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Joint Aid Management: Technical Manager

Joint Aid Management International
Please note: this opportunity closing date has passed and may not be available any more.
Opportunity closing date:
Thursday, 14 June, 2012
Opportunity type:

The Joint Aid Management (JAM) is a humanitarian nonprofit organisation that works to empower Africans to create better lives for themselves.

JAM seeks to appoint a Technical Manager, based in based in Honeydew, Johannesburg.

The person will provide overall technical guidance and direction to the Head Quarters (HQ) and the field workshop team. S/he will manage the HQ’s fleet, warehouses and diesel tank.

Workshop management (10%)

  • Manage all HQ workshop activities and staff;
  • Obtain all quotes for major repairs and arrange outsourcing of major repairs when necessary;
  • Able to do or supervise on minor mechanical repairs;
  • Control and accountable for all tools and equipment in workshops;
  • Ensure correct level of spare-parts are kept on base;
  • Procure spare parts based in requirements;
  • Spares are checked on arrival and allocated to countries;
  • Reconciling spares ordered against received;
  • Arranging deliveries of spares to various countries and export process;
  • Police clearances and export process for vehicles to countries;
  • Ensure that vehicles are tested after repairs.

Fleet management (10%)

  • Management of all logistics drivers;
  • Develop a service and maintenance plan for all fleet vehicles including the forklift;
  • Develop and implement an inspection check list for all fleet vehicles;
  • Ensure that all vehicles are licensed and have COF;
  • Ensure that PO’s are raised using correct budget codes;
  • Ensure that all drivers are properly trained and licensed;
  • Provide regular driver training and testing at HQ;
  • Supervise fuel bowser stock, control and issue of stock, fuel level reporting and ordering;
  • Ensure that the forklift driver is properly trained and licensed;
  • Manage and monitor tracking system daily;
  • Ensure vehicle tracking reports are up-to-date;
  • Communicate and investigate any vehicle tracking results with Logistic Managers in field.

Technical support to field operations

  • Working with Country fleet manager in procuring spare parts and equipment required;
  • Coordinate and manage driver training in field projects.

Insurance (5%)

  • Ensure that all JAM vehicles are covered by insurance, either internal or external insurance;
  • Ensure that accidents procedures are followed and accident report forms are filled in correctly;
  • Investigate accidents, submit claims and follow up on payouts;
  • Ensure that all insurance admin is done.

Warehousing & storage management (10%)

  • Ensure stock is counted monthly and stock cards are up to date and correct;
  • Ensure stock that is issued by following the correct process;
  • Ensure systems are up-to-date with the actual stock in warehouses and containers;
  • Manage bond-stores and activities on Base;
  • Manage container yard and all storage.

Reporting – accurate, timely and relevant (10%)

  • Ensure that vehicle monthly reports from countries are received and consolidated on time and accurately;
  • Repairs and Fleet maintenance;
  • Monthly warehousing and storages reports to VP Logistics;
  • Weekly vehicle reporting to VP Logistics.

General (10%)

  • Preparation of trip budgets;
  • Ensure that all areas of responsibility meet Health and Safety regulations and guidelines;
  • Develop, maintain and implement departmental policies and procedures;
  • Ensure compliance to departmental policies and procedures;
  • Ensure compliance to Organizational policies and procedures.

  • Matric exemption;
  • Minimum of 10 years plus in a managerial role - managing warehouses, workshops and fleet:
  • Experience in health and safety preferable;
  • Knowledge of procurement and import export;
  • Experience working in procurement of vehicle spares will be an advantage;
  • Fluency in English is essential. Knowledge of Portuguese is preferable and any of the other South African 11 languages will be an advantage;
  • Sound Technical knowledge of motorbikes, cars, trucks and 4x4;
  • Sound knowledge of the Road Traffic Act;
  • Intermediate skills in Microsoft Office;
  • Willingness to travel to the field operations at least 60% of the time;
  • Valid driver’s licence is essential. A code 10/14 licence will be an advantage.

Limits of authority: As per managerial authority limits in the strategy document.

Salary: R23 000 per month, negotiable will be offered.

To apply, submit a CV and motivation letter to

Please quote the source of this advertisement in your application - NGO Pulse Portal.

Only shortlisted candidates will be contacted.

For more about the Joint Aid Management, refer to

For other vacancies in the NGO sector, refer to

Follow and support the 2012 SANGONeT "No Pain No Gain" fundraising and awareness-raising campaign. Refer to for more information.

NGO Services

NGO Services


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Books  Reference  Career and Professional Development

A Life in Museums: Managing Your Museum Career

Handbook / Manual

By: Greg Stevens (Editor), Wendy Luke (Editor)

American Alliance of Museums Press

Paperback | Feb 2013 | #204172 | ISBN-13: 9781933253701
Availability: Usually dispatched within 3 days Details
NHBS Price: £22.50 $28/€26 approx

About this book

From the experienced leader or the mid-career professional hoping for a promotion to a recent grad applying for a first internship, A Life in Museums provides museum professionals, both experts and novices, with information for reaching their career goals. Providing sound advice, practical tips, and illuminating personal stories, the editors have ensured that A Life in Museums spans an array of museum disciplines, making it an extraordinarily versatile guide to the profession. Topics include personal branding and resumes, management and leadership at all levels, professional writing and keeping career journals, and navigating within your institution and knowing when it's time to move on. A Life in Museums has a place on the shelf of any museum professional and in the hand of any recent graduate.

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Greg Stevens has run the American Alliance of Museums Professional Development Program since 2007, addressing career, management, and leadership development, professional skills building, and mentoring for the museum field. Wendy Luke is the founder of the HR Sage blog and has twenty years of experience working with museums.

Bestsellers in this subject

The Effective Ecologist

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How to Do Ecology

NHBS Price: £18.95 $24/€22 approx

Zookeeping: An Introduction to the Science and Technology

NHBS Price: £66.50 $83/€77 approx

Data Management for Researchers

NHBS Price: £24.99 $31/€29 approx

Communication Skills for the Biosciences

NHBS Price: £31.99 $40/€37 approx

VAT: GB 407 4846 44
NHBS Ltd is registered in England and Wales: 1875194

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Books  Regional Natural History  Africa

The National Parks of South Africa

Art / PhotobookOut of Print

By: Rene Gordon

200 pages, 236 col photos

New Holland Publishers

Hardback | Sep 1993 | #25297 | ISBN: 1853682705
Out of Print Details

About this book

Stunningly photographed study of the region's protected parks, with a text describing the parks, their problems and conservation measures.

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Mammals of Europe, North Africa and the Middle East

NHBS Special Offer Price: £14.99 £24.99 (Save £10.00) $19/€17 approx (ends 31/03/2017)

Britain's Treasure Islands

NHBS Price: £24.99 £29.99 (Save £5.00) $31/€29 approx

Wildlife of Madagascar

NHBS Price: £22.95 $29/€26 approx

Udzungwa: Tales of Discovery in an East African Rainforest

NHBS Price: £36.99 $46/€43 approx

Natural History of Tenerife

NHBS Price: £29.99 $37/€35 approx

VAT: GB 407 4846 44
NHBS Ltd is registered in England and Wales: 1875194


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Useful phone numbers

Mind Info Line

0845 766 0163

Mind's helpline gives confidential advice and help for people with mental health problems

Brook Advisory Centres

0800 0185 023

Free and confidential sexual health advice and services for under-25s

The Samaritans

08457 90 90 90

Confidential non-judgemental emotional support, 24 hours a day, for people who feel distressed, despairing or suicidal.

THT Direct

0845 1221 200

Information, support and advice from the Terrence Higgins Trust on all aspects of HIV and sexual health

The Patients Association

0845 608 4455

For concerns about healthcare in general, this national charity provides patients with a way to raise issues and share experiences as it works to improve the care we all receive.

Alcoholics Anonymous

0845 769 7555

For those who think their drinking is becoming a problem, Alcoholics Anonymous offers the chance to talk to someone who know the issues through personal experience.

Asthma UK Adviceline

08457 01 02 03

Asthma nurse specialists provide independent, confidential advice and support to people living with asthma, their families, friends and carers and to health professionals.

0800 1111

Support, information and advice for children on any topic they want to talk about - bullying, gangs, puberty, sexual abuse, alcohol, drugs, or anything else that worries them.

Stroke helpline

0845 303 3100

Advice from the Stroke Association, which helps stroke patients and their families through its support services and funds research into prevention, treatment and rehabilitation.

Age Concern

0800 00 99 66

Information and advice on a broad rance of topics affecting older people

Contact a Family

0808 808 3555

Information on specific conditions and rare disorders for families with disabled children.

0800 77 66 00

Call for confidential and friendly advice about drugs from professional advisers who will give you straight up, unbiased information.

0845 456 0455

Helpline services offering practical and emotional support to those experiencing severe mental illness, their carers and relatives.

Beaumont Society

01582 412220

Advice and support for transgender, transvestite , transsexual and crossdressing people to reduce emotional stress and increase understanding.

Abortion Help

0845 300 80 90

24-hour abortion information service run by Marie Stopes International clinics.

Beating Eating Disorders

0845 634 1414

Confidential helpline offering support and advice for anyone affected by an eating disorder.

0845 122 8690

For information and advice on contraception, sexually transmitted infections, pregnancy choices, abortion, or planning a pregnancy

Domestic Violence Helpline

0808 2000 247

National Domestic Violence 24-hour helpline for those who require an urgent response or need in-depth support. The helpline is run by Women's Aid and Refuge.

Cruse Day by Day

0844 477 9400

Help and support for people who are bereaved. Also offers a special line for young people on 0808 808 1677.

Learning Disability Helpline

0808 808 1111

An advice and information service from Mencap for people with a learning disability, their families and carers.

Macmillan CancerLine

0808 808 2020

Information and advice for anyone with concerns about living with cancer. Also offers a textphone service on 0808 808 0121.

Condom essential wear

0800 567 123

Free and confidential sexual health information and advice.

0800 917 8282

Information and self-help materials, help to callers worried about their own drinking, support for family and friends of people who are drinking, and advice on where to go for help.

0808 800 1234

Information from nurses about all types and aspects of cancer - diagnosis, treatment, symptom control, clinical trials, support groups and where to get practical and emotional help.

0808 800 4444

Free housing advice from the homelessness and housing charity.

Autism Helpline

0845 070 4004

The National Autistic Society Autism Helpline provides impartial, confidential information, advice and support for people with autism spectrum disorders, their families, professionals, researchers and students.

Meningitis Research Foundation

0808 800 3344

Trained staff and qualified nurses offer information on meningitis and septicaemia to anyone concerned about or affected by these infections.

Heart helpline

08450 70 80 70

British Heart Foundation's cardiac nurses and information officers provide information to help support any medical advice you have already had from your GP or consultant.

Breast Cancer Care helpline

0808 800 6000

Nurses and trained workers with personal or professional experience of breast cancer offer information and support on any aspect of breast cancer or breast health.


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Posts Tagged ‘Nancy Walker’

Songwriting Workshop at Saratoga Guitar

Tuesday, October 16th, 2012
Nancy Walker, Michael Jerling and Bob Warren

Nancy Walker, Michael Jerling and Bob Warren

Saratoga Songwriters Panel – featuring the trio of veteran singer-songwriters Nancy Walker, Michael Jerling and Bob Warren – is offering a two-hour songwriting workshop at 7pm on Thursday, October 18.

“The Inspiration & Craft of Songwriting” will be held at the Saratoga Guitar & Music Center in Saratoga Springs.

The cost of the workshop is $30, and you can register by emailing Bob Warren at

Workshops: The Inspiration and Craft of Songwriting @ National Dance Museum

Monday, September 26th, 2011
Nancy Walker, Michael Jerling and Bob Warren

Nancy Walker, Michael Jerling and Bob Warren

Michael Jerling, Nancy Walker and Bob Warren are three of Nippertown’s finest singer-songwriters, and now they’re sharing some of their musical knowledge and tricks of the trade that they’re learned over the years.

The three songwriters will be presenting the Saratoga Songwriters Panel over the course of six consecutive Saturday mornings this fall. Titled “The Inspiration and Craft of Songwriting,” the series of two-hour workshops will begin on Saturday, October 15, and classes will be held at the National Dance Museum in Saratoga Springs.

Some of the topics that will explored during the workshops include:

1. The Songwriting Process
2. Structure and Expanding Your Musical Palate
3. Putting Your Song Across
4. Music First? Lyrics First?
5. How to Write a Bad Song
6. Ideation and Musical Variation
7. Recording and the Songwriter

The cost is $90 for the series, and registration is now open.

Jim Gaudet, Nancy Walker Play Benefit for Riverlink Park Concert Series @ Crystal Ristorante, 2/26/11

Friday, February 25th, 2011
Jim Gaudet and Nancy Walker

Jim Gaudet and Nancy Walker

Jim Gaudet (and perhaps the Railroad Boys’ trusty bassist Bob Ristau) and Nancy Walker team up for an evening of sparkling acoustic music to benefit the annual summer concert series at Amsterdam’s Riverlink Park. Two of the area’s finest singer-songwriters, Jim and Nancy have both graciously donated their services to help. The concert takes place at 7:30pm on Saturday at Crystal Ristorante in Amsterdam.

Beautifully situated along the Mohawk River, Riverlink Park has become one of the premier outdoor concert venues in Nippertown, beloved by audience members as well as the musicians who have graced the stage. It has been the scene of many diverse musical acts over the years. It has hosted national acts, such as Terry Adams, as well as such local favorites as Nippertown’s own Michael Eck (who performed with Ramblin Jug Stompers and Lost Radio Rounders, in addition to closing out last year’s series with a few friends in celebration of his latest solo album, “In My Shoes”). Other years have been highlighted by such diverse performers as Sgt. Dunbar & the Hobo Banned, the Schenectady Symphony Orchestra and Yarn.

LIVE: “The Right Mix” @ the Saratoga Arts Theater, 11/7/09

Friday, November 20th, 2009

How big was it? Michael Jerling at the Saratoga Arts Theater

How big was it? Michael Jerling at the Saratoga Arts Theater

Produced by Nancy Walker – an excellent singer-songwriter-turned-concert-promoter – and emceed by Dave Michaels from radio station EXIT 97.7, “The Right Mix” showcased some of Nippertown’s very best roots-oriented musicians, packing the intimate Saratoga Arts Center Theater with a full house of fans.

Hot on the heels of his new CD, “Music Here Tonight: Live At Caffe Lena” on Fool’s Hill Music, magnificent singer-songwriter Michael Jerling kicked off the evening’s music in fine fashion. Accompanied by percussionist-keyboardist-accordionist Teresina Huxtable and the Northeast’s incomparable, premier bassist Tony Markellis, Jerling rolled through a set of evocative, heartfelt songs, highlighted by the humorous, real-life-on-the-road odyssey “Wide Awake In Parsippany” and the comical “In The Middle Ages.”

Jim Gaudet and the Railroad BoysCartoonist John CaldwellThe Cock'N'Bull RestaurantCaffe LenaHolly & EvanAdvertise on Nippertown!Albany PoetsArtist Charles HaymesHudson SoundsLeave Regular Radio BehindThe LindaBerkshire On StageThe Sanctuary For Independent Media


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Beware ! Fake Rs 2000 currency notes coming from Punjab

While the common man bearing the brunt of demonetisation is struggling by spending hours in front of the ATMs to get two Rs 2000 currency notes, anti-social elements are busy printing counterfeit currency notes.

Interestingly, as expected, the currency notes are not being circulated by Pakistan’s ISI but by the educated criminals based in Punjab.

The Sangrur, Punjab police on Saturday busted a fake currency printer gang involved in printing currency notes of Rs 2000 and Rs 100 denomination.

“We have arrested four people and seized fake currency worth Rs 4.15 lacs from their possession besides a high end printer which was used to print counterfeit currency besides other documents,” a senior police official said.

The accused are in their 20’s are educated.

Not the first incident

This is not the first incident when Punjab youths have been arrested for printing counterfeit currency. Earlier on December 1,2016 three youths were arrested for possessing fake currency worth Rs 42 lac.The seized currency comprised newly launched currency notes of Rs 2000 denomination.

The arrested included an engineering graduate Abhinav Verma,21, of Dhakoli (Zirakpur), a Ludhiana property dealer Suman Nagpal,54,and Kapurthala MBA student Vishakha Verma ,23,.Vishakha is pursuing MBA from Manipur.

The trio were offering new currency notes (fake) in exchange of old currency notes of Rs 500 and Rs 2000 denomination and charged 30 commission.

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Nebraska Agricultural Leadership Council elects new officers

Tips: Livestock vaccinations, treatments

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NorthPlatte Weather

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News - State/Regional News
New lakes to be created near LexingtonTell North Platte what you think

Two new lakes will be created in the Platte Valley near the river, between Overton and Lexington, under an agreement between conservation and irrigation groups.

The lakes will be used to storing excess water that can be released into the river when the river gets too low. They will be shallow, and located on the Phelps County Canal south of the Platte River, said Jeff Buettner, CNPPID spokesman.

The cost to construct the facilities, including improvements to the Phelps Canal, is estimated at $75 million, Buettner said. It is anticipated that the reservoirs could be in operation by late 2015 or early 2016.

Central's board approved the agreement on an 8-2 vote with one abstention and one director absent.

The next steps in the project include final project design, acquiring state and federal permits and starting negotiations for land acquisition, Buettner said.

The lakes would be known as the J-2 Regulating Reservoirs because of their nearness to Central's J-2 hydroplant and the J-2 river return below Johnson Lake, the reservoirs will have a surface area of about 1,000 acres (less than 2 square miles) and a capacity to hold about 15,000 acre-feet of water.

Buettner said the reservoirs will re-time returns of water from Central's public power and irrigation system to help offset shortages to U.S. Fish and Wildlife Service target flows in the Platte River and help threatened and endangered species habitat along the river.

He said the reservoirs are expected to yield about 40,000 acre-feet a year through retiming and will also be used to enhance periodic short-duration, high-flow events to help maintain the river's braided characteristic.

Additionally, Central will be able to use the reservoirs to increase generation efficiency at its J-2 hydropower plant while limiting impacts to irrigation operations and river flows.

The program will be assigned 75 percent of the yield from the operation of the reservoirs to offset shortages to target flows, while the state of Nebraska will be credited with 25 percent of the yield to help offset depletions to the river.

The agreement includes Central, the Platte River Program through the Nebraska Community Foundation, and the state of Nebraska through the Department of Natural Resources.

The Platte River Recovery Implementation Program will provide most of the funding for the project while the DNR will provide approximately 25 percent of the costs associated with the construction. Central's share of construction costs will be capped at $2.5 million.

Since the project is closely tied to Central's hydro-irrigation system, Central will own and operate the reservoirs.

Also, civil engineer Cory Steinke reported that Lake McConaughy's elevation as of July 1 was 59 percent of capacity.

Water from the big lake is now being released for irrigation, while inflows into the lake have fallen to about 30 percent of normal for this time of year.

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The North Platte Bulletin - Published 7/10/2013
Copyright © 2013 northplattebulletin.com - All rights reserved.
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Hiromi – The Trio Project at Jazz Alley

March 4, 2017 @ 7:30 pm
Dimitriou's Jazz Alley
2033 6th Ave
Seattle, WA 98121
(206) 441-9729

The Pacific Jazz Institute at Dimitriou’s Jazz Alley welcomes virtuoso pianist Hiromi with Hadrien Feraud (bass) and Simon Phillips (drums) touring support of their new CD release Spark! Show times Thursday and Sunday at 7:30pm. Show times Friday and Saturday at 7:30pm and 9:30pm. Doors open at 6:00pm Thursday and 5:30pm Friday – Sunday.

“I don’t want to put a name on my music. Other people can put a name on what I do. It’s just the union of what I’ve been listening to and what I’ve been learning. It has some elements of classical music, it has some rock, it has some jazz, but I don’t want to give it a name.” ― Hiromi Uehara

All great human passions – whether romantic, creative, inventive, or transformative – begin with a single spark. On her tenth album as a leader, Japanese pianist/composer Hiromi traces the path of the flame ignited by that spark as it consumes and inspires. Over the course of nine expressively charged songs, the listener is carried away on an impassioned spiritual journey that might tell the story of a personal discovery, a love affair, or the creation of the music itself.

Set for release on Telarc, a division of Concord Music Group, Spark showcases the always thrilling sound of Hiromi’s Trio Project with her most narratively sweeping and emotionally overflowing set of music to date. The pianist finds her own spark in her interaction with her triomates of the last five years, contrabass guitarist Anthony Jackson (Paul Simon, Steely Dan, Chick Corea, The O’Jays) and drummer Simon Phillips (The Who, David Gilmour, Judas Priest, Toto, Jack Bruce).

Since forming in 2010, The Trio Project has explored the richness of the inner voice on their 2011 debut, Voice; the dynamic, unceasing motion of time on their 2013 follow-up, Move; and captured the feeling of their electrifying live performances on 2014’s brilliant Alive. With Spark, the trio again exemplifies why DownBeat magazine has called them “one of the most exciting groups working in any genre today,” with the leader’s effusive, heartfelt virtuosity supported by Jackson’s vigorously fluid bass-lines and Phillips’ ability to be simultaneously propulsive and witty behind the kit.

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Connecticut stays No. 1 in The Associated Press poll after two more double-digit victories over ranked opponents.

The Huskies had their closest game of the season at Baylor, ending the then-No. 7 Lady Bears' 69-game home winning streak last Monday night with an 11-point victory. UConn then routed Rutgers by 30 on Sunday. The Huskies host Memphis and South Florida this week.

Notre Dame, Duke, Stanford and Louisville followed the unbeaten Huskies, with the first five teams unchanged in Monday's vote. Maryland, North Carolina, Oklahoma State, Kentucky and South Carolina round out the top 10.

West Virginia jumped in at No. 18, continuing to win impressively. Gonzaga rejoined the poll at No. 25 while Rutgers and Colorado fell out.


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China Glaze Water You Waiting For? and Hanging in the Balance: Swatch and Review

Hello gentle readers.

How's about a two-fer today. Two pretty blue polishes from the China Glaze Cirque Du Soleil collection.  Water you Waiting For? is a deep blue jelly base packed with blue, green and purple micro and fine glitter mix. This polish is magically delicious.

This swatch is two coats and two coats of Gelous.

 The formula on Water You Waiting For? is a tad bit stubborn, it isn't easy but not a huge pain in the ass. And it is so pretty, it's worth a little care and consideration.

Next up, there is Hanging in the Balance, a brightened royal blue crelly. So smooth. So shiny. This polish has a very nice formula. It is easy to apply, didn't give me any trouble, except for a really bad brush. I ended up swapping out the brush that came in the bottle with one that was in an empty base coat bottle I had floating around for just such a circumstance.

This swatch is two coats and top coat.

Stupid camera made this look more cerulean than royal blue and since I don't have and wouldn't know how to use it if I did, Photoshop, I have to just apologize for my now and then not so colour accurate photographs.

These are the last two polishes I have from the China Glaze Cirque Du Soleil collection. I am happy that I picked up the polishes that I did from this collection, they are really great; pretty, nice formulas. If you like the look of these polishes, they are definitely worth picking up. Tho they aren't out and stomping through the stores, any longer, they are available from e-tailers, Amazon, E-Bay and in random beauty supply stores and so on. If you want them, they shouldn't be too difficult to track down.

Thank you so much for popping in and reading. Have a great day and may your polish never bubble.

  1. I love them both!!!

  2. They're great, aren't they? :D

  3. The first is very pretty, but reminds me a great deal of Skyscrapper from their 2011 fall collection.

  4. What is up with CG's brushes lately?

  5. Yes, they are! :D

  6. You've got me. I am getting more bad ones than ever. I have found at least six in the last couple of collections. SMH

  7. Hmmm... I'll have to haul out Skyscraper and see if they are close. Interested in a comparison?

  8. Me, too. I've been hesitant to buy any CG because of the crappy brushes. I've been liking Sally Hansen lately, but the price is ridiculous. I want to wait for a sale. =(

  9. I haven't been buying Sally Hansen, it costs as much as OPI. As much as I like Sally Hansen, if I am going to spend that kind of money, I'd rather have the OPI, which I like even more. :)

I love to know what you're thinking. I dig honest discourse and lively discussion, even a good debate. I do not dig spam, hate speech or personal attacks either against myself or my gentle readers. Comments are moderated before they post to maintain a harmonious community.


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Main content

Tedesco decision on NRL future next week

Tedesco decision on NRL future next week
Wests Tigers fullback James Tedesco will make a decision on his future next week after testing the open market. Credit: NRL Photos/Colin Whelan. Copyright: NRL Photos/Colin Whelan.

Star fullback James Tedesco will have decided his future by the time he returns for Wests Tigers next week, and, according to his manager, it won't be solely dictated by money.

Tedesco is set to return from an ankle injury for the Tigers' round 13 match against Newcastle on June 8, with the joint venture enjoying the bye this weekend.

The 21-year-old's manager Sam Ayoub and Wests Tigers boss Grant Mayer both hosed down reports the Tigers had issued a 5pm deadline on Monday for Tedesco to decide his future.

Mayer confirmed discussions were ongoing with Ayoub on Monday but denied an ultimatum had been made.

"Not at all," he said.

"The reality of the situation is discussions are ongoing and we are hopeful of retaining James.

"We are keen for him to be part of the future of the club."

Mayer described reports of a $2 million offer over four years as "nonsensical".

"We are in further discussions but after that I don't want to comment any more."

Ayoub said the Camden Rams junior was keen to have his future sorted out before his likely return against the Knights.

Tedesco has been linked to a move to Canberra, with Raiders chief executive David Furner signalling the start of an aggressive recruitment campaign.

Canterbury captain Michael Ennis and Penrith winger Josh Mansour have also been linked to Ricky Stuart's side.

Ayoub described as "baseless" reports that the Raiders had tabled a $3.2 million deal to Tedesco.

He said the Tigers had presented an offer and Tedesco was waiting on the Raiders before deciding where he would be playing in 2015 and beyond.

"It is an ongoing process and we are working through that," Ayoub said.

"We are hoping to make a decision as soon as possible to ease the pressure on him.

"And contrary to some of the reports out there, the decision he does make won't be solely based on money."

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2013 Continuation of the Federal Justice Statistics Program

Funding Source:
Bureau of Justice Statistics
Type of Funding:
Monday, June 24, 2013
Number of Awards Available:
Award Ceiling:
3 000 000
for-profit (commercial) organizations, nonprofit organizations (including tribal nonprofit or for-profit organizations), faith based and community organizations, institutions of higher learning (including tribal institutions of higher education

The Bureau of Justice Statistics (BJS) is the statistics agency of the U.S. Department of Justice (DOJ) and a component of the Office of Justice Programs (OJP). BJS is announcing a public solicitation for the continuation of the Federal Justice Statistics Program (FJSP) through a Cooperative Agreement. The FJSP is managed by BJS and serves as the national clearinghouse of federal case processing data. Under this program, data provided by six federal justice agencies are standardized, maintained, analyzed, and archived.

See the full announcement.


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Prefix — 408-373

Enter the phone number below for more information

Phone numbers that start with the 408-373 prefix are normally located in Sunnyvale in California, zip code 94086. Below we've included some detailed information about this area including population size, demographics and household wealth to give you a sense of what the neighborhoods with 408-373-XXXX phone numbers are like.

Rate center(s): SUNNYVALE

Company(ies): SPRINT SPECTRUM L.P.

Information for this County

Time Zone: 8
Area: 1,291 sq. miles
Population: 1,682,585
Average people per household: 3
Number of households: 565,863
Estimated white population: 1,291
Estimated black population: 905,660
Estimated hispanic population: 47,182

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Zip code: 94086
Residential addresses: 19,276
Business addresses: 790
Average household income: $71,056
Average house value: $420,100
Average per capita income: $34,990

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Washington DC CNA Classes

Washington, D.C. CNA Training

In Washington D.C., an individual is required to be both certified and licensed to practice as a certified nursing assistant. One must also pass a criminal background check. The first step in becoming a CNA in the District of Columbia is to complete the required amount of course work and hands on training. After completing the educational and training requirements, one is qualified to complete the two-part National Nursing Assistant Assessment Program (NNAAP) exam, which features both a written section and a section in which the student must physically demonstrate CNA skills and procedures. For those who are unable to take a written examination, an oral test may be administered.

Renewing a CNA License

Once the NNAAP is passed, the certification is valid for two years. After the two years are up, the certification can be renewed as long as the applicant has completed at least 8 hours of paid labor as a CNA and 24 continuing education hours.

The following scenarios allow an individual to be eligible to take the NNAAP exam:

  • Having no other nursing registry and having completed an approved CNA training course within the past 24 months (certificate of training must be presented).
  • Having completed a "Fundamentals of Nursing" course including clinical within the past 36 months (transcript must be presented).
  • Having been an LPN or RN in D.C. or licensed within the last 36 months, or trained as an LPN or RN outside of the U.S. (any applicable licenses or training certifications must be
  • Having allowed one's Registry to expire and re-applying. If the Registry has been expired less than 24 months, a copy of the expired Registry must be presented. If more than 24 months, CNA training must be completed again, and a copy of the expired Registry must be completed along with a copy of the new training certificate.
  • Having a current registration out of state in good standing, and applying for "reciprocity by examination" (must present registration).

Additional Resources:

On-Campus & Online CNA Schools

Other DC Schools with CNA Programs

Bethel Training Institute
824 Upshur Street, NW
Washington, District of Columbia 20011
Capitol Health Institute
7826 Eastern Avenue
Washington, District of Columbia 20012
3925 Georgia Avenue, NW
Washington, District of Columbia 20011
Carlos Rosario International Public Charter School
1100 Harvard Street, NW
Washington, District of Columbia 20009
CitiWide Computer and Nursing Assistant Center
3636 16th Street, N.W.
Washington, District of Columbia 20010
Comprehensive Health Academy
1106 Bladensburg Road, NE
Washington, District of Columbia 20002
MISS Health Care Training Institute
1818 New York Ave. NE
Washington, District of Columbia 20002
University of the District of Columbia-Community College
5171 South Dakota Avenue, NE
Washington, District of Columbia 20017
VMT Education Center
4201 Connecticut Avenue, NW
Washington, District of Columbia 20008

Washington DC CNA Resources on

District of Columbia Board of Nursing
Department of Health
717 14th Street, NW
Suite 600
Washington, DC 20005
Phone: (202) 724-4900
Fax: (202) 727-8241

District of Columbia Nurses Association


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$75,000 raised for Passion Play

Bank expects money for loan interest to be turned over today

Posted: January 3, 2013 at 12:59 a.m.

NWA Media/JASON IVESTER Lights illuminate the Christ of the Ozarks statue on Sunday, Dec. 16, 2012, in Eureka Springs. After the lights were turned off -- the first time since 1967 -- following the closing of the Great Passion Play, donors helped bring the lights back on. The electric bill for the two 10,000-watt floodlights is about $200/month in the winter.

Supporters behind a frantic fundraising drive to save the Great Passion Play near Eureka Springs have raised $75,000 needed to pay loan interest to Cornerstone Bank and prevent the bank from taking over the property in lieu of foreclosure, said Charles Cross, the bank president.

This story is only available from our archives.

Northwest Arkansas, Pages 9 on 01/03/2013


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Seattle Mariners Pre-2014-Draft Needs

2014 Draft is upon us…

The Seattle Mariners have the 6th overall selection in this year’s amateur player draft. Trying to figure what a baseball team needs is harder than most professional sports because of the differences. While players can be drafted out of high school, the biggest factor is the massive minor league system that Major League Baseball has developed.

Factoring in current team needs, the Mariners have a lot of holes to fill on the roster. The front office is going to have to dig deep to fill those holes, because it is extremely difficult for a baseball prospect to reach the big leagues.

Mariners fans know the pain of past drafts that still have us scratching our head. Jeff Clement, anybody?

With a minor league system full of talent, the Mariners have lots to work around this weekend.

Here are the team’s 3 biggest needs before the draft.

After the tumultuous start to his young career, you have to wonder if Nick Franklin was over-hyped on his path to Seattle. Franklin’s current predicament is not pretty: subject of trade talks all season long, he has been demoted to the minors twice already after low production in Seattle.

Whether he’s traded or not, the Mariners need to get more bodies into the 6 hole.

While Brad Miller could be a viable option, it will take some time to figure that part out. Groomed as a second baseman, things changed rather quickly after the signing of Robinson Cano. With second base literally stolen from him, Miller was given a second chance by being allowed to take over for Franklin – with mixed results.

There are so premiere shortstops in the Mariners system right now. Adding one with the first pick send a clear message to both Franklin and Miller: produce or be replaced.

My top choice at SS for the Mariners would be Nick Gordon. He is a pure shortstop who plays good defense and can hit for power.

His father is former pitcher Tom Gordon and his brother, Dee, is currently a top-ranked prospect for the Dodgers.

While he may not fall to #6, Gordon MUST be taken if still available. The team is rumored to be interested in NC State Shortstop Trea Turner as well.

Nick Gordon

Nick Gordon would be the insurance Seattle needs for Franklin/Miller

First Base

The same goes for first base as it does for shortstop. With the ups and downs that Justin Smoak has had as a Mariners, most fans are ready for a new experiment.

While they have some veterans on the bench who can fill in or other position players who could convert, the team lacks a solid everyday first baseman of the future – not just in the big leagues, but in their minor leagues, too.

If the Mariners could shore up first base with a young player, the infield could stay intact for years to come and make a legitimate team in the Emerald City.

There are two big hitting first basemen in the draft who could possible fall to Seattle in the second round if the team is lucky: Casey Gillaspie from Wichita State or A.J. Reed from Kentucky.

Defense is secondary when it comes to the position and these two could add the power the Mariners need to help them in the future.

You can never have enough pitching. Ever. And while the team’s rotation is getting younger by the season, the team should still be stockpiling young pitching talent.

Whether it be to challenge for a starting spot in 2-4 years, transform into a relief pitcher or become trade bait, every team – not just the Mariners – need to try out as many arms as possible until they are good enough to make the team.

We are learning that lesson now as fans after the build up and long anticipated waits for Danny Hultzen, James Paxton and Taijuan Walker – all of who had injuries dim their star power some.

At the team’s #6 spot, we will most likely see either LHP Sean Newcomb from SC State or RHP Aaron Nola from LSU.

One thing is for certain – the Mariners almost can’t go wrong this year. With the amount of talent oozing from this year’s draft pool, the team can easily fill the voids in the roster if they choose wisely.

Your move, Jack.

Follow our Editor "Q" on Twitter, and NWSB, 'Like' us on Facebook.
About Brandon Choate

Guest reporter on "Real Rob Report." Raised on Eastside of Seattle, a super fan of every sports team in Seattle. Bleeds Blue, Green, Teal, Purple and Gold. Likes video games, food, and poor attempts at comedy. Connect with Brandon today!
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Wednesday, December 1, 2010

Frank Miller Part 1: Dames, Dark Knights, Devils, and Heroes

Words: Christopher Irving
Pictures: Seth Kushner

         A dead cat greets me at the door to Frank Miller’s studio, a long-haired white feline standing majestically in his living room, flanked by a bookshelf populated with DVDs.

I look away for a minute, and it is gone.

            Miller sits behind the drawing table in his studio, sporting his trademark black fedora and a black pinstripe blazer over a black t-shirt, his hawkish profile making him look like a modern-day Shadow. His studio is lined with metal display cases bearing everything from old comics memorabilia to souvenirs from his movies—Sin City, 300, and The Spirit. Leonidas’ shield lays on a worktable against the far wall, and Frank points my gaze to the top of one shelf, where Miho’s sword sits in its scabbard.

            Back at his desk, the lanky artist lights up a cigarette and invites me to shut the door and cut my recorder on. To refer to Frank Miller as just a cartoonist or personality would be an understatement: where most artists have one defining period in a long career, Miller has had about three or four, switching styles, and even approaches, in a ballsy and always successful way. Miller has not only redefined comic book genres by combining them in a pastiche-fashion with the hard-boiled world of the Mike Hammers and Sam Spades, but also redefined the general perception of comics through successful film adaptations of key works Sin City and 300.

Despite time living in both L.A. and Charlottesville, Virginia, Miller’s comic run rampant with New York City, creating an authorial vision of the city as a dichotic heavenly cesspool. Miller is the definitive New York cartoonist, following in the footsteps of his mentor Will Eisner.

“I’ve been in this studio since 2001,” Frank notes, leaning back in his swivel desk chair. “I managed to move here a few months before 9/11, and am very glad I did, because this is my city.”

When Frank Miller arrived back, it was just in time for the terrorist attacks of September 11. Terrorists forced passenger airplanes into both towers of the World Trade Center, changing the social and political landscape of America and the world. Miller’s response on the five-year anniversary was an essay, “This Old Piece of Cloth,” for NPR’s This I Believe program. Almost five years later than his piece is his latest response to terrorism (a villain largely ignored by mainstream superhero comics), as international terrorists are pushed to the forefront of his upcoming comic book Holy Terror.

“It’s going to be a very 21st century version of Superman punching out Hitler,” Miller notes. “Osama bin Laden is not mentioned, and I attribute one line, and it’s not as obvious as that. It’s definitely my story about a crusade on terror.”

Originally intended as a Batman story, Frank has recast it with his new character, The Fixer—one far more violent and brutal than The Dark Knight.
“I spoke with Paul Levitz about this, and it’s not a Batman story,” Frank elaborates. “It’s the closest cultural comparison would be Jack Ryan. He’s a much rougher player. At some point, you’ve got to say ‘Is this Batman or not?’
“[The Fixer] breaks somebody’s spine on purpose. It’s just that if I’m going to do Batman, I want it to be Batman. The Fixer has become his own character and is much rougher. He’s also going against up Al-Qaida. These people are insane. These people blow themselves up and are not the nicest people. They’re crazy.”

In the ‘40s, superheroes went up against the Nazis and the Japanese of World War II on a regular basis, while the ‘50s and ‘60s had them facing off against the perceived threat of Red China and Russia against a Cold War backdrop. This current “War on Terror” has lasted for a decade in a time where corporately-sponsored superheroes now stay out of politically controversial and potentially volatile wars.

Not so with Frank Miller, who has no illusions about finding a publisher:

“It will be either Dark Horse or another company.
“If all else fails, I’ll do it.”

            Frank Miller first came to New York City in 1976 from Vermont, armed with a portfolio Frankensteined together out of polyester, cardboard, and bailing twine. What did he do, with his aspirations and dreams of becoming a comic book artist? Frank just called up the biggest comic book artist of the time: Neal Adams.

“I just looked him up in the phone book and he was there. That was back when artists were much more accessible,” Frank recalls as he lights another cigarette. “I honestly just looked him up. He was my hero and I found his name in the phone book.
“I also found Steve Ditko’s name in the phone book…He was a very friendly man. I called him up and met him at a party. But with Neal, it was more like ‘Can you be here in twenty minutes?’”
Frank calls that first meeting “Awkward,” and then pauses thoughtfully for a second. “I had a big portfolio of artwork that I wanted to show him. I almost broke his nose with it when I opened it up. He looked over my artwork and said ‘You’re from where?’

“I said ‘Vermont.’

“‘You should go back there and pump gas. You’re never going to be good.’”

            Adams has an infamous reputation for being a hard-ass, especially to new talent, critical and harsh to what some would deem a fault. For Adams, though, the big man’s motives are to find out just how serious an aspiring artist really is: if they want to work in comics that badly, then they’ll overcome their ego and actually become better.

“The women in my life would tell you, I’m very persistent,” Miller says with a smile. “I kept coming back until finally Neal, at one point, said ‘He knows he can’t draw. I already told him that but the storytelling is ballsy,’ and he got me my first job at Gold Key Comics.”

Frank’s first job was a Twilight Zone story for Gold Key Comics in 1978, a publisher that was in their last decade, and had seen better days the decade before. He’d follow it up with another Zone story, but soon go on to the bigger pasture of DC Comics. Soon making the move to Marvel, he broke in and drew some John Carter, Warlord of Mars, as well as a few issues of Spider-Man. Frank Miller, young and lanky and determined, was about to hit his first defining moment as a cartoonist.

“I had done a couple issues of Spectacular Spider-Man and I looked at Daredevil, [who] was blind. All of a sudden I realized that I could do all my crime stories through this character,” Frank states.

Daredevil had been the poor man’s Spider-Man: he was a blind lawyer in New York City who used his radiaoactively-endowed radar senses to fight crime while jumping around in a bright red suit. When Miller eventually took over the writing chores on Daredevil as well, he followed the adage that a hero is as good as his villains, and took the minor league superhero and pitted him against major league villains. Gone were the threats of lame-ass baddies Stilt Man and The Owl, as they were replaced with The Kingpin (shanghaied from Spider-Man), Bullseye, and an initimable female assassin.

            Daredevil’s New York, under Frank’s run, became darker and more dangerous than the Spider-Man New York he’d seemingly lived in before. New York City itself, particularly Daredevil’s Hell’s Kitchen neighborhood, became as much a character as the shadowy crimefighter; the stories often took place on the rooftop level, with water towers, pipes and chimneys jutting out to create a skyline reminiscent of German Expressionism’s dramatic edges and shadows. The bold inks of Klaus Janson complemented Miller’s style, giving Daredevil that final Noir look.

“Have you ever flown over?” Frank posits in defense of his rooftops. “There are really that many water towers. It’s not a joke.”

Miller infused elements of crime fiction with ninja action, throwing Matt Murdock/Daredevil’s femme fatale Elektra into the mix. Admittedly his take on Will Eisner’s Spirit antagonist Sand Saref, Elektra was Murdock’s college girlfriend whose fixation on her father turned her to become an assassin after his murder. Working through ninja clan The Hand, the tension between Elektra and Murdock was the crux of Miller’s first year as Daredevil auteur. At the end of his first year, Miller had Kingpin’s assassin Bullseye viciously run Elektra through with her own sai—an unprecedented death of a major character in a superhero comic book.

By the time Miller wrapped up his first run on Daredevil, with 1983’s #191, the character had gone from a predictable superhero archetype to a tortured (and very human) hero struggling to stay on the side of the angels. Matt Murdock wasn’t just a son who avenged his murdered father by dressing up in tights: he was now the son of a washed-up alcoholic boxer of a Dad, who grows up teetering on the razor’s edge between good and evil…always threatening to tip over to the wrong side. What Miller created in Daredevil wasn’t necessarily an anti-hero, but a hero who was never too far from becoming a villain. His run ended quietly but tensely, in an issue that has Daredevil playing Russian Roulette with an invalid Bullseye.

“I guess that’s what it all comes down to, Bullseye…” Daredevil narrates in a caption, the gun aimed between the villain’s eyes. “When it comes to that one, final, fatal act of ending you…”

The hammer clicks, betraying the revolver’s empty chamber.

“My gun has no bullets. Guess we’re stuck with each other, Bullseye.”

Miller would find himself willingly stuck with Daredevil, going back for a few more stints, as well as being forever associated with him. But that would come later…

While working on the Elektra saga, Miller was invited to join Upstart Studio in the Garment District of New York, working alongside other cartoonists including Howard Chaykin and Walter Simonson. Upstart was a hotbed studio, particularly with Chaykin putting out indy masterpiece American Flagg! and Simonson making Marvel’s Thor mighty again with his trademark run.

“It was a thrill to be in such a pantheon of artists. I really honestly feel like that experience was formative for me,” Frank notes.

The move would be more than just an art table and conversation—Frank was exposed to new influences that took a firm hold of him for his next project, a creator-owned project published through DC Comics, a rare thing for the comics industry of the early 1980s.

“Both Walt Simonson, and particularly Howard Chaykin, introduced me to the European comics. Then, through a girlfriend Laurie Sutton, I discovered the Japanese comics,” Frank reveals. “That all gave birth to Ronin.”

Miller’s 1983 futuristic tale merges samurai adventure with cybernetics, corporate America, and social dystopia. Ronin starts off looking like the Daredevil Frank Miller with a slightly different inking style, and organically merges different European and Japanese storytelling and inking techniques as it goes. There’s a lot more pen work and stippling towards the end of Ronin; Frank no longer just has a strong Neal Adams influence, as his work wanes more European and gets a bit funkier.

The next few years sees Frank focus on his writing chops, as he returns to Daredevil for a stand-alone issue drawn by John Buscema. Matt Murdock shows up in New Jersey in civvies, and takes down a criminal-run town, storming in like a nameless cowboy, to scrape the corruption away. Between the Elektra Saga and what comes next for Frank and Daredevil, this “Badlands” issue is overlooked. A shame, for its one damn fine single issue.

“I was just getting my chops back on that job,” Frank points out. “It wasn’t like I jumped right in to Born Again that I knew who he was anymore.”
Miller got reacquainted with Matt Murdock, this time with artist David Mazzuchelli, and turned the hero’s life even more upside-down. When Matt’s former secretary and girlfriend turned heroin addict and porn star, Karen Page, sells Daredevil’s identity to the Kingpin for a hit, the crimelord destroys Matt Murdock’s personal life—having Murdock disbarred as an attorney, his funds blocked by the IRS, and his home destroyed. Born Again follows Matt’s complete nervous breakdown and subsequent rebuilding, a postmodernist deconstruction and reconstruction from ground up.

If Daredevil felt a little Sam Spade before, he was now becoming more Mike Hammer, a powder keg of anger and rage. By literally stripping the superhero of his identity, Miller deconstructs Murdock/Daredevil and forces a narrative redefining of the character. Born Again, surprisingly, wasn’t Miller’s final word on Daredevil: he returned years later to write a new origin story (The Man Without Fear, based off an unused film script, with John Romita, Jr. and Al Williamson on art), and Elektra would still haunt Frank as much as she had Murdock.

It’s hard to write about Frank Miller and not do a play-by-play of his career, as most every project hits a pivotal note in his development, each building off of the prior. I only had thirty minutes (that wound up turning into sixty) to talk to him, and we hit on the major points, zeroing in on his more recent work, the post-post-modernist Frank Miller who now tends to embrace more pastiche than realism in his work.

But we have to address the Frank Miller who kicked off “post-modernism” in comics with his 1986 comic The Dark Knight Returns. With story and pencils by Frank, inks by Klaus Janson, and watercolors by Lynn Varley, Dark Knight takes place in a future of Philip K. Dick proportions: Retired after the death of his second Robin, Bruce Wayne hangs up the cape and cowl for good. A heat wave sears Gotham as street punks overtake the streets, with the Batman relegated to being no more than an urban myth whispered amongst the cracked pavement and foundations of Gotham City. An ailing Ronald Reagan is still President with Superman his government flunky. Pushed back to the edge, Batman rises up again and fights enemies new and old, while suffering with the strains of middle age and the media-riddled social climate.

Like Daredevil in Born Again, Batman is broken down and built back up in Dark Knight Returns: his new war on crime is a bit rusty, until he’s beaten to hell by a gang leader. Coming back in his original costume, Batman is wiser from his defeat: Being crusty and old, he can’t fight like a young man anymore. In order to win, he’ll have to fight dirtier than he possibly ever has before. By facing his mortality, he becomes seemingly immortal and more true to the urban myth whispered about on the news and the streets of this future world.

Miller’s Batman was extremist, militant, short-eared and barrel-chested. He’s not a superhero with a boy sidekick, but a General who takes a young girl under his wing as a new Robin. Dark Knight Returns doesn’t just distill Batman to his primal elements; it also encapsulates the 1980s political climate and the waning days of the Cold War.

“I’m talking to animators, and I would rather do it animated,” Frank reveals when I bring a hypothetical Dark Knight Returns movie up. Along with Watchmen, Dark Knight Returns is a revolutionary work, unchangeable by processing into a live-action film.

The next year, Frank looked to the other end of Batman’s timeline with Batman: Year One, a new origin story, again with Mazzuchelli on art. Rather than tell a Batman story, Miller instead focuses on the trials of Jim Gordon, a new police lieutenant moving into the corrupt Gotham City police force. Gordon’s rise and fall as a hero cop is the true crux of Year One, as Batman’s development seems to reflect his proxy rather than the other way around.

Like he defined Daredevil’s New York years earlier, Miller makes Gotham City a cracked metropolis dangerous and downtrodden enough to justify the presence of a Caped Crusader. Mazzuchelli’s Alex Toth inspired art brought an urban modernity to a classic style, as heavy blacks dramatically cast upon figures, and long shadows are cast upon buildings. They manage to pull Year One off with a heavy degree of realism, but never to the extent that it becomes boringly grounded.

And then, Miller went off to Hollywood. He wrote both Robocop 2 and 3 as a “hired hand” and “gunslinger,” having his scripts reworked into something different by the studios. It was a trial by fire and, maybe, just maybe, a coming of age for Frank Miller. After a solid decade of having near-to-complete creative control over his stories as a cartoonist, working in the Hollywood studio system must have been an enormous frustration.

            When he came back for another original graphic novel, it was for Elektra Lives Again, his final word on the Greek assassin. It’s really a Matt Murdock story, as Matt stays up nights and continues to  torture himself over her death and the uncertainty of her resurrection. Miller works Matt’s narrating captions between the present, the past, and his dream imagery of Elektra, a fragmentation given a voiceover straight out of an old crime book, but with a heavy dose of sensitivity that never veers into the maudlin.

            Elektra Lives Again isn’t a Daredevil story, but a Noir one focusing on Matt Murdock the man. When he stands in a trenchcoat, bandages pasted across his face at the end, it’s a sign of things to come out of Frank’s next iconic creator-driven work, one as redefining as Dark Knight Returns

            Frank wasn’t entirely done with Daredevil: he gave him the Year One treatment in Man Without Fear, with the art team of John Romita, Jr. and Al Williamson. He would come back to Batman years later for one more go, and still holds a soft spot for the Hell’s Kitchen vigilante.

“I don’t follow my characters after I let go of them, because I just get too upset. I’m just not going to like where they’re going to take Batman or Daredevil,” Frank admits. “It’s just a personality quirk of mine.”

But, if an opportunity to work on Daredevil again presented itself?

“It’s so funny—if you’d asked me this question a few years ago, I would have said ‘No’ about Batman, Daredevil, about anything,” Frank reflects. “Now, I’m realizing that I have this eternal love for these characters. With Batman, I already know what I’d do next.

“And with Daredevil? He’ll show up and knock on my door when the time is right.”

Martha Washington lives in the 21st century America forecasted by Frank Miller and artist Dave Gibbons. Martha’s a young black woman living in a prison-like government-approved ghetto, a closed-in prison deemed “social welfare” by a President with an uncanny knack for keeping the office two decades. When Martha finally breaks out of the ghetto, she joins up with the government’s militia in a period of martial law, and is thrown into a war with fast food corporations out of a rainforest.

Give Me Liberty kicks off a character Frank would have a narrative love affair with for seven more years, on and off. It’s the emergence of a Frank Miller with a heavier-handed knack at social and political satire than before, but it also displays Frank’s sensitivity in his creation of Martha, this strong woman given life by two of the founders of “postmodern comics.” Martha is arguably the most fleshed-out and real character Frank has created in his long career, but she would soon be overshadowed by what came next.

Marv has a heap of problems to begin with, and the dead hooker in bed next to him is only the icing on the cake. As the cops roll up, sirens blaring, he knows there’s more to Goldie’s death. Even if it kills him, this sociopathic misfit, perpetually stuck on the wrong side of the tracks, with a mug that would make kids cry (and a violent streak that does the same to grown men), is going to find Goldie’s killer.

And so starts Sin City, first serialized in the anthology book Dark Horse Presents. When it starts, it feels more like the old Frank, with some of the same linework, but heavier blacks and longer shadows. When Marv jumps out of a window, he kind of looks like Batman, substituting a long trench for the cape.

But then, as the second part rolls around, Sin City becomes even darker, the lighting more direct, hard edges created by shadow, thicker more liquid lines replacing thinner ones drawn by a pen.

He did it. Frank Miller reinvented himself yet again.

“At the time, I was timid,” Frank admits. “I honestly said to [Dark Horse publisher] Mike Richardson (and we have a profit sharing arrangement) that I was willing to share the loss if this thing didn’t make money. I said ‘Look, I’m just going to please myself. This will be the comics I always wanted to do.’”

“I just said ‘I don’t give a damn. I’m going to do exactly the comic that I want to do,’” he says a bit later. “I didn’t care whether it succeeded or not, and it succeeded way beyond my expectations.”

            In Marv, Miller redefined the anti-hero by creating a throwback to the days of post-war tough guy fiction, particularly Mickey Spillane’s iconic Mike Hammer. While we don’t exactly cheer for Marv because he’s the good guy (he’s not), or even because his mission is a noble one (in its own leave-a-trail-of-bodies way), we root for him because he personifies the level of toughness we all wish we could possess. When Marv lets loose and embraces the killer within, we all envy that uninhibited release of anger, just as Miller was uninhibitedly celebrating the crime comic: blood, sex, violence, and run-on sentences inclusive.

The similarities to Hammer is no accident, according to Frank:

            “When I first met Mickey Spillane, I was sitting next to him at a convention appearance,” Frank recalls a time right before Sin City’s launch. “Somebody asked me what my next book was going to be called, and I said ‘The Big Fat Kill,’ and I felt this big oak piece go through my chest (it was his elbow), because he knew it was a reference to his book The Big Kill. He was always never less than a complete gentleman about it.”

            As Sin City progresses—with titles like The Big Fat Kill, A Dame to Kill For, Booze, Broads and Bullets and That Yellow Bastard—through Frank’s introduction of armed hookers, sensitive toughguys with new faces, over the hill cops, and jaundiced perverts, more and more it feels like it should be printed on shitty paper between cheap cardstock covers. The level of scantily clad women with heavenly bodies, people spurting blood like geysers out of bullet holes, fast cars, dismembered corpses, and bare-ass naked femme fatales rises to an impossible crescendo. Miller’s clearly loving it, seeing how much he can get away with each story, and we love it for being so damn dirty and subversive. But in between the sex and violence, there’s a quiet sensitivity at play in Frank’s first-person captions, as Marv enjoys a cigarette after killing a man, or Hartigan speeds down windy roads to save the girl. Like Dark Knight Returns launched a wave of violent superhero comics, Sin City brought crime back as a formidable genre, striking at a time when Quentin Tarantino’s crime epics were burning up cinema screens.

            Miller, after years of trying his hand at Hollywood, had it come to him through another artist living by his own terms: indy film maker and jack-of-all-trades Robert Rodriguez, whose first film El Mariachi was self-funded through money earned as a pharmaceutical lab rat.

“I met Robert Rodriguez in a Hell’s Kitchen bar. For one thing, he was the only guy in Hell’s Kitchen wearing a cowboy hat who was straight,” Frank gives with a sly grin. “He showed me what he had in mind, and I went ‘This is good.’

“He had single pages and had taken [pictures of] girlfriends and fellow actors, but he caught the look of Sin City. I didn’t think it could be done. I didn’t know digital then. He taught me digital, and now I know it well.”

Rodriguez’s “audition” clip for a Sin City movie was an adaptation of Frank’s three-page story “The Customer is Always Right,” starring Josh Hartnett. Shooting them against green screen, Rodriguez amped up the contrast and created backgrounds digitally, recreating Frank’s atmospheric implied line world loyally. It didn’t take long for Miller to give his blessing, and for the two to team up as co-directors on the film adaptation.

Sin City came out April 1, 2005, with a motley cast—boasting Bruce Willis, Clive Owen, Jessica Alba, Mickey Rourke, the late and great Brittany Murphy, Rosario Dawson, and Benicio del Toro—starring in a handful of the Sin City stories brought to celluloid life. It succeeded in the one area no other comic book adaptation had ever really tried before: the loyal translation. Sin City the film showed us Miller’s absurdist Noir tendencies in motion, while also making the creator-owned comic book a household name. It also gave Miller the last laugh, placing him in the director’s chair on his own terms.

“We’re planning on it early next year,” Frank says of Sin City 2. “We’re getting both of us happy with things, and we’ve both gotten a bit feistier,” he jokes.

“Preproduction will be early next year. Preproduction with Rodriguez takes about ten days. The guy is a lightning bolt. We’ll cast the movie across the later months of this year, and a lot of it will cast itself, since a lot of people want to be back.”

The heart of this new anthology? A Dame to Kill For, the origin of bad-ass Dwight, (played by Clive Owen in the first film) serves as the crux of the movie, with other shorter stories around it. Dwight’s a tortured man, refusing to repeat his hard and violent past by “letting loose” even one more time. When he lets an old flame walk right back into his life and manipulate him with almost fatal consequences, Dwight finds the monster within the only thing that can save him in his dark, twisted, crooked, and violent world.

Dwight’s not a ready-made traditional boyscout hero figure, but he’s the closest thing to one Sin City has.

IRVING: What’s your image of a hero? The Frank Miller hero?

MILLER: Got a week? It’s somebody who is defined by his virtue. He might be tortured, might hate himself, but he always does the right thing.

“It goes back to when I was a little kid in my mother’s kitchen,” Frank continues. “I had gone to the movies and seen these 300 Spartans. I was sitting with my brother two rows ahead of my parents, because that was cool. I said to my brother ‘Steve, are they going to die?’

“And he said ‘I don’t know.’

“I went back to my parents and asked ‘Are the good guys going to die?’”

Frank pauses, and deepens his voice, impersonating his late father:

“‘I’m afraid so, son.’

            “From then on, my entire concept of a hero was someone who does something because it’s right, and not because they were going to get a medal.”
            The movie: 1962 film The 300 Spartans, telling the epic story of 300 Spartans and their comrades-in-arms fending off the overwhelming Persian army in The Battle of Thermopylae of 480 B.C. The good guys did not win, not in the traditional sense, a pyrrhic victory as King Leonidas’ sacrifice served as an inspiration to others, bravery and determination in the face of overwhelming odds. Leonidas’ self-sacrifice underscores his honor as a warrior and a man.

            Miller retold the story of the 300 Spartans in the aptly-named 300, a panoramic graphic novel with lush watercolors by Lynn Varley. The style was still distinctly Frank’s, but enhanced with Varley’s watercolors, grounding his art in a muted and faded reality. 300 was easily Frank Miller’s most ambitious work to date.

            Hot on the heels of Sin City, 300 also got the film treatment, this time directed by director Zack Snyder. Snyder gave 300 a color saturation and time decompression, hacking swords and flying arrows speeding up and slowing down for dramatic effect, the heavy metal score upping the testosterone of the film. Gerard Butler’s Leonidas was played with both humor and determination. Some called 300 a manga come to life; others called it war porn; it was an over-the-top action movie with a strong undercurrent of heroism and sacrifice. 300 isn’t meant to be a historical film, but the retelling of a historical battle campfire style, and follows an event’s ascension into and retelling of as a legend.

“It was Zack’s show,” Miller points out. “I did my book and he does a very meticulous job in translating. With that, we’ll sit down and talk over scenes. There were several disagreements, but I’ve generally been very impressed with him.”

Impressed enough to let Snyder direct 300 prequel Xerxes, which will tell the story of Leonidas’ Persian antagonist. That is, after Snyder goes flying with the new Superman film next year.

            To Frank Miller, getting rewards for heroism almost negates the initial act:

            “Luke Skywalker getting his medal at the end of Star Wars, to me, is a rather hollow moment,” Frank conjectures. Then we start talking about Star Wars, and Luke’s losing a hand in Empire Strikes Back is the beginning of his trajectory into true herodom.

“The great moment for Luke Skywalker is in the third movie, Return of the Jedi, when he walks in with total authority and says ‘You’re going to die,’” Frank points out. He recalls the scene in slow, thoughtful sentences, and I realize his storyteller switch has been cut on. “Then he just does this incredible and astonishing thing where R2-D2 tosses him his lightsaber. He’s completely on his game. Even when Leia strangles Jabba the Hutt, the entire thing has me going ‘I’m a fan!’”

When Frank conveys a scene, you feel like you’re hearing a campfire tale, or sitting opposite him, the chair of his art table morphing into a director’s chair. There are a few more times during the interview where he tells stories like a director would, and I realize that Miller really is the Hitchcock of comic books—possessing a distinctive style that is accompanied by a unique personality and degree of celebrity, all tempered by a true passion for stories.


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It's Christmas

Home » News » It's Christmas...

This year the West Burton Parish Council invited residents to time the switch on of their Christmas lights to coincide with the illumination of the big Christmas tree on the village green. Many have put lights up outside their houses and West Burton chapel have taken the opportunity to put a lighted cross outside the chapel. The lights are battery operated and you can see them between 4pm and 10pm everyday.
In the dark evenings of December this is a great reminder of the words of Jesus Christ in John 8 "I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life." It's what Christmas is all about after all.

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Grace Stretton-Downes, who has been the Samaritan's Purse Christmas Shoebox coordinator in Richmond, and her dentist husband, Simon, from Bedale, spoke at a recent World Mission evening about their planned work with Serving in Mission (SIM) in Liberia.  Simon will lead a team at a clinic at the Eternal Love Winning All (ELWA) Hospital in Monrovia, and Grace, a nurse, and will also work...

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All We Can and the World Church Relationships Team of the Methodist Church in Britain are calling for support for this urgent appeal to respond to help avert famine in countries on the verge of disaster. Your donation will help our partners to respond quickly to those in greatest need. Protracted civil conflicts, entrenched economic crises, droughts and unpredictable rainfall have...

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Sen. Neil Breslin was at cruising altitude for most of this evening against his primary opponent, Albany County Legislator Shawn Morse.

He started off leading the early returns by more than 100 votes and never really looked back after that.

It didn’t seem in the beginning that it would be this way.

Breslin, the Deputy Senate minority leader and a longtime incumbent lawmaker, was taking on Morse, an opponent being funded by the Independent Democratic Conference, the four-member voting bloc that broke from the rest of the Democratic fold in 2011.

Morse was the beneficiary of IDC contributions, including funds from Sens. Jeff Klein and Diane Savino along with donors tied to Klein, a Bronx Democrat who is known for being a prolific fundraiser.

Morse also had the luck of the redistricting process shaping the district to include more blue-collar areas like Troy, a city that was new territory for Breslin, who had spent his career solely within the confines of Albany County.

Morse hit Breslin hard with attacks on his work at a Republican-dominated law firm and inability to pass a minimum wage increase.

Breslin, meanwhile, staged rallies highlighting his support from the area’s minority community and organized labor.

There were also revelations during the campaign that Morse had been arrested years ago after bar fights and drunk driving, arrests he himself had owned up to.

In the end, Breslin received the coveted backing of the popular Democratic Gov. Andrew Cuomo (who made selective endorsements of incumbents in the state Senate).

While the Albany County political landscape seems to be undergoing a tectonic shift (all three area assemblyman retired this year, Breslin’s brother Mike stepped down as county executive), the last of his political generation proved he still could win.


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Pauline Baerwald Falk, a philanthropist and a collector of Asian art who was also a former president of the Jewish Board of Family and Children's Services, died Tuesday at her home in Manhattan. She was 90.

Mrs. Falk worked with Jewish refugees and other displaced people before and during World War II.

She was active in the American Jewish Joint Distribution Committee, a refugee organization, and became a founding member of the National Refugee Service (now the New York Association for New Americans), the Council for Jewish Women and the Jewish Social Service Association. She was also a founder of the New Lincoln School, a successor to the Lincoln School, in Manhattan.

She graduated from Smith College in 1932 and attended Columbia University's School of Social Work. In 1935, she married Myron S. Falk Jr. Mr. Falk, who died in 1992 at 85, began amassing a vast collection of Asian art after making a trip to China in 1936.

The couple lent their artwork to museums and advised art institutions.

Mrs. Falk is survived by two daughters, Patricia, of Manhattan, and Nancy, of Cambridge, Mass.; a son, Michael, of Oakland, Calif.; six grandchildren; and four great-grandchildren.

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Pauline Kael, who expressed her passion for movies in jaunty, jazzy prose as the longtime film critic for The New Yorker, died yesterday at her home in Great Barrington, Mass. She was 82.

Ms. Kael was probably the most influential film critic of her time. She reviewed movies for The New Yorker from 1968 to 1979, and again, after working briefly in the film industry, from 1980 until 1991. Earlier, she was a film critic for Life magazine in 1965, for McCall's in 1965 and 1966 and for The New Republic in 1966 and 1967.

Enchanting her fans and infuriating her foes, rarely dull and often sharp and funny, with an intellectualism that reflected her background as a student of philosophy, Ms. Kael was never anything but outspoken.

Whether dismissing auteur theory, reviewing Robert Altman's ''Nashville'' (1975) before it was finished, questioning the extent of Orson Welles's contribution to ''Citizen Kane'' (1941) or proclaiming Bernardo Bertolucci's ''Last Tango in Paris'' (1973) as a cultural event comparable to the 1913 premiere of Stravinsky's ''Sacre du Printemps,'' Ms. Kael was always provocative. Her seductive writing style bred a legion of acolytes, known as Paulettes.

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The critic Louis Menand wrote in The New York Review of Books in March 1995: ''Kael was the most brilliantly ad hoc critic of her time, and she made it possible to care about movies without feeling pompous or giddy by showing that what comes first in everyone's experience of a movie isn't the form or the idea but the sensation, and that this is just as true for moviegoers who have been taught to intellectualize their responses to art as it is for everyone else.''

By the time she retired, Mr. Menand observed, she had produced a generation of inferior imitators. ''The manner of appreciation she invented has become the standard manner of popular culture criticism in America,'' he wrote.

Assessing her impact in a 1998 interview, Ms. Kael said: ''I think my influence was largely in style, not substance. Other critics sound like me because my writing has influenced them. They've rarely agreed with me about movies.''

At the same time, she deflected the question of whether her criticism had had any effect on films and filmmakers. ''I'd rather not say,'' she answered. ''If I say yes, I'm an egotist, and if I say no, I've wasted my life. Although I've been told I have influenced some people to become directors. Unfortunately, most of them are lousy.''

Overpraising or overdamning was Ms. Kael's way, and she left no doubt about her favorites: actors like Marlon Brando, Nicolas Cage, Sean Connery, Robert Duvall, Morgan Freeman, Tom Hanks, Tommy Lee Jones, Paul Newman, Nick Nolte, Al Pacino, John Travolta, Denzel Washington and Bruce Willis, and actresses like Joan Cusack, Diane Keaton, Anjelica Huston, Jessica Lange, Michelle Pfeiffer, Sigourney Weaver and Debra Winger.

She championed films of the 1970's, like Francis Ford Coppola's ''Godfather'' (1972) and ''Godfather, Part II'' (1974); Martin Scorsese's ''Mean Streets'' (1973) and ''Taxi Driver'' (1976); Hal Ashby's ''Shampoo'' (1975); and Mr. Altman's ''McCabe and Mrs. Miller'' (1971) and ''M*A*S*H'' (1970). She also liked the sensual violence of directors like Sam Peckinpah, whose films included ''The Wild Bunch'' (1969) and ''Straw Dogs'' (1971), and Brian De Palma, whose works include ''Carrie'' (1976) and ''Casualties of War'' (1989).

''You know, they talk about the golden age of the cinema as if it took place in the late 30's or in the 40's,'' she said in 1989. ''There was nothing personal and exciting in most of those movies. They were machine tooled. They were a lot of fun. But except for Preston Sturges and a few flukey individualists, they just didn't have the personal voice of the movies of the 70's.''

As a writer whose heyday spanned the years from ''Bonnie and Clyde'' (1967) to ''Awakenings'' (1990), ''Sleeping With the Enemy'' (1991) and ''L.A. Story'' (1991), Ms. Kael could mingle references to literary lions like Saul Bellow, Jean Genet and Norman Mailer with demotic condemnations like loony, sleazo, junk and bummer.

In a 1968 review in The New York Times of ''Kiss Kiss Bang Bang,'' a collection of Ms. Kael's reviews and articles, Eliot Fremont-Smith called her ''the most quotable critic writing; but what is important and bracing is that she relates movies to other experiences, to ideas and attitudes, to ambition, books, money, other movies, to politics and the evolving culture, to moods of the audience, to our sense of ourselves -- to what movies do to us, the acute and self-scrutinizing awareness of which is always at the core of her judgment.''

Reviewing ''The Sound of Music'' (1965) in treacle-curdling prose that reportedly prompted McCall's to dismiss her, Ms. Kael asked, ''Wasn't there perhaps one little Von Trapp who didn't want to sing his head off or who screamed that he wouldn't act out little glockenspiel routines for Papa's party guests, or who got nervous and threw up if he had to get out on a stage?''

Writing about Kevin Costner in ''Dances With Wolves'' (1990), she said he had ''feathers in his hair and feathers in his head.'' Writing about Robert De Niro in ''Awakenings,'' she said, ''It's in the quiet moments that he's particularly bad.'' She also said that that film contained ''another of Robin Williams's benevolent-eunuch roles.''

At her peak, she lauded popular movies like Steven Spielberg's ''Jaws'' (1975) and Philip Kaufman's ''Invasion of the Body Snatchers'' (1978) and became more of a supporter of the auteur theory. But in time, Ms. Kael, who attracted notice early in her career by attacking critics like Bosley Crowther of The Times and Andrew Sarris of The Village Voice, came under fire for predictability and dogmatism.

It was inevitable that she should be the object of criticism herself. George Lucas named the villainous General Kael in ''Willow'' (1988) for her, and in a celebrated onslaught in The New York Review of Books in 1980, the writer Renata Adler declared Ms. Kael's work ''piece by piece, line by line, without interruption, worthless.''

Ms. Adler, a former film critic for The Times, wrote that Ms. Kael's recent work ''falls somewhere between huckster copy and ideological pamphleteering,'' and that ''mistaking lack of civility for vitality, she substitutes for argument a protracted, obsessional invective.''

Assessing her own work, Ms. Kael said: ''I try not to be rough on small films. Generally, when I'm really rough, it's on something that I know is going to be a big hit, and that everybody is going to go for it, and I think it's an atrocity -- that's fair game. I'm interested in discovering talent, and in trying to explain why I think someone is talented. I'm more interested in that than I am in panning.''

Over the years, Ms. Kael's reviews and essays were assembled in a series of books whose double-entendre titles suggested the intimacy of her love affair with movies (she preferred the word ''movies'' to ''film'' or ''cinema''). Among them were ''I Lost It at the Movies'' (1965); ''Kiss Kiss Bang Bang'' (1968); ''Going Steady'' (1970); ''Deeper Into Movies'' (1973), a 1974 National Book Award winner; ''Reeling'' (1976); ''When the Lights Go Down'' (1980); ''Hooked'' (1989); ''Movie Love'' (1991); and ''For Keeps'' (1994).

When the last was published, she said in the introduction: ''I'm frequently asked why I don't write my memoirs. I think I have.''

Central to her approach to criticism was her belief that the popular appeal of movies was rooted in trash. In her essay ''Trash, Art and the Movies,'' reprinted in ''Going Steady,'' Ms. Kael wrote: ''Movies took their impetus not from the desiccated, imitation European high culture, but from the peep show, the Wild West show, the music hall, the comic strip -- from what was coarse and common.''

She went on to say: ''If we've grown up at the movies, we know that good work is not continuous with the academic, respectable tradition but with glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.''

Ms. Kael's appetite for the movies began in childhood. The fifth child and third daughter of immigrants from Poland, Isaac Paul Kael and the former Judith Friedman, she was born in Petaluma, Calif., on June 19, 1919. She described her father as a gentleman farmer and a moviegoer, and her own trips to see films began early.

Among the favorites she recalled were comedies in the late 1920's that starred Bebe Daniels as a wisecracking flapper; ''Million Dollar Legs'' (1932), with W. C. Fields; and the Marx Brothers's ''Monkey Business'' (1931) and ''Duck Soup'' (1933).

For a time the Kaels lived on their Sonoma County farm, which they lost in the Depression. Ms. Kael was 8 when her family moved to San Francisco.

''A bookish girl from a bookish family'' is the way she once described herself. Blue-eyed, brown-haired, five feet tall and weighing a bit more than 100 pounds, she said: ''I had trouble dating because I often disagreed about the quality of a movie. One boy was so upset at my laughing at 'Kentucky Moonshine,' a Ritz Brothers movie, that we never went to a movie again.''

In 1936 she enrolled in the University of California at Berkeley, where she majored in philosophy. Despite expectations that she would proceed to law school or teaching, she went to New York with a friend, the poet Robert Horan, for about three years.

When she returned to the Bay Area, she led a bohemian life, tried her hand at writing plays and helped make experimental films. Married and divorced three times, she supported herself and her daughter, Gina James, by writing advertising copy, clerking in a bookstore and working as a cook, a seamstress and a textbook writer.

Ms. Kael never wrote movie criticism until she was 35 and, she said, ''I never made a living at this until I was in my 40's.'' Her career at The New Yorker did not begin until she was nearly 50.

The turning point in her life came, as in a Hollywood script, when she was discovered in a coffee shop in the Bay Area in 1953. She was arguing about a movie with a friend when the editor of City Lights magazine asked them each to review Chaplin's ''Limelight.'' The friend turned in nothing. Ms. Kael's review called the film ''slimelight,'' and a career was born.

Soon Ms. Kael was being published in magazines like Sight and Sound and Partisan Review, and her provocative criticism was being broadcast weekly on KPFA, Berkeley's listener-supported radio station. The radio criticism led to an offer to manage an art theater, which she turned into a two-screen house, the Berkeley Cinema Guild Theaters.

''I made the displays, wrote the program and cleaned the chewing gum off the seats,'' she said. She revived W. C. Fields, Mae West and Busby Berkeley films and Welles's ''Touch of Evil'' (1958) and showed Ingmar Bergman films before they became staples of art houses elsewhere. ''It was exciting turning up things and drawing an audience to see them,'' she said.

The feisty, funny reviews that she wrote for the programs enhanced her reputation, and she began lecturing on film at universities in San Francisco and Los Angeles.

She was 46 when her essays in Partisan Review led to an offer to publish her first book, ''I Lost It at the Movies,'' a collection of her articles and broadcasts, which became a best seller. In it she praised movies like Jean Renoir's ''Grand Illusion'' (1937), Vittorio de Sica's ''Shoeshine'' (1946) and Martin Ritt's ''Hud'' (1963). She attacked other critics, poked fun at materialistic movie magnates and derided the pretensions of Alain Resnais's ''Last Year at Marienbad'' (1961), calling it ''the snow job in the ice palace.''

Assignments from magazines began to flow in, and in 1965, Ms. Kael, her daughter and Ms. Kael's two basenjis (dogs that, interestingly, cannot bark) moved to New York.

In 1968, in response to an offer from William Shawn, the editor of The New Yorker, who was willing to let her write whatever she wanted and at length, Ms. Kael began to review movies for the magazine. Until 1979, she reviewed weekly from September through March, and Penelope Gilliatt reviewed for the other half of the year.

Ms. Kael's first review for The New Yorker was virtually the only rave that ''Bonnie and Clyde'' received in New York, but it compelled other critics to reconsider their assessments.

At 59, Ms. Kael left The New Yorker for Hollywood. She briefly worked as a production executive for Warren Beatty. After that job ended over what were described as ''artistic differences,'' Paramount Pictures put her under contract as a consultant and scout for several months before she returned to The New Yorker in 1980.

Ms. Gilliatt had departed, and Ms. Kael began writing every two weeks, commuting to New York from a Victorian home on four and a half acres in Massachusetts that she bought for $37,000 in 1970. In New York, she stayed in a hotel for four days and saw two movies nightly. Back home at night, she wrote. Her daughter, an artist, lived nearby with her family.

She is survived by her daughter, Ms. James, of Great Barrington, and a grandson, William Friedman, also of Great Barrington, and two sisters, Anne Wallach and Rose Makower, both of Berkeley.

Ms. Kael was reputed never to see a film more than once, yet she seemed to remember everything, from lighting and costumes to writing, sound, direction and performances.

In 1991, at 71, after 22 years at The New Yorker, Ms. Kael retired from regular reviewing.

Looking back on her impassioned love affair with movies, she once said, ''I was a film critic the way somebody might write poetry, for fun or love.''

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