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Blackhawk Facts at a Glance 100+ Technical Training Options 2015 8,600 Total Enrollment Blackhawk Technical College is expanding its agricultural program starting next fall by offering interested students the opportunity to earn an associate degree in Agribusiness Science and Technology at its Monroe Campus.motorcycle repair burlington ia The Agribusiness Science and Technology (AST) program is a natural progression from the current one-year Agribusiness Specialist program, which offers a technical diploma.motorcycle repair medford ma AST is programmed to give students the opportunity to merge business and science skills needed to run their own agribusiness operation or assist other agricultural producers become more profitable. motorcycle superstore dual sport tires

It also is intended to expand employment opportunities for successful students in a wide variety of agricultural fields in Wisconsin.ear the beginning of Howard Hawks's film ''To Have and Have Not'' (1944), Steve (Humphrey Bogart) stares through the slatted light of his hotel room and insolently asks Slim (Lauren Bacall), ''What's fair?'' motorcycle repair medford maThe moody setting and verbal insolence are Hawks trademarks. The immediate issue is how much money Steve and Slim should return to the crook whose wallet Slim has stolen, but there is a deeper question of fairness implied -- as there is in almost all the eight silent and 32 sound features Hawks directed between 1923 and 1970. Fairness in Hawks's universe has little to do with goodness or morality. It is certainly not right for Oscar (John Barrymore) to dress himself up as a corpse to trick Lily (Carole Lombard) into acting in his play in ''Twentieth Century'' (1934), any more than Walter's (Cary Grant) outrageous ploys to keep Hildy (Rosalind Russell) from catching a train to Albany with her boring fiance in ''His Girl Friday'' (1940) are kind.

And what of Tom (John Wayne) stalking his adopted son with a gun in ''Red River'' (1948)? Most of Hawks's protagonists are not nice people, but they do play fair -- by his standards. These standards are adolescent, romantic or noble, depending on how you read them. They are also the codes Hawks himself lived by, or so Todd McCarthy convincingly argues in his insightful ''Howard Hawks: The Grey Fox of Hollywood,'' the first critical biography of this major American film maker. Hawks's background and early life are portrayed in some detail. He was born into a prosperous business family in Goshen, Ind., on May 30, 1896. The eldest of three sons, he was soon a handsome daredevil and the favorite of his powerful maternal grandfather. Howard, cool and reserved with most people, was close to his brother Kenneth, who was two years younger. When the family moved to Pasadena, Calif., in 1906, Kenneth excelled in school. But Howard -- whom Francois Truffaut would call ''one of the most intellectual film makers in America'' -- established a dreary academic record, while he threw himself into racing cars, abetted by his grandfather.

Despite his grades, Hawks was by some fluke accepted at Cornell, where he majored in mechanical engineering and learned to gamble and drink. Home on vacation, Hawks met Victor Fleming, a garrulous, emotional man, who would become his best friend and one of his few intimates. Fleming, who also raced cars, had fallen into work in the movie world; he would go on to direct ''The Wizard of Oz'' and ''Gone With the Wind,'' among other films. Hawks followed him and became a prop man at Paramount in the summer of 1916 -- just, he claimed, to have a job near home while school was out. He had no love for the arts and had never considered a career in movies. But that first summer made an impact. And after a stint in the Army Air Corps during World War I (he never fought but gained the expertise he would use in his flying films like ''Only Angels Have Wings''), Hawks, now with his brother Kenneth in tow, returned to the silent-film industry in earnest. Hawks was 23 years old when he started making movies.

McCarthy, the chief film critic at Variety, engagingly charts his progress from lending cash to Jack Warner and raising funds for Allan Dwan to screenwriting for Victor Fleming and finally directing a silent film of his own, ''The Road to Glory'' (1926), for Fox Studios. From the start, Hawks was determined to make commercial films without sacrificing his independence. Unlike John Ford or Frank Capra, he never attached himself to any studio or type of film for long. His first major work, the gangster film ''Scarface'' (1932), was financed by Howard Hughes. Afterward, Hawks wended his way through all the major studios and genres. And though his mania for control and his slow shooting pace maddened everyone he worked for, the success of his films won Hawks the power to bar studio heads like Jack Warner from his sets. During the 1930's and 40's, he directed ''Twentieth Century,'' ''Bringing Up Baby'' (1938), ''Only Angels Have Wings'' (1939), ''His Girl Friday,'' ''To Have and Have Not,'' ''The Big Sleep'' (1946), ''Red River'' and other, less classic films.

He established friendly working relationships with Cary Grant, John Wayne and William Faulkner and Ben Hecht (both then screenwriters), and also a reputation for being generous, open to suggestions, gentle and low-key on the set. His private life was another matter. With a few exceptions -- like Jane Russell and Chance de Widstedt (the last woman in Hawks's life) -- the many colleagues, family members and acquaintances McCarthy interviewed describe Hawks as remote, pettily proprietary, monomaniacal and a pathological liar to boot. Typical is Ben Hecht's ''friendly'' verdict: ''Howard was such a liar!'' Many note how Hawks's ''icy'' blue eyes reflected his temperament and, sadly, biographical facts bear this out. For instance: whenever his first wife, Athole, Norma Shearer's sister, suffered one of her frequent emotional breakdowns, Hawks managed to be out of reach. And though he was initially smitten with his second wife, Nancy (nicknamed Slim, voted the Best Dressed Woman in the World in 1946 and the model for Lauren Bacall's character in ''To Have and Have Not''), ultimately Hawks froze her and their daughter, Kitty, out of his life.

Hawks gambled away his large salaries, so he was always in debt, and he flagrantly philandered. On the positive side, he seems to have been genuinely devoted to Victor Fleming, the cameraman Gregg Toland and Kenneth Hawks, who died in 1930 at the age of 32 when his plane crashed as he was supervising an aerial shot. Just as Tom Dunson never recovers from his great love's death at the beginning of ''Red River,'' Howard Hawks would for the rest of his life mourn Kenneth. But most everyone else was expendable. McCarthy tells the particularly unpleasant tale of how Hawks lavished attention on his protegee Lauren Bacall, then shunned her when she fell in love with Bogart. ''Howard Hawks: The Grey Fox of Hollywood'' painstakingly documents the scripting and shooting of all extant Hawks films. This can be exasperating when McCarthy writes pages on negligible works like ''The Crowd Roars'' (1932) or ''Land of the Pharaohs'' (1955) but illuminating when he is expostulating on the major movies.

Notable are the chapters on ''Scarface,'' ''To Have and Have Not,'' ''Red River'' and ''Rio Bravo'' (1959). Memorable too are McCarthy's passages on the friendship between Hawks and Faulkner, the depiction of an older Hawks joining a ''middle-aged men's motorcycle gang'' and, improbably, doting on his last son. McCarthy's mostly fluent writing occasionally suffers from ''Varietyese'': studio executives are ''suits''; He underrates Hawks's visual style but is wise on his themes -- the bitterness of the universe, the thrill of the contest, the glory of male bonding, the rewards of a job well done. He rightly praises Hawks's ability to imbue a tragic tale with comic spirit, though he could have more sharply distinguished between the ebullient irony of Steve and Slim capering jauntily off on a dire mission in ''To Have and Have Not'' and the far more heavy-handed comic business in Hawks's dramas of the 50's and 60's. But then, McCarthy does not share my strong skepticism about Hawks's later films.