes the sloppy Spinster (G1) at Keeneland.Posted 12 days ago
  • Unique Bella (1-5) returns with a clear victory in the L. A. Woman (G3) at Santa Anita.Posted 12 days ago
  • Flameaway (5-1) wins a three-horse photo finish in the Dixiana Bourbon (G3) at a wet Keeneland.Posted 12 days ago
  • War Flag (9-1) wins the stretch battle in Belmont's Flower Bowl (G1).Posted 12 days ago
  • Separationofpowers (9-5) impresses in the Frizette at Belmont Park.Posted 12 days ago
  • Roy H (4-5) lives up to favoritism in the Grade 1 Santa Anita Sprint Championship.Posted 13 days ago
Breeders' Cup 2017
ArnoldHeino has not created a silk

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Hotels in Tavistock, Ontario

Search & Compare Tavistock Hotels

  • Pay now or later on most rooms
  • Free cancellation on most rooms
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Best hotels in Tavistock

With we help you find the best hotels in Tavistock, Ontario.

You can compare all of our Tavistock hotel rooms including the major Tavistock hotel chains using our genuine guest reviews as well as TripAdvisor Tavistock hotel reviews to help find the perfect hotel room when booking your accommodation in Tavistock. We also feature Expedia Tavistock hotels and reviews.

When you book your Tavistock stay with you may also earn free nights on participating hotels by joining the Welcome Rewards program. It's free to join and only takes 2 minutes to sign up and when you stay 10 nights you receive 1 night free*. So even a short weekend break in Tavistock can get you on your way to a free night.

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We can help you to find the perfect Tavistock hotel room for almost any occaision. With our fast and secure hotel search you may compare different Tavistock hotels by:

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For every hotel in Tavistock Ontario we provide:

  • - Up to the minute hotel rates & availability
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  • - TripAdvisor Tavistock hotel review score

And when you make a hotel reservation in Tavistock with we'll send you email and text confirmations with the reservation details of your Tavistock hotel booking along with contact details, directions, information on nearby Tavistock attractions, restaurants and even the weather - and if you get stuck, we're only a phone call away.

To make the most of our service, download our mobile & tablet apps and sign up to our newsletter or follow us on Facebook, Google+ or Twitter to receive the latest deals and Tavistock discount codes.


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Hotels in Naigaon, India

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Naigaon overview

Naigaon is known for its monuments. Learn about local heritage at landmarks like Savitribai Phule Smarak and Kedareshwar Temple. Don't miss your chance to see attractions like Nagphani and Rameshwar Garden Mangal Karyalaya. Whatever you're into, Naigaon has something for you.

Where to stay in Naigaon

Whether you're planning to stay for a night or for the week, the area around Naigaon has accommodations to fit every need. Search for hotels in Naigaon with by checking our online map. Our maps display the areas and neighborhoods around all Naigaon hotels so you can see how close you are from landmarks and attractions, and then refine your search within the larger area. The best Naigaon hotel deals are here with our lowest price guarantee.

What to see around Naigaon

Acclaimed for its monuments, here are some top landmarks to visit:
  • • Savitribai Phule Smarak
  • • Kedareshwar Temple
Some recommended places to see include:
  • • Nagphani
  • • Rameshwar Garden Mangal Karyalaya
  • • Pandavgad Fort
  • • Rajgad Fort
  • • Connaught Peak

When to visit Naigaon

If you're starting to plan your trip, you might be wondering when's the best time to visit. Here are the seasonal norms to help you decide when to go:

Seasonal temperature averages
  • January-March: 97°F day, 53°F night
  • April-June: 100°F day, 65°F night
  • July-September: 87°F day, 68°F night
  • October-December: 88°F day, 52°F night
Seasonal rainfall averages
  • January-March: 0 inches
  • April-June: 6.02 inches
  • July-September: 16.57 inches
  • October-December: 5.20 inches


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Hotels in Nedlands, Western Australia

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You can compare all of our Nedlands hotel rooms including the major Nedlands hotel chains using our genuine guest reviews as well as TripAdvisor Nedlands hotel reviews to help find the perfect hotel room when booking your accommodation in Nedlands. We also feature Expedia Nedlands hotels and reviews.

When you book your Nedlands stay with you may also earn free nights on participating hotels by joining the Welcome Rewards program. It's free to join and only takes 2 minutes to sign up and when you stay 10 nights you receive 1 night free*. So even a short weekend break in Nedlands can get you on your way to a free night.

Why use to book your Nedlands lodging & accommodation?

We can help you to find the perfect Nedlands hotel room for almost any occaision. With our fast and secure hotel search you may compare different Nedlands hotels by:

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For every hotel in Nedlands Western Australia we provide:

  • - Up to the minute hotel rates & availability
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And when you make a hotel reservation in Nedlands with we'll send you email and text confirmations with the reservation details of your Nedlands hotel booking along with contact details, directions, information on nearby Nedlands attractions, restaurants and even the weather - and if you get stuck, we're only a phone call away.

To make the most of our service, download our mobile & tablet apps and sign up to our newsletter or follow us on Facebook, Google+ or Twitter to receive the latest deals and Nedlands discount codes.


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PETCO — Governors Sq Blvd
Tallahassee, FL
Hours and Location

Category: Pet Shops

Pet Shops

Hours street map for all businesses nearby.

PETCO is currently Closed.

Mon -
Tue -
Wed -
Thu -
Fri -
Sat -
Sun -
Dot is Green if PETCO is currently open and Red if currently closed.
  As of: 3:07 am (EDT)   Sat Oct 21, 2017. [Change]


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Opposition supporters flee Conakry’s main stadium on September 28, 2009, after security forces stormed and opened fire on rally participants.

[This photo is taken from footage given to Human Rights Watch.]

On June 27, investigative judges overseeing the investigation into the September 2009 killing and rape of opposition members, charged Lieutenant-Colonel Claude Pivi for his role in the crimes. The charges against Pivi, the minister for presidential security, represents a significant step forward for justice in Guinea.

Human Rights Watch has extensively documented the events and closely followed the investigation into the crimes.

On September 28, 2009, several hundred members of Guinea’s security forces burst into a Conakry stadium and opened fire on tens of thousands of opposition supporters peacefully gathered there. By late afternoon, at least 150 Guineans lay dead or dying in and around the stadium complex. Bodies were strewn across the field, crushed against half-opened gates, draped over walls, and piled outside locker rooms. Dozens of women at the rally suffered particularly brutal forms of sexual violence at the hands of the security forces, including individual and gang rape and sexual assault with objects such as batons, rifle butts, and bayonets. In the hours and days following the violence the security forces engaged in an organized cover-up to hide the number of dead.


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News Release - Detroit

Courtesy of P.F.

The next new car for women has been introduced, with Renault and Ford joining forces to create the perfect small car for women.

Mixing the Renault 'CLIO' and the Ford 'TAURUS', they have designed the 'CLITAURUS'.

It comes in pink, and the average male car thief won't be able to find it, let alone turn it on...even if someone tells him where it is, and how to do it.

Rumor has it though, that it leaks transmission fluid once a month and can be a real bitch to start in the morning!

New models are initially fun to own, but very expensive to maintain and horribly expensive to get rid of.

Used models may initially have curb appeal (low price), but eventually have an increased appetite for fuel, and the curb weight typically increases with age.

This vehicle is not expected to reach collector status. So it is best to just lease one, and replace it each year.

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Establishing paternity for unwed fathers in Minnesota

If you live in Minnesota and believe you fathered a child with a woman who is not your legal wife, you have very few rights with regard to that child. There are, however, actions you may take to pursue legal rights. At Huson Law Firm, PLLC, we have a comprehensive understanding of the methods you may use to establish paternity in the state, and we have helped many unwed fathers gain rights to their biological children.

The Minnesota Judicial Branch offers an overview of the actions you may be able to take to establish paternity as an unwed father. Arguably the easiest method for you to do so involves having you and the child’s mother sign what is known as a “Recognition of Parentage,” which is essentially a legal confirmation from the both of you that you fathered the child in question. A notary public must be present for the document signing, and you must then file the form with the Minnesota Department of Health.

If there is disagreement as to whether you did, in fact, father the child, you may be able to establish legal paternity via a court order.  To do so, you must file papers with the district court within the district where the child in question currently resides. In the event that the child in question receives public assistance, the district attorney may be the one to file papers.

Because you and your child’s mother are unwed, she retains sole custody and decision-making authority over the child until you are able to establish paternity. More information about how to do so is available on our website.

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I cannot tell why He, whom angels worship

I cannot tell why He, whom angels worship,
  Should set His love upon the sons of men,
Or why, as Shepherd, He should seek the wand’rers,
  To bring them back, they know not how or when.
But this I know, that He was born of Mary,
  When Bethl’hem’s manger was His only home,
And that He lived at Nazareth and labored,
  And so the Savior, Savior of the world, is come.
I cannot tell how silently He suffered,
  As with His peace He graced this place of tears,
Or how His heart upon the Cross was broken,
  The crown of pain to three and thirty years.
But this I know, He heals the broken-hearted,
  And stays our sin, and calms our lurking fear,
And lifts the burden from the heavy laden,
  For yet the Savior, Savior of the world, is here.
I cannot tell how He will win the nations,
  How He will claim His earthly heritage,
How satisfy the needs and aspirations
  Of east and west, of sinner and of sage.
But this I know, all flesh shall see His glory,
  And He shall reap the harvest He has sown,
And some glad day His sun shall shine in splendor
  When He the Savior, Savior of the world, is known.
I cannot tell how all the lands shall worship,
  When, at His bidding, every storm is stilled,
Or who can say how great the jubilation
  When all the hearts of men with love are filled.
But this I know, the skies will thrill with rapture,
  And myriad, myriad human voices sing,
And earth to heaven, and heaven to earth, will answer:
  At last the Savior, Savior of the world, is King.

I thought of the hymn and within minutes the instrumental music came on the radio. I could not find it in my hymn book to sing along. So I went online and found this. Thank God.

Susan Davis

East Petersburg, PA, United States

Delightful worship hymn. Exalts our great King Jesus!

Schötz, Shötz, Luzerb

I just sat here on my own (my wife is working tonight), singing some worship songs to Jesus my Saviour, when the lines of this hymn dropped into my mind. So I looked up the words in my computer to be able to sing it with the correct text. And it's just amazing, how God moved into my living room when I proclaimed that He is "Saviour, Saviour of the world". Thank you Robert Fullerton, and thank You Jesus my Saviour for these wonderful words that took me right into the presence of the Almighty God!

Ian Forsyth

Wallaroo, South Australia, Australia

This hymn has been a family favourite over 2-3 generations. I also struggle to sing it in entirety due to the tremendous emotions which are stirred whilst singing.

Frederick Edward Woodworth

Sittingbourne, Kent, United Kingdom

One of the few hymns I find almost impossible to sing. One, because my vocal range doesn't stretch that far, but mainly because the words - wonderful, moving words, get my emotions going, especially those of the second verse. I'm glad there's nobody here at my computer as I read the words or sing it in my mind. Emotion is a taboo subject especially for a retired man in his mid-sixties. On the few occasions it's been sung in our church, I've been able to do no more than to mouth the words with not one syllable passing my lips.

Fernando Somoza

Buenos Aires, Argentina

Very inspiring Christian hymn. I've recorded a piano version with an accompanying orchestra arrangement in soundcloud that you can search by the title.

I cannot tell why He whom angels worship.

Sherryl Ford

Fort Myers, Florida, United States

Any chance someone has translated to Italian?????

Ilona Vadaszi

Budpest, Hungary

iT IS:

1. Miért, hogy Ő, kit angyalének dicsért, Költötte ránk szerelme kincseit? Vagy mint a pásztor elveszett után járt, Elmémmel fel nem foghatom, miét? De azt tudom, hogy Máriától származott, Hogy Betlehemben jászol ágya volt, Hogy Názáretben élt és ott volt otthona, Ím így jött el Ő, a világ Megváltója.

2. Nem érthetem, miért szenvedett némán. Békéje fénylik Golgota hegyén, Szíve miért szakadt meg a kereszten, Tövisből mért kapott ott koronát? De azt tudom, hogy megtört szívek orvosa, Bűn, félelem tüzét megoltja Ő, Megterhelt lélek láncait leoldja, Ezért jött el Ő, a világ Megváltója.

3. Miképpen hódolnak előtte népek, Hogy kormányozza földi birtokát, Kelet-nyugatnak, bűnösnek s a bölcsnek Szomját hogy oltja, meg nem mondhatom. De azt tudom, hogy dicsősége felragyog, Hogy amit Ő vet, Ő aratja majd; Győzelme napja nem sokáig várat, Megismerik Őt, a világ Megváltóját.

4. Miképpen áldja Őt magát majd a föld, Ha egy szaván a béke lesz az Úr, Vagy sejted-é az ujjongásnak árját, Ha minden szívet lénye majd betölt? De azt tudom, hogy angyalének ujjong, Megváltott lelkek hangja zengi Őt, Az ég a földnek, föld az égnek mondja: Végre Király Ő, a világ Megváltója!

Claire Withers

Sandbach, Cheshire, United Kingdom

First sang this in the early 90s and loved it. Nearly 10 years later, totally by chance, it was sung at my daughter's Christening. I looked out at the congregation and saw the tears flooding down my father's face. His father suffered the horrors of the trenches 1915-1918. I think "and stays our sin and calms our lurking fear" were particularly relevant to a them both. I am a hopeful, rather than a convinced Christian. Singing these incredible words, to that wonderful tune with my child in my arms and the loving face of my father (now departed) before me, for a few moments I felt the force of it as a reality. Each time I read this I feel it anew. May we all come to see a day "when all the hearts of men with love are filled".

Maria Theresa Mc Conville

Thank you so much! I have to sing it at a funeral tomorrow. The lyrics actually reduced me to tears.


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