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An interesting tidbit that mostly went overlooked in the Geno Smith hysteria is that Woody is basically admitting that the Jets were trying to trade down in the first round. Sounds like they were planning to use the lower first round pick for Smith and that him lasting to 39 was a big surprise. So it does seem like the big plan was to acquire an additional pick by trading down and likely they would have used it for one of those offensive weapons who would have been a reach at 13. That would have been a great plan and such a shame there were no trading partners by that point.
It did seem that the Sheldon Richardson pick, despite being the best player on the board was really not their first choice as he didn't seem to fit the Jets scheme and it made so many people angry that they went with two defensive picks in the first round. And then all the talk of Rex being the puppetmaster which hopefully this puts somewhat to rest.
Read more: http://www.nydailynews.com/sports/fo...#ixzz2SoI7GgQqWe went by our evaluations, Johnson said. We evaluate all those traits: skills and communication, leadership. . . . We evaluate them. He got a very high score with us. He was the next guy on our board and we drafted him.
Gang Green selected cornerback Dee Milliner and defensive tackle Sheldon Richardson with their two first-round selections Nos. 9 and 13, respectively but Johnson said that Smith would have been given serious first-round consideration if we had dropped down.
Although Johnson praised Smith, he stopped short of calling him a franchise quarterback, repeating Idziks central offseason theme.
I dont think there is any doubt that the Jets tried to trade back. They were in a bad position however at 13 to do so. They were in no mans land, San Fran didnt need to go that high to get their safety, and there wasnt anyone available that teams really wanted to give up a second round pick for. Just like you can not draft what isnt there, you cant trade without a partner.
if the jets were considering geno in the first round, they must be freaking psyched right now. they got a real good cb, added an interior pass rusher and got the qb they wanted. and since they didn't have to trade up to get geno, they were able to get ivory and finally get some offensive linemen.
Everone knew that the Rams were desperate for WR Tavon Austin in the first round especially after having lost their best receiver Danny Amandolla to the Patriots who lost Wes Welker. To get Austin the Rams had to move in front of the Jets who also wanted Tavon Austin. The trade with the Bills was done the day of the draft and they just had to wait until pick 7 to make the trade.
Woody Johnson smoke screen If the Jets were so hot for Geno Smith they would have taken him with the 9th pick or even the 13th pick.
"If we had dropped down"?
Wouldn't just about every team in the draft say that? IF Is hardly we were trying to move down.
I think you always are taking offers for your pick.
Teams don't "try" to trade down.
They make it known they are willing to, then field offers from teams that ARE "trying" to trade up.
If the offers aren't good, you stay put. There's no try, only do.
Only a team that wants to move up, but fails to, "tries".
We knew well before the draft the Jets were willing.
This isn't news.
Yes, every team will listen to offers. And it someone makes an offer too good you make a trade.
Thank god we didn't trade down, I would've fliped if Geno went with one of our 1st round picks
I think that is what Idzik was attempting to do.
I personally would have loved that draft myself. The Richardson pick is the one I wasn't crazy about initially, as I had hoped after Millner the Jets would have been lucky enough to still land Warmack at 13.
That said, everything about Richardson points toward it being a solid pick, and the Coples move creates a place for him in the defense. Besides, for all those saying he doesn't fit the scheme...well that's only true as long as the current staff is in place, no?


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National Signing Day arrives Wednesday as the class of 2013 signs letters of intent and faxes them to schools of their choice starting bright and early. Nick Saban and his University of Alabama coaching staff have put together another outstanding class and await the decisions of a few top prospects who will announce them Wednesday.
National Signing Day arrives Wednesday as the class of 2013 signs letters of intent and faxes them to schools of their choice starting bright and early. Nick Saban and his University of Alabama coaching staff have put together another outstanding class and await the decisions of a few top prospects who will announce them Wednesday.
A'Shawn Robinson, a Rivals.com five-star defensive tackle and former Texas commitment from Arlington Heights High School in Fort Worth, Texas, is expected to announce for Alabama. Robinson informed the Texas coaching staff over the weekend that he was no longer committed to the Longhorns. He also informed them of flipping to Alabama. Robinson plans to formerly announce his commitment at 2:30 p.m. Wednesday. He took an official visit to Alabama the previous weekend and also attended the Crimson Tide's game against Michigan in the season opener.
Eddie Vanderdoes, a Rivals.com five-star defensive tackle, No. 2 at his position in the country and a former Southern California commitment from Placer, Calif., will announce his decision Wednesday. He was in Tuscaloosa over the weekend for an official visit. He has also visited Notre Dame, UCLA and USC. Vanderdoes does not plan to talk with the media until he announces his college decision.
Vanderdoes posted on his Twitter account while visiting Tuscaloosa, "Man, I love it out here in T-Town. I don't know why everyone was saying I wouldn't love the South. I fit in perfect here."
Reuben Foster, a five-star linebacker from Auburn High, created a lot of buzz Saturday night when word spread quickly he was in Tuscaloosa hanging out with players and the coaching staff. Foster had left in the middle of an official visit to Auburn to visit the Crimson Tide as an unofficial visitor. Foster picked Alabama on Monday night, but nothing is official until he signs his letter of intent Wednesday. He originally committed to Alabama, flipped to Auburn, decommitted and also had Georgia on his list.
There are plenty of announcements for Alabama fans to keep a close watch on Wednesday. Several prospects will announce their college decisions on ESPNU, including Montravius Adams, a five-star defensive tackle from Dooly County High in Vienna, Ga. (8:45 a.m.); Antonio Conner, a Rivals100 safety from South Panola High in Batesville, Miss. (9:45 a.m.); Dee Liner, a Rivals100 defensive end from Muscle Shoals (11:00 a.m.); and Alvin Kamara, a Rivals100 running back from Norcross, Ga. (2:35 p.m.).
Adams trimmed his list to Alabama, Auburn, Clemson and Georgia. Conner will decide between Alabama and Ole Miss. Liner, a former Auburn commitment, made his only official visit to Alabama. Kamara will choose between Alabama and Georgia.
Jarran Reed, a three-star junior college defensive tackle from East Mississippi Community College in Scooba, Miss., will also announce Wednesday. Reed decommitted from Ole Miss over the weekend. He is focused on Alabama and Florida. Reed took a surprise official visit to Alabama the previous weekend and returned Friday night for an unofficial visit.
Several other schools in the Southeastern Conference are expected to finish strong on signing day. A couple of surprise top-10 classes will likely include Auburn and Ole Miss.
The Tigers held on to the commitment of Carl Lawson, a five-star defensive end from Milton High in Alpharetta, Ga., after an official visit to the Plains over the weekend. They also added his teammate Peyton Barber, a three-star running back.
Ole Miss expects to land a commitment from Robert Nkemdiche, a five-star defensive end from Grayson High in Loganville, Ga. The Rebels are also expected to land Laremy Tunsil, a five-star offensive tackle from Columbia High in Lake City, Fla. They can possibly flip Chris Jones, a five-star defensive end from Houston, Miss., who is a longtime Mississippi State commitment.
Johnathan Ford, a four-star running back and former Vanderbilt commitment from New Hope, will announce his decision on Wednesday for Auburn or Tennessee. The Volunteers also have a strong shot to land Vonn Bell, a five-star safety from Ridgeland High in Rossville, Ga.
TideSports.com will host an all-day recruiting chat Wednesday for subscribers. Now is the perfect time to join if you are not already on board and following Cecil Hurt, Chase Goodbead, Andrew Bone, Aaron Suttles and Tommy Deas.
Reach Andrew Bone at email@example.com. Follow him on Twitter at @AndrewJBone
For more recruiting coverage, see TideSports.com

subset: commoncrawl


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Welcome to Ultimate Subaru Message Board, my lurker friend!
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Repair Manual For An 87' Brat
Posted 24 September 2004 - 08:27 PM
lo-res pic of brat
Posted 24 September 2004 - 09:10 PM
Posted 24 September 2004 - 10:01 PM
Posted 26 September 2004 - 12:08 PM
Posted 26 September 2004 - 01:34 PM
I searched half, amazon, and ebay for the HTKYSA and didn't find anything. Can I search for it a better way. Found chilton and haynes manuals all over the internet, are they any good? TMB
Haynes and HTKYSA are way better than Chilton. I cross between Haynes and HYKYSA, what one leaves out the other fills in. I rarely use the Chilton. I saw several copies of HTKYSA at www.half.com and www.abebooks.com 3 weeks ago... must have been snagged up already... keep checking they turn up quite often... just use Subaru for the search word. There are many other used books sites... type a search for used books. Good luck!
Posted 26 September 2004 - 06:32 PM
Posted 26 September 2004 - 09:23 PM
Posted 03 October 2004 - 12:34 PM
Posted 03 October 2004 - 08:38 PM
Tell us about it.
Posted 03 October 2004 - 08:48 PM
Posted 03 October 2004 - 10:44 PM
Posted 04 October 2004 - 04:04 PM
The 84 FSM will cover this model well. I will sell a March 83 Edition FSM along with the wiring diagrams and troubleshooting supplement book for an 84 model year if you wish. Id like $45 for both books.
Posted 05 October 2004 - 06:12 PM
As for verification if it matters, yeah they're right, most others are better than Chilton, i got one along w/ the manufacturer's manual w/ my brat a year ago. BAD.
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Hi, there have been a lot of people asking me about Linux in college. I usually recommend them Ubuntu/Xubuntu and tell them to read the help guide on the Ubuntu site. They still come back to me a few days later and ask the same thing though.
Are there some video tutorials or something you can recommend for complete Linux noobs? I haven't been able to find a good series on YouTube.


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Codes Predicting the Future
I've read and heard a lot about the Bible Codes and while they appear impressive, I'm wondering about the logic of future events being predicted thousands of years ago?
The Aish Rabbi Replies:
As you say, the Bible has existed in its present form for thousands of years. How could its author have known such details about people who would not be born for centuries? Logic would dictate that the author could not be human, could not be bound by the limits of time. It would then be natural to conclude that the Author is a Divine Being.
The Torah cannot predict the future, because the free will is always in our hands to create the future. Of course, once an event has already happened, however, God can reveal to us that. Being outside of time, God knew it all along.
This is a major philosophical dichotomy that Maimonides goes at great length to explain. For more on this topic, see: www.aish.com/sp/so/81086702.html
In the end, only one conclusion can be made through these statistically verifiable codes: the information was deliberately placed there by the Author.


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Job Task Analysis (JTA) Informational Page
The NCCAOM®, with assistance from Schroeder Measurement Technologies, conducts the only national Job Analysis surveys of the acupuncture and Oriental medicine (AOM) profession.
To ensure that NCCAOM certification examinations are valid, i.e. the content of the exams accurately reflect what acupuncture and Oriental medicine practitioners do on the job, it is necessary to conduct surveys these practitioners to document the tasks they are performing. A Job Analysis (JA), also known as a practice analysis, also uses the collected demographic and clinical practice characteristics of NCCAOM Diplomates to provide the content validation for the current NCCAOM examinations. Best practice in validation of examination content is to perform a JA a minimum of every five years. The NCCAOM released previous JA reports in 2008 and 2003 which are posted on the NCCAOM website. Click here for the 2013 Job Analysis Report. The NCCAOM has also released the Executive Summary Descriptive Demographic and Clinical Practice Profile from the NCCAOM 2013 Job Analysis.
The primary purpose of a Job Analysis is to update the examination content outlines to reflect current practice of an entry-level practitioner in the profession of AOM. Since the field of AOM as practiced in the U.S. is evolving, it is extremely important to continually review and update the content of the examinations. Please see the newly updated 2014 NCCAOM® Exam Content Outlines for each of the NCCAOM examinations.
In addition to assuring that the content for NCCAOM certification examinations is based on current practice, the JA also provides a snapshot of the profession of AOM as it is being practiced today. The 2013 JA was the first time NCCAOM also surveyed licensed acupuncturists who are not NCCAOM Diplomates, such as non-NCCAOM Diplomate acupuncturists practicing in California. The NCCAOM has released the Executive Summary Descriptive Demographic and Clinical Practice Profile from the NCCAOM 2013 Job Analysis.
Utilizing some of the demographic and clinical practice characteristics of the 2008 JTA, the NCCAOM presented a poster at the Society for Acupuncture (SAR) Conference titled "Practice Characteristics of NCCAOM: Diplomates: Implications for Ongoing Research, Curriculum Design and Continuing Education Activities" in 2010. In addition, NCCAOM Chief Executive Officer, Dr. Kory Ward-Cook, presented some of the demographic and practice characteristics results of the 2008 JTA in the presentation "A National Practice Analysis of Traditional East Asian Medicine" at the American Public Health Association (APHA) conference in 2008.
Click here for the 2013 Job Analysis Report
Click here for theExecutive Summary Descriptive Demographic and Clinical Practice Profile from the NCCAOM 2013 Job Analysis
Click here for the 2008 Job Analysis Report
Click here for the 2003 Job Analysis Report


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CHICAGO — Talks aimed at settling the Chicago Symphony Orchestra strike are set to resume three days after musicians walked off the job.
The Chicago Symphony Orchestra says negotiations will get under way on Monday afternoon.
Musicians went on strike Saturday over wages and health care costs, forcing the cancellation of the season's first Saturday night show less than two hours before it started. CSO officials say famed conductor Riccardo Muti (MOO'-tee) was "very, very disappointed."
The contract expired more than a week ago, but musicians played the first concert Thursday and a free one on Friday in Millennium Park before talks broke down on Saturday. It's the first CSO strike since 1991.
The Chicago Federation of Musicians says proposed increases in health-care contributions would amount to a pay cut for some.


text: NetteRadio Affect The Effect "Get Legit" Fundraiser" Friday June 8 2012 at The Talking Stick Annual NetteRadio Fundraiser. Our goal this year is to raise enough funds to finally take "Affect The Effect" legit. Yes! That's right.. let's do it. File that darn IRS Paperwork... but we need YOUR help to do it. Let's make 'Affect The Effect' a non-profit 501(c)(3) so that we can help more people, showcase more music, and Affect The Effect! with: Brooke Trout, The Conlons, Crazy Aunt Mary, and Julia Lucafo aka 'Juice', and Valet! Benefits AFFECT THE EFFECT "showcasing music and helping people†Donations collected throughout the evening will help us reach our goal to file as a 501(c)(3) non profit. Once we are a nonprofit we will be able to help more charities, and reach out to more people. Please help us support Affect The Effect!


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When the weather turns nasty, most people think about huddling up indoors with a good book, maybe watch a movie or sit around a fire. I must have a sickness. When the weather is sleeting, nasty and generally gray and unbecoming, I think about being outside.
There is nothing that makes you feel alive like being in the elements. Mother Nature has a way of putting things into perspective and quickly. When you have trudged across a frozen field packing thirty pounds of gear fighting a twenty mile-per-hour headwind you tend to realize you are alive. Especially when the car is parked a mile away.
Some of my best outdoor moments have come when others were barricading their doors shut to keep the elements at bay. My largest whitetail buck to date came on such a brutal day.
The year was 2006. It was December and the weather forecasters were predicting a deep, heavy snow to blanket the area. That news excited me. I had been playing cat-and-mouse with this particular buck all fall. I would see him and then he would vanish. A week later I would see him again only to have him stay just out of my range.
When that deep, heavy snow was predicted I knew that it would be a game-changer. Things were about to swing in my favor. A brutal snowfall in December would force those deer to browse and leave their loafing areas much earlier in the day then they typically would.
I parked my truck where I normally did, but the walk through the woods to the field was going to be awful. Every step would be a challenge. This was the type of snow that brought forth heart attacks. The normal ten-minute jaunt turned out to be a forty-five minute gauntlet of snowdrifts and overhanging limbs that impeded my normal route.
By the time I reached the crest of the first hill I was soaked to the core with sweat. My legs trembled from fighting the snow, yet I still had a long ways to go. I knew it would be worth it, though. This miserable weather can really make wildlife active.
To wrap things up, the bad weather was the reason I bagged that deer. I still look at the mount in my living room and think back to the horrible elements that brought that moment to pass.
The next elemental challenge that rebounds from my memory occurred on Table Rock Lake near Branson, Mo. I had been their pre-fishing for a tournament. The weather during this practice period was pleasant, but the fishing was not so enjoyable. Not much was happening.
The morning of the first tournament day was much different, though. I was jolted awake by the crashing of debris hurled by strong winds. Rain soon followed and dumped a relentless torrent of water from the heavens. Normally, I wouldn't go out on such a day, but the tournament wasn't going to wait for more suitable conditions. We launched and were under way.
The entire journey to my first fishing hole was a challenge. A boat skirting through the water at top-speed makes normally benign rain drops wickedly sharp. They pierced my face and found ways to soak me even through a top-dollar rain suit.
The rain was so thick at times I swore that I lost sight of my amateur partner standing on the back deck of the boat. My bilge pumps ran almost continuously. The first couple of casts changed all of the misery though.
Those fish were on a crankbait bite like I had never experienced before. Before long both my partner and I had caught our limits and were soon culling through fish to add to our weight. The sideways rain didn't seem so bad anymore.
It's odd that years after these events I remember them like they just happened. The common factor in each scenario was the less-than-ideal weather conditions. If I hadn't ventured into the outdoors on those particular days who knows how things could have been different.
Of course, we always have to be smart about being outdoors in harsh weather. Things can go from bad to dangerous quickly. But, if you feel safe, and have the proper equipment, some of the best days afield can be had when everyone else is at home.


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PARIS -- The long, leafy main walkway at Roland Garros separated Rafael Nadal and Novak Djokovic as they played simultaneous French Open matches in different stadiums Wednesday.
Now they'll go head to head.
Both advanced to Friday's semifinals with victories in straight sets, finishing less than 10 minutes apart. Nadal drubbed Stanislas Wawrinka 6-2, 6-3, 6-1, and shortly thereafter Djokovic eliminated 35-year-old Tommy Haas 6-3, 7-6 (5), 7-5.
So much for the preliminaries to set up a much-anticipated rematch of last year's final, which Nadal won for a record seventh French Open title. He's 57-1 at Roland Garros and bidding to become first man to win eight titles at the same Grand Slam event.
"I'm ready to play five sets," Djokovic said.
The Serb, ranked No. 1 and the winner of six Grand Slam titles, seeks the only major championship he has yet to win. With two more victories he would become the eighth man to complete a career Grand Slam.
"I would prefer an easier opponent," Nadal said. "But it's Novak, and I have to accept that it's going to be a very tough match."
The other semifinal pits Spaniard David Ferrer against Jo-Wilfried Tsonga, who's trying to become the first Frenchman in 30 years to win Roland Garros.
Advancing on the women's side were defending champion Maria Sharapova and two-time Australian Open winner Victoria Azarenka, and they'll meet Thursday. The other semifinal will match No. 1 Serena Williams against 2012 runner-up Sara Errani.
Nadal leads Djokovic 19-15 but lost their most recent meeting in the Monte Carlo final on clay in April. Nadal leads 6-3 in Grand Slam meetings.
"I played a great match when I faced him on clay this year at Monte Carlo," Djokovic said. "That match gave me a bit of confidence against him. But here in Roland Garros, he's very good. He has lost only once in the past 10 years. It will be very difficult for me. But I'm in a very good position now."
Because Nadal's ranking slipped during a seven-month layoff because of a knee injury, he and Djokovic wound up in the same half of the draw. As a result, they'll meet before the final at a major event for the first time since 2008.
Both were near top form in the quarterfinals.
Djokovic reached his 12th consecutive Grand Slam semifinal and improved to 33-4 this year by wearing down Haas, the oldest French Open men's quarterfinalist since 1971. Djokovic built an early lead, winning 40 of his first 43 service points.
Haas found himself on the verge of pulling even at 5-all in the tiebreaker, but Djokovic smacked a backhand winner to end a 24-stroke rally -- longest of the match -- and won the next point as well for a two-set lead.
He wobbled at the finish, but Haas was too tired to put up much of a fight. Djokovic kissed the line with a backhand winner on match point, and after the handshake ritual at the net, let out a scream and threw a punch, ready for Rafa.
Nadal, seeded No. 3, turned in his finest performance of the tournament yet. After dropping the first set in each of the first two rounds, he has won 12 sets in a row.
"I had a difficult first week," he said. "The last two matches were much more positive. I played today at a very good level."
Nadal improved to 10-0 against Wawrinka and has won all 22 sets they've played.
Sharapova needed a comeback unlike any other in her career to reach the semifinals, rallying past Jelena Jankovic, 0-6, 6-4, 6-3. It was Sharapova's first win after losing an opening set 6-0.
The No. 2-seeded Sharapova earned her first French Open title a year ago to complete a career Grand Slam. She has won 12 matches in a row at Roland Garros, where her 42-9 record is the best among active women.
"Obviously it only gets tougher from here," Sharapova said, "but I'm really happy I'm at this stage again."
She's 5-7 against No. 3 Azarenka, who reached her first Roland Garros semifinal by beating Maria Kirilenko 7-6 (3), 6-2.
The warmest weather of the tournament greeted the last of the quarterfinalists, and Jankovic quickly had Sharapova sweating. In the first set the Russian repeatedly missed the lines by narrow margins or clipped the net cord, and the match was 35 minutes old before she won a game -- and only then because Jankovic double-faulted on break point.
Jankovic won 27 points in the first set, 20 on unforced errors by her opponent.
"I still felt like I was in the match," Sharapova said. "And I was."
She then began to find her range while hitting even harder than before, while Jankovic did her best to withstand the barrage. In contrast to Sharapova's metronomic shrieking, Jankovic went about her business in silence -- until she started muttering to herself as her lead disappeared.
"It was a big fight," Jankovic said. "It was great tennis out there. We battled."
Follow the Nadal/Djokovic semifinal with us during a live chat on Friday at 7 am EST.


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School Sports
Lady Tigers are Regional Semifinals Champions
- Details
- Category: Sports News
- Published on 21 May 2014
- Written by Mount Vernon Optic-Herald
The Mount Vernon Lady Tigers softball team claimed the Regional Semi-finals Championship two games to none over the Brock Lady Eagles at Prosper May 15-17.This is the deepest into the playoffs that the Lady Tigers have progressed since 2001.
The Lady Tigers will face Lone Oak in the Regional Finals best of three series. The first game will be Thursday, May 22 at 6:30 p.m. The second game will be Friday at 6 p.m. with a third game to follow, if necessary. All games will be played at Grand Saline High School. For details from the games against Brock, see the May 22 edition of the Mount Vernon Optic-Herald.


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Like much of his recent career, there was controversy. Atlas fans were not happy that he didn't return to the club where he made his name, with conflicting reports of why that was.
Then there were those initial statements from the Michoacan-born player about his dream of playing one final World Cup in Brazil to cap of one of the greatest careers any Mexican player has enjoyed in Europe. Everyone sat up and took notice.
But since those first couple of rusty games back in January, that initial intrigue has died down. Marquez has not had the season he wished for to catapult him into the thoughts of Jose Manuel "Chepo" de la Torre.
Yes, there have been injury problems, but nothing serious and Marquez has featured in 10 of Leon's 14 games this season. The problem has been that Marquez hasn't been good enough to lift Leon any higher than a dire last position in the Liga MX – and this from largely the same side that enjoyed a fantastic first season in Mexico's top division, very nearly making the final of the Apertura.
It was therefore not really surprising that Marquez was not on the squad list for El Tri's game Thursday against Peru, despite Monterrey's Hiram Mier missing out due to a back-log of games and none of the European contingent being involved.
In light of not being called up, Marquez seems relaxed and intent on working hard to get back in the squad.
"Honestly, it doesn't worry me a lot," he said in a press conference in Leon Tuesday. "If they call me up, great and if they don't, it's the same. I'll keep training as I always have done to fight for a place (in the national team)."
He also stressed that the quality of Mexican players has increased.
"Now there are more players at a better level, there's more quality, more players playing in Europe, more players that want to play in Europe," said Marquez. "The mentality is changing."
While Marquez might not be the most popular among Mexico fans with his statements and attitude, no one can take away the experience, pedigree and winning mentality the Kaiser of Michoacan can bring to the Mexico squad.
And with El Tri set to fight for both the Confederations Cup and the Gold Cup this summer, the door may not be completely closed. Perhaps he just might squeeze into that Gold Cup squad to give him one last opportunity to shine for El Tri? He may be 34, but there is little doubt that his former defensive partnership Carles Puyol will be in Brazil with Spain, and he's a year older than Marquez.
The one thing that is for certain is that returning to the national team from where he is now represents by far the biggest challenge he has faced since leaving Barcelona.
Francisco "Maza" Rodriguez, Hector Moreno, Diego Reyes, Hiram Mier, Hugo Ayala, Jonny Magallon and even, perhaps, Joel Huiqui seem to be ahead of him at present in the pecking order at center back.
Even with Leon not playing for anything, it's a vital last few weeks of the season for Marquez. He'll need to improve his form to get in that Gold Cup squad and it'll be an uphill struggle, but he says he has overcome those before.
"I failed in Atlas some of the time and with Monaco in some years, but life gives you more opportunities and you have to look at it like that," stated Marquez. "Fortunately, I've achieved things that others haven't."
Whether he can continue to achieve, and get back into the national team, may well be one struggle too many at this stage.


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My system: linux-3.10.17-gentoo, XFCE 4.10.0, Epiphany 2.30.6.
Whenever I attempt to update my system I get the following:
WARNING: One or more updates have been skipped due to a dependency conflict:
(gnome-base/gvfs-1.12.3-r1::gentoo, ebuild scheduled for merge) conflicts with
>=gnome-base/gvfs-1.10.1[udisks,udev] required by (xfce-base/thunar-1.6.2::gentoo, installed)
Last edited by tavmem (2013-11-21 04:50:56)
Probably best to ask on your distro forums when it is a packaging problem.
Maybe check to see if Thunar 1.6.3 uses the newer version of that file, and if so, update to it? EDIT: I just checked my system, and the "gvfs" files on it are all listed as being version 1.14.0 (actually, 1.14.0-0ubuntu6 quantal). But I am unsure whether or not it requires that version, so IDK if it would help you to try Thunar 1.6.3 or not.
Last edited by MountainDewManiac (2013-11-22 03:35:18)
Mountain Dew Maniac
How to Ask for Help <=== Click on this link


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Winners of an essay contest for Marcy Kingsley's Cascade Locks middle school students were announced on Friday.
The contest, sponsored by the Hood River County Chamber of Commerce, posed the question "What is the 'Next Big Thing' that should come to Cascade Locks?"
First place went to Acacia Cannon, for her excellent essay on the advantages of creating a go-cart track in Cascade Locks for both kids and adults to enjoy.
The awards were given in a gathering of the class in the library at the middle school, with parents, teachers and the principal in attendance.
All 22 students in the class participated, with creative responses ranging from outlet malls to zoos to cafes as suggestions for adding fun, entertainment and activities to the community as the "next big thing."
Third-place winner Saul Castaneda proposed an amusement park, complete with rides, video arcade and a water park; while second-place winner Jade Perkins wrote about the advantages of adding a community garden near the retirement complex. Both Perkins and Castaneda received a gift certificate from Waucoma Bookstore in Hood River.
Acacia cited her own love of go-carts, commenting that, "Building go-carts with my dad made our relationship get closer," and she carefully weighed the pros and cons of her proposal and gave thoughtful consideration to the community and its needs, according to Kerry Cobb, chamber executive director.
An excited Acacia received a Flip camera as her first-prize award, and she promised to send the chamber a video of her class.
Two students who each wrote about their desire to have Taco Bell set up shop in Cascade Locks, Nick Harbaugh and Alex Munoz, inspired chamber member David Cobb to arrange for delivery of a Taco Bell lunch for the entire class during the presentation of awards.
The essays are available for the public to read at Waucoma Bookstore in Hood River, where the bookstore's owners have generously offered to display them during the month of March.
The Hood River County Chamber supports economic and tourism development for the region and provides promotional programs to its 425 members. As a countywide organization, it supports businesses, organizations and governmental agencies in Cascade Locks, Hood River, Parkdale, Odell, Pine Grove and Mount Hood.
Comments are subject to moderator review and may not appear immediately on the site. A user's first several comments must be manually approved by a moderator.
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Council OKs Tax Deal
MINSTER — On Tuesday, the Minster Village Councilors approved an emergency ordinance to enter into an enterprise tax agreement with Advanced Plastic Recycling/Dirksen Properties LLC.
Advanced Plastic is planning a 10,800 square foot addition to their current building on N. Garfield Street, which will cost the company between $290,000 and $320,000 to construct.
Village Administrator Don Harrod said the company has asked for a tax abatement.
"They are committed to creating three-to-five new jobs over the next two or three years," Harrod said.
Harrod said the enterprise zone committee has recommended that the village enter into a five-year, 50 percent real property tax abatement agreement with Plastic Recycling/Dirksen Properties LLC.
"They have also asked that Advanced Plastic Recycling compensate the local school board in lieu of the lost tax dollars because of the exemption," Harrod said, noting the company has agreed to donate $6,675 back to the school over the next six years on an enterprise donor agreement.
"I've done this also by an emergency ordinance. I know Advanced Plastics is interested in getting started as soon as possible. In order to approve this, we have to approve it first and then take it to the county commissioners and then to the state of Ohio before they can begin construction on it. So we're trying to sneak up that process and help them out as much as possible."
The next major issue involved a discussion about potentially opening an alley east of St. Augustine Church and the former elementary school building. The alley was closed in 1998 because of concerns regarding the safety of the elementary students.
"With the closing of the elementary school, I'm not sure we need to continue to have it closed," Harrod said. "I did talk to Brenda Boeke from the schools. She indicated that she has no problem with it being opened since they're not using that building anymore."
Playground equipment near the former elementary school is located on property owned by the church and Mayor Dennis Kitzmiller said he would like to receive the church's approval before moving forward with any potential opening.
It was brought up that a public hearing should take place to discuss the matter, and Harrod agreed to hold a public hearing in the council chambers at 6:30 p.m. Sept. 6.
In his administrator's report, Harrod said Brumbaugh Construction has completed the prep work for the curbs and gutters on the south side of Fourth Street, while the curbs and gutters were installed by Oglesby Construction. Other work continues to progress on the Fourth Street reconstruction, including additional concrete, electrical and telephone work.
"Everything's hopefully falling into place here," Harrod said. "The curb and gutter that Oglesby poured so far looks great."
Harrod noted the concrete that was removed from Fourth Street will be ground up by Fryman and Kuck and used in the second phase of the reconstruction.
The village has started its annual testing of all three-phase commercial and industrial electrical meters.
"(They're) testing to make sure that they are calculating right, for our benefit and also for the benefit of the customer," Harrod said, noting that it takes about two to three weeks complete.
to test all of the meters.
The parks department is assisting the school with removing wood mulch located under the playground equipment on Seventh Street. The wood mulch will be replaced by rubber mulch.
Harrod also mentioned that the village has started painting street markings, including curbs around fire hydrants and no parking zones throughout the village.
Councilors also approved $724,059.15 in invoices.
The next Minster Village Council meeting will be held at 6:45 p.m. Sept. 6 with a public hearing regarding the potential opening of the alley east of St. Augustine Church and the former elementary school building to be held at 6:30 p.m.


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I am not sure of the rules regarding september call ups, but I was under the impression that teams could expand their rosters to 40 players. I am curious as to why the Mets have not used this extra roster space to call up Adam Bostick or Argenis Reyes among others? I was hoping you could shed some light on this for me.
Also, was wondering what the Mets future plans are, if any, for Eddie Kunz?
1. In September, any planer on the Mets 40-man roster can be activated. From Opening Day to August 31, teams are limited to 25 men on their 40-man roster. Adam Bostick is not currently on the Mets 40-man roster. At this writing, after recently adding Tobi Stoner, the Mets have 45 players on the 40-man roster, with six on the 60-day DL, who don't count towards the 40-man limit, leaving the Mets one spot to play with if they wanted to add Bostick.
2. The 26 year-old Bostick would make a fine second lefty in the bullpen next year coming off a season with Buffalo where he was 0-3 with a 3.26 ERA and fanned 43 batters while walking 18 in 38.2 innings pitched. He held lefties to a paltry .211/.286/.263 in 38 AB, while righties hit a stronger .231/.323/.472 in 108 AAA AB against him. The Mets should add Bostick to the 40-man roster this offseason.
3. Reyes, who will turn 27 in two weeks, hit .282/.336/.377 in 101 games for Buffalo this year. He was 2-for-17 with the Mets this year and mustered just a .218/.259/.245 showing last year in 110 AB. What purpose would calling him up serve? He's proven he can't hit MLB pitching. Unlike Bostick, he owns a place on the Mets 40-man roster, but is unlikely to hold a similar spot leaving spring training next year.
4. As for Kunz, he's really pitched himself out of the Mets plans. A year ago, he was perceived as part of a solution for the Mets bullpen. Now, coming off a year in AAA in which the 23-year old struck out just 38 and walked 31 in 61 innings while giving up eight homers, he just doesn't look like a viable MLB pitcher. His sinker is less impressive and he still doesn't have a reliable second weapon against lefties who battered him for a .313/.392/.494 line in 83 AB in AAA. Sure, reliever performance is fluky, but Kunz will be pitching for his spot on the 40-man roster next spring.


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Whether repeating, symmetrical or even asymmetrical; patterns give jewelry structure and style. First, it's easy to play and experiment with patterns when you use a bead board. Next, Erin Madsen creates a stretchy, woven bracelet featuring repetition and pattern. Then, Molly Schaller demonstrates a fiesta bracelet using double strand sliders for an asymmetrical design. Finally, Kate Richbourg shows how to make her signature stacked pearl ring.
Visit the Website: http://www.beadsbaublesandjewels.com
Episode #1709 / Length: 28 minutes


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Web 2.0 Podcast: Disruption Opportunity - The Pirate and the Suitby Daniel H. Steinberg
Web 2.0 Summit program chair John Battelle talked about the business of remixing music with David Munns, vice chairman of EMI Music worldwide, and Eric Kleptone creator of "A Night at the Hip-Hopera."
You can download the audio as an mp3 or download the video as an mp4, or you can subscribe to the audio podcast or to the video podcast. Check out the entire set of Web 2.0 Summit podcasts.
This episode is sponsored by the Intel Software Partner Program.
Transcript created by Casting Words.
Announcer: Web 2.0 Summit Program Chair John Battelle talked about the business of remixing music with David Munns, Vice Chairman of EMI Music and Eric Kleptone, creator of "A Night at the Hip Hopera". Here are the "Pirate and the Suit" at Web 2.0 Summit Program chair John Battelle.
John Battelle: This conversation is what we've billed as the "Pirate and the Suit", although David Munns who is a vice chairman of EMI music isn't wearing a suit but he can come up anyway. David is the Vice Chairman of EMI and he's been in the big music business a very long time. I'll get more into what you are doing but please have a seat. And Eric Kleptone, who is officially the pirate but isn't wearing the hat, even though we tried.
Eric Kleptone: I'm wearing a suit.
John: He's got the suit on. You guys are screwing me up. Have a seat.
So it was a late September as you reminded me, late September of last year, 2005. I was sitting in front of my computer, as I'm wont to do, preparing for this conference actually last year. And I get an email from a friend of mine, Cory Doctorow, who is one of the editors of "bOING bOING" and he says, "You've got to check this out." and he sent me a link, which was to a "Night at the Hip Hopera".
So I go and I download it, and I have crappy DSL and it took a long time, it was a hundred megabyte file, thank you very much. And everyone was hitting it. It was clear that this thing had done what Michael Tanney had called the grass fire, it had just phffft, right? And so the servers were being hit and I couldn't download it so waxy, another site had mirrored it and I downloaded it over there because everyone was raving about it in the blogesphere and I finally got it onto my computer and I played the file and this is what I heard:
Echoing Voice: "This digital recording is brought to you courtesy of EMI records, the world's greatest music company."
John: That's kind of an F.U. Little bit, little bit. Because basically what you had done, Eric, is mashed up Queen and a bunch of other stuff and made the equivalent of another expression of music.
I listened to the whole thing straight through and then posted on my site about how amazing it was even though I don't really cover music. I cover search. But I just couldn't help myself. So I have a question before I ask you Eric, I want to ask you, David. What happened the first time you heard that recording?
David Munns: Well we broke out the rifles, formed a posse, and went hunting. No seriously the first question was what's it like? Everybody was very curious to hear it.
We love creativity and creative employees and creative people and creative artists. That's kind of our game. Just as a piece of work we wanted to know what it was like. People thought it was pretty good actually. It was around that time that we had been through the DangerMouse thing, who we subsequently hired to make a record for us, a Gorillas album. And we were learning to deal with this, learning to think through how we were going to deal with this kind of concept, realizing that it was pretty great, it was very interesting. The consumers liked it.
So after we got over the "What have we done to our beautiful Queen record?" The question is what's going to happen now. Should we get paid for this content and what circumstances should we get paid for it and how are we going to get paid for it? We're still in that process, basically.
We have an open mind to licensing our content for these kinds of things. In fact we're putting out a newly recorded mash-up album in February of a whole bunch of different EMI material. In fact the Beatles' "Love" album you could consider a mash-up in that sense in that it's a change of all the Beatles music presented in a way we haven't heard before. So this is becoming part of our business. We will deal with the rights issues.
John: There was a bit of gnashing of teeth though.
David: Oh, there was a bit of gnashing of teeth.
John: And the lawyers were starting to fibrillate, weren't they? Just getting a little excited by it.
David: Totally. Oh yes. That's their job.
John: On the other end of it you had done this before with Yoshimi and others. What was different about this one and how did you find out that all of the sudden you kind of had a hit on your hands so to speak.
Eric Kleptone: As you said, it's like a forest fire. It just suddenly, I have a regular DJ set in a bar. I left the house, played a DJ set and came home to an overflowing inbox. Immediately went straight to the site, looked at the stats, got the calculator out, typed out the bandwidth and just went ugh.
John: Now this was a very different experience, an artist with a hit who has to take out his checkbook because of it. So how do you square that?
Eric Kleptone: You just swallow it. It's part and parcel really of putting it out if you put something out for free it's a gift really.
John: You wrote, and I think this is one of your blog posts:
"In an ideal world, we would be able to at least legally give away our work for free, if not sell it and allow all the sample participants to profit from it. But archaic copyright law and yards of major record label red tape mean this is very unlikely to happen."
So can you guys work it out right here please?
Eric Kleptone: To release "Hip Hopera"?
John: It's certainly wonderful if you would release "Hip Hopera". But I'm just curious can you define both of you, lets set aside reality for a second, which is always fun late on the third day of a conference anyway. Give me the perfect kind of world that would allow you to do this. How should it work, as opposed to how does it work?
David: For me it would be a platform where people can make mashups, can make remixes, and they have access to whether they pay a subscription or whether there are deals with record labels where they are allowed to use the content. It's restricted to that site.
John: So basically all the music that you might want to sample, you figure out a payment scheme where you're in the garden now and you can play at will.
David: Absolutely.
Eric Kleptone: I can see an environment like that coming through creative commons and ideas like that.
John: Creative commons isn't about money.
Eric Kleptone: It could be.
John: Actually there is a commercial commons effort going on right now but why won't EMI take it's vast resources put it available in some kind of scheme where you kind of open up to letting everybody play and when someone starts to make money or maybe they pay a little bit to come in and play, and then let it go? See what happens.
David: First of all, some of that might happen in the future. We're certainly looking at releasing some material into those platforms in a licensing sense. But our artists have a lot to say with it, about it. A lot of artists don't like that going on as you saw with the DangerMouse thing, we responded to the Beatles objecting to that. This is copyrighted material and there's a number of constituents involved in it.
There's no ambiguity about copyrighted material, it's either owned or not owned by somebody. If it is, red tape isn't an excuse to use it at will, otherwise people won't pay their income taxes, the government has plenty of red tape. This was a fairly new concept to us, just letting this go at will. But we're now faced with user-generated content in video and all that kind of thing. So when I process dealing with this I can see an environment where we allow some material to go onto those platforms.
John: Now that sounds a little wishy washy: "Some material into those platforms." Again, let's stay in the perfect world for a second. Could it be that an artist you sign there's a clause in their contract that says you're also going to be part of this, it's just another revenue stream basically. You agree that your music is going to be in this distribution scheme, which is the universal with a small u, the universal mash-up remix commons, and anybody who is in there, whatever percentage of it is used in a remix, you get royalties based on that based on the pool of people who pay to come into the commons. Is it too hard to do because to get all the people in the music business to agree to that would be like peace in the Middle East?
David: You won't get all the people in the music industry to agree to one thing like that. I think that's in the real world. But I can see going to some existing artists and getting some tracks cleared and I can see it being built into new artist's contracts. They'll get a time to work through the system. Artist's contracts are living organisms in that sense. You'll constantly change and add things to deal with new market realities. I can see us doing that.
John: Right. Given that you give your stuff away for free, because you really don't have a choice, it's either that or hire some really good lawyers, and it may even be hire some really good lawyers even if you do give it away for free , is, that the case, are you a little concerned?
Eric Kleptone: Yeah, no, very much so. There's reassurance from the amount of stuff that's already been put out on line. Also, we weren't really expecting an audience as large as we got. So, likewise with The Grey Album, people weren't really expecting - I think Danger Mouse maybe pressed up about 3,000 of those. Somebody put it on line to maybe share with a few people. Again, it snowballs. So, you don't really know where it's going to go until it's got there.
John: But how do you make a living then?
Eric Kleptone: I DJ. I freelance. I have a day job as well.
John: When "Hip-hop" broke did your rates go up?
Eric Kleptone: They don't actually know. I have a kind of Clark Kent/Superman kind of dual existence.
John: Please, tell me more.
Eric Kleptone: No, no, I can't. Otherwise it wouldn't be a Clark Kent/Superman existence.
John: You're right, but I had to ask. Let's talk about "The Grey Album" actually, because I think that was really a seminal moment, an axis that things turned on. How many of you are familiar with the story behind "The Grey Album", so I know if I'm redoing? So, sorry for those of you who know, but "The Grey Album" came out in '04, right? Early '04, mid '04, something like that. It's Danger Mouse, who's now very well known, and did the Gorillasz album and worked with you guys afterward. What he did was match up "The White Album" from the Beatles, with "The Black Album", Jay-Z's "The Black Album", and made just a kick-ass piece of music in my opinion.
I called Danger up through his Waxploitation, which is a great name, his manager, He came to WEB 2.0 in 2004 and we had a conversation about how cool this was. He actually was in London working on the Gorillaz album and came out here just for that, which was really cool.
Now, what did EMI do once you found out about "The Grey Album"? Just pick up the story.
David: We put out "Take Down" notices to all the sites carrying it, and tried to stop it.
John: Tried to stop it?
David: Yes.
John: I'm not trying to make you out to be the bad guy, but that's how you were very much seen in 2004.
David: Yes.
John: The bad guy. So then there was the response by the Web, which was Grey Tuesday, where a ton of websites turned their pages grey to support Danger Mouse, and the genie was out of the bottle. People had put up mirrors everywhere and pretty much your lawyers would have been busy for a decade with "Take Down" notices across the Web. What did you take away from that? Are you still angry about it?
David: First of all, I don't want to sound like the bad guy, but we're not here particularly to win a popularity contest. We're running a business and The Beatles Catalogue is pretty much the most valuable catalogue in the music business' history. We didn't particularly like and the Beatles certainly didn't like it being messed around with without them knowing what was going on and being involved in it. So, this was a fairly new concept and we decided that we did not really want that to happen.
We were less concerned on Eric's records, in fact, didn't do anything about it.
John: Is this because the Beatles are better than Queen?
David: Not particularly, no. First of all they objected. When our artists object, we respond. They have a right to object; it's their work. We thought there was some commercial element involved there. I can't remember exactly what happened in the end with that. So we decided that we were going to make a point. You can't just do this and we're going to sit around and do nothing about it on every occasion.
John: What's the damage? Why did the Beatles object? Did they object as a knee jerk reflex it's my music, I own it or did they object because they were afraid someone was going to change the meaning of what they intended? What was the damage that was being done? Because it was free.
David: It's not so much just a question of damage. It's a question of right. You don't have the right to us that material without permission.
John: Does that mean I can't sing a song in front of this group? I don't have that right to modify a song and interpret it?
David: Yes you do.
John: Unless it's "Happy Birthday" of course.
David: But in this group, since this is a paying audience, you are supposed to pay a public performance fee to do it. If you sing a published, copyrighted song in a public audience, you're supposed to have a public performance fee. This hotel will have a public performance license for playing Muzak in the hall. This is not a new concept of ownership and paying for use.
Eric Kleptone: This kind of falls back to what we were talking about before about actually paying a subscription fee for the rights to be able to do that. For example, Saturday night, I'm going to DJ in a club downtown. I can play "Hip-Hop" in its entirety, and it will be legal. The artists will get remunerated for that.
David: They would, there's a public performance fee.
Eric Kleptone: So, why could there not be a similar system for stuff on line?
David: There could, come and ask me. If you want to use copyrighted material and you say I want to use it for this use, and put in a subscription and charge 50 cents for a stream, we would look at that very openly.
John: Isn't that a little stifling and backwards? People just want to express themselves and they don't want to have to hire a lawyer and negotiate with a big company.
David: You don't need to hire a lawyer.
John: Well, if they don't I would be worried for them, because they're not going to win in the negotiation.
David: All those people who put user content up on YouTube haven't hired a lawyer.
John: No, and what do you make of those people?
David: All of them, there are 125 million of them?
John: No. There was a question asked earlier actually, that I thought was a very interesting question. Someone said, "Do you think a big media company", and maybe this also applies to your business, "could legally create a YouTube?" Eric Schmidt of Google was asked this question. Because to create such a phenomenon under the constraints of a legal system most people don't understand would be to kill that phenomenon and not allow such an innovation to ever exist.
Do you agree with that?
David: I don't know. I haven't thought about it. YouTube existed and was basically created by the consumers.
John: Wasn't it created based on remixes and postings of a lot of copyrighted material?
David: Yes, and it's today's new conundrum isn't it? How do you deal with that from a copyright owner's point of view?
John: Are you guys having robust conversations with the folks at Mountainview?
David: Of course we do.
John: Is there going to be a check big enough to make you happy?
David: I don't know. I'm not going to answer that sitting up here!
John: If you guys have questions, there are mikes on either side. We're going to run out of time soon, so I want to make sure you guys get a chance to ask both these guys questions.
So, Eric, do you think the music industry has changed over the last three or four years?
Eric Kleptone: Yes, completely.
John: And how has it changed, from the artist's point of view, from your point of view as someone who has been on the periphery of it?
Eric Kleptone: Well, everybody I have spoken to, I think, universally, who is a musician of any kind over the past year or so, all agree that it's never been better. It is so good at the moment. There are so many opportunities. It's wide open. The restrictions and limitations of the standard record business have been broken up. There are a lot more options for people to get music out. There are a lot more options for people to generate revenue in their own way and to develop a fan base. If people have got the get up and go, there is now somewhere to do it. The future has arrived for a hell of a lot of musicians.
John: Are you finding the same thing? For example, you pretty much harvested DangerMouse, right? First he did something that set you off, but then you're like, "Hey, there's talent here, we're going to figure out a way to..?"
David: Yeah, there was never any doubt that that guy was a very talented guy. There was no argument with that. And yes, the music industry is changing out of sight, including my company.
John: Yeah, you've been responsible for that for two decades now?
David: Yeah.
John: Yeah, yeah, thank you. And thank you for coming on stage. I want to turn it over to some questions from the audience. First on this side.
Zappy: I'm Zappy. I'm from internetrealestate.com. One of the companies I co-founded is music.com. I've got some partners out in Los Angeles, and I wanted to ask David, it seems to me there's so much opportunity to take what the labels are good at which is finding great artists and attracting an audience, and make the money there. And come up with some creative ways to bring together those elements and make music make money in a different way than it's been done in the past with worrying about the royalties and things like that. I was wondering if you had any comment as far as what you guys are doing in that respect.
I noticed Interscope Records is helping Coca-Cola to roll out artists and things like that. Isn't there a better way to make money and accommodate the artists?
David: The what of the artists?
John: Accommodate I think.
David: Accommodate? There are a lot of questions in that question. Accommodating artists and dealing with artists and signing artists and helping create artist's careers are the core of EMI's business. We have no other forms of income. We don't have a film company, a hardware company, a water company. We sell music or we don't sell music and if we don't sell music, we don't survive and our artists don't survive. That's the fundamental base that EMI's built on.
If you sit in my shoes, what we're seeing every day is that five years ago the Internet was basically, from our point of view, about piracy. Three years ago we knew there was an opportunity, and a very exciting opportunity. Our income was zero. In this year, our income from all things, the digital platform, will be 10, 11, 12 percent. In another three years time it could be 25 percent of our business. This is an enormous amount of change in our business and our company and it's affecting small labels and big labels, and major labels like ours.
We've just talked about some of them - all these different ways of the consumer accessing music. Our motto if you like is "consumers getting music when they want, where they want and how they want". That is changing every day of our life and people accuse us of being slow sometimes. I don't really think we're slow; we are dealing with this huge pace of change. That means that people in our company have got to change, our artists have got to change, all the constituents in the music industry have got to change.
Eric's got to change. In the end he will license music for his mash-up albums. And we'll find a way to do that. So, it's not just about selling flat things with a hole in the middle anymore. We've changed the name of EMI Records to EMI Music. It's about selling music in a broad set of platforms and a whole bunch more business models that we don't know about, people in this room are going to invent and come and say we want to use your content. We will have to find a way to make a deal with you. That's the challenge right now. It's very exciting and you need to be very aggressive. But you also need to remember that the tone that you set and the business rules that you set are going to last a long time and you'd better get them right so that we can all have a fair shake out of this.
John: Great. One more question.
Ian: My name is Ian. I haven't actually heard this "Hip-Hopper" song. I've got my wallet out and I'm just curious how much it would cost me to hear it right now.
David: $10. No.
Ian: No shot? OK.
John: It's relatively easy to find on line.
Eric Kleptone: I have some copies on me actually. Find me later on. No charge.
John: Mark?
Mark: Speaking of the world's most valuable music catalogue, is there any update on the status of the Beatles download? They were going to keep the bits of their hard drives; what's the status of getting Beatles on line?
David: Soon coming.
Mark: All right!
John: Ah, excellent, Beatles soon coming. Actually we have a little treat for you right after this final question.
Eric Telenius: Hi, I'm Eric Telenius. I'm wondering what can be done to reduce the transaction costs, because it seems to me that that's the real problem here. If you want a license, if you want to do anything, the negotiation, the complexity, not knowing whom to talk to, that's what's killing the innovation.
If I have a radio station, I just play whatever I want, there's a standard format, if I'm doing a live performance, and I can do whatever I want. It seems to me like there needs to be more of a way to get very simple, get the transaction cost and not have to get lawyers involved. I know, John you asked about that but I'm wondering if we can talk about that a little more.
Eric Kleptone: I know I completely agree. I don't see why it should be any different. As you said, radio musicians want to get played on the radio. Club's musicians want to get played in clubs. There are systems to allow people to get money back from that.
As remix culture becomes more and more embedded in people's life and people get hold of content on line, they want to be able to customize that content. More and more people are going to want to do this. It's becoming second nature for a lot of people. I feel that the artists should benefit from it but there should be systems set up to allow it to happen.
David: Yeah, and you're absolutely right. I totally accept that we're going toward a world of huge changes in the number of transactions and micropayments. Dealing with that from a practical sense isn't as easy as it sounds. I'll give you a quick example.
A few months ago we had, just from the subscription business in America, $1 million income in one accounting period, a month or something like that. In that $1 million, there were 57 million individual transactions. Think about that. I have to unpick each one of those micropayments, credit the producer, the artist, and the engineer if they want a royalty, the publisher. You're not going to do that on a card index system or an Excel spreadsheet.
John: These guys will figure it out for you.
David: These guys will figure it out for me. Those systems don't exist today. We have to build them and we have to change our business to cope with this enormous explosion in the simple number of transactions that we expect to happen in the coming years.
Also, we used to put out four or five products. You know, have an album, maybe a cassette, maybe a bit of vinyl, a tour edition or a holiday issue. Now, it's nothing for us to put out an album and that one album will generate a hundred or more products just within EMI. Every mobile company wants a different ring tune; a different bit sampling range, a different length, each track is a separate product. They are all tracked and monitored individually so that we can receive the income from it and pay the rights holders that are our partners. It's a very difficult logistic exercise.
John: Well Mersa Meyer backstage is going to help with that. Now, I want to thank both of you very much for coming. Thanks to David we have a little treat as we walk them off the stage. Dave, there's a new album of Beatles' music coming up, which you mentioned "Love". We're going to play the first track as they leave. Thank you very much for clearing the rights so we could do this.
Announcer: David Munns and Eric Kleptone at the WEB 2.0 summit 2007.
Daniel H. Steinberg is the editor for the new series of Mac Developer titles for the Pragmatic Programmers. He writes feature articles for Apple's ADC web site and is a regular contributor to Mac Devcenter. He has presented at Apple's Worldwide Developer Conference, MacWorld, MacHack and other Mac developer conferences.


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Sophisticated Boutique Hotel Next Door to Theme-Park Thrills
Nightly at Hotel Menage, guests are treated to some free entertainment: Disneyland's Fireworks Spectacular. You can settle into one of the hotel's pool chairs and enjoy a drink from the palapa bar as thousands of fireworks get launched above Sleeping Beauty Castle. The hotel is only a quarter mile from the theme park, too; by day, you can grab an all-day shuttle ticket ($5/day for adults; $2/day for children under 10) and hop on Hotel Menage's shuttle that travels back and forth to the park.
As a whole, Hotel Menage reflects a family-friendly affect with an air of sophistication. The lobby is accented by black marble floors, a stylish bar, and trickling fountains. Up in the studio king rooms, there are leather-wrapped headboards that almost reach the ceiling. The rooms come equipped with a queen-size sofa bed to comfortably sleep some guests or wax statues of Walt Disney.
You can both start and end your day in the lobby lounge: in the morning, grab breakfast, and at night, you can stop in for a cocktail. For dinner, try American Tavern, which has a pub menu featuring dishes such as a smoked bacon and cheddar ale burger and Guinness-braised short ribs served alongside cheddar ale fries.
Anaheim, California: Magical Playland Close to the Beach
Less than an hour from Hollywood and Universal Studios, Anaheim is perfectly situated for making the most of a Southern California getaway. But most visitors never make it that far, as Disneyland has long dominated the city's tourism scene. As Walt Disney's original park, it has a handful of classic attractions that, though upgraded over the years, have been around since the park opened in 1955. You can ride the , hop on the King Arthur Carrousel, or sail in the Storybook Land Canal Boats (Walt Disney personally planted the small pine near Geppetto's home). Disneyland has plenty of modern rides too, including Cars Land, one of the newer additions to Disney California Adventure Park and a life-size re-creation of the town from Disney Pixar's Cars. The highlight here is the slot-car attraction, which puts you in an automated vehicle that swerves around animatronic characters before engaging another car in a high-speed race.
If you're in the mood for thrills, ascend the Twilight Zone Tower of Terror before dropping in a heart-pounding free fall, or climb aboard the roller coasters thundering around Paradise Pier with sweeping views of the park. Alternatively, trade fairy dust for white sand in Huntington Beach, where you'll find 3.5 miles of free-to-the-public beaches filled with surfing, pickup volleyball games, and countless stalls hawking flip-flops and seashell-themed wares.


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Marian McPartland
Take a look back at vintage photos of pianist Marian McPartland. The Port Washington jazz legend died Aug. 20 at her home. She was 95.
Marian McPartland gets a kick out of watching her friend, composer Alec Wilder, blowing bubbles in an undated picture.
Jimmy McPartland on cornet, Bill Crow on bass, Marian McPartland at piano and Joe Morello on drums bring some swing to Baker's Keyboard in Detroit in 1955.
Jimmy McPartland plays on his cornet while Marian McPartland listens. They met during World War II and were married in 1946.
Marian McPartland jams with the members of her trio--drummer Joe Morello and bassist Bill Crow--at the Hickory House on West 52nd Street in Manhattan in the 1950s.
Jazz legend Marian McPartland at her favorite place--sitting at the piano.
Who: Marian McPartland
Best known for: Her NPR radio show "Marian McPartland's Piano Jazz" Year inducted: 2006
Marian McPartland credits her late husband, cornet player Jimmy McPartland, for teaching her to interact with the audience. "He had a great personality," she says. "We got along well together and played very well together."
Marian McPartland and her protege Roberta Piket, who will perform some of McPartland's songs at the Cinema Arts Centre in Huntington on June 15. Cinema Arts Centre will also screen the documentary "In Good Time: The Piano Jazz of Marian McPartland," and both McPartland and the film's director, Huey, will be in attendance.
Marian McPartland attends a screening of the documentary "In Good Time: The Piano Jazz of Marian McParland" in 2012 with the film's director, Huey.


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'Iron Man 3′ Casts 'Die Hard 2′ Villain But Who Will He Play?
'Iron Man 3' began filming this month yet we're still finding out about more actors who are appearing on set. Yesterday Jon Favreau revealed that he'll be reprising his role as Happy Hogan in the sequel. Today? Some information that just might be a bit cooler.
Latino Review just broke the news that actor William Sadler, best known for his roles in 'Die Hard 2′ and 'The Shawshank Redemption,' was spotted on set alongside Guy Pearce getting fitted for a costume. But the question is, who is he playing? If we were to figure that his character is connected to Guy Pearce's character Dr. Aldrich Killian in some way, then that means more than likely he is also connected to the Extremis project. Maybe he's the test subject to the Extremis injection? Maybe he's another scientist who's working on the project?
Along with that, LR is reporting that there are a couple of extra screenwriters on set that will be helping Shane Black out when it comes to Robert Downey Jr.'s famous improvisation. He's been doing this for awhile so that part doesn't come off as a surprise.
'Iron Man 3′ is already dealing with the Mandarin, Coldblood and Firepower all tied up around the Extremis story line. It's safe to say that Tony Stark/Iron Man definitely has his work cut out for him in this set of battles.
'Iron Man 3′ will be released in theaters on May 3, 2013.


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It is uncomfortable and not always conclusive.ĀAbout one in 20 women are called back for further tests, of whom one in six will have breast cancer: but it is not always clear if thisĀbreast cancerĀwould have killed you. Turning down any screening feels ungrateful ¢ but perhaps less so now.ĀResearch in the BMJ last weekĀshowed that breastĀcancerscreening was nearly as unreliable as screening for prostate cancer, and should probably not be offered routinely to women over 50.
The paper covered a 25-year study in Canada, in which 89,835 women between the ages of 40 and 59 were randomly assigned to have five annual screening mammograms or taught to self-examine for breast cancer. A total of 3,250 women in the mammography group and 3,133 in the self-examination arm developed breast cancer, and 500 in the screening group died compared with 505 in the latter group. So there was no real difference. TheĀresearchers showed that mammography overdiagnosedĀby 22% by finding tumours that over this 25-year period did not develop into cancers causing symptoms or death. AĀprevious study from MalmoĀput overdiagnosis of clinically insignificant breast cancers at 10%. In the UK, women are invited for mammograms every three years if they are between 50 and 70 years of age.
There has been growing controversy as to how useful screening is for some time.ĀA recent report from the Swiss Medical BoardĀsaid that regular screening saved one or two women out of 1,000, but found inaccurate results in 100 out of 1,000 women, causing psychological stress and unnecessary treatment. It recommended that no new breast-screening programmes be set up and that existing ones were given a time limit.
So is this enough to put you off, or do you think the benefit of finding an earlier cancer (which is usually thought to offer a better chance of normal life expectancy) merits a mammogram?
The solution
To have a mammogram or not is a personal decision, and it is now reasonable to question whether you should. Experts have argued over this latest study, with aĀHarvard radiologist questioning the quality of equipment in the studyĀand whether women who were suspected of having breast cancer were allocated to the mammogram group. Both would have skewed results, he says.
In an editorial accompanying the research paper, Mette Kalager from the University of Oslo argues that deaths from breast cancer are falling due to better treatments such as Tamoxifen, rather than because of earlier diagnosis by screening.ĀA review in the journal CancersĀis worth reading because it runs through key research studies and their critiques.
So it is fine to be unsure as to what to do: research is showing that it should be a decision, and not just a given.
Ģ Dr Luisa Dillner is head of research and development at BMJ.
This article originally appeared onĀguardian.co.uk


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The Chicago 700-HOTXKABCP Manual and Metering Faucet. This single-supply hot water faucet features a 3-3/8" integral cast brass spout, and a 3" cross handle. It comes with a 2.2 GPM aerator, ceramic 1/4-turn operating cartridge, and 1/2" NPSM supply inlet with coupling nuts for 3/8" and 1/2" flexible risers. It comes in a bright, Chrome finish.
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Viewers already use multiple devices at once – the trick is enabling complementary usage.
Years after Netflix, smartphones and tablets all hit the scene, even those service providers capable of multi-screen delivery continue to struggle with the multi-screen phenomenon.
That's because even as service providers respond to viewers' increasing appetite for video on screens other than the TV, consumers' multi-screen behavior continues to evolve. Viewers are increasingly using their many different screens, not just in isolation, but in combination. That's the second screen phenomenon.
Where multi-screen is strictly video, the second screen phenomenon includes people using multiple screens, sequentially or simultaneously, to accomplish a wide range of tasks, only some of which involve video.
The percentage of second screen use that involves a smartphone or a laptop used simultaneously with a TV is growing, however. According to a study released by Google in the second half of last year, 77 percent of TV viewers watch with another device in hand (49 percent of the time that device is a smartphone, and 34 percent of the time it is a PC or laptop).
Those figures are encouraging for service providers no matter how you slice them – but they do need to be sliced. There are two different types of simultaneous behaviors: multi-tasking and complementary.
An example of the former would be playing a video game while also keeping an eye on the TV – seemingly of little interest, but we'll come back to that.
There are multiple examples of complementary activity, among them using the second screen to search for and discover content to display on the TV screen, or to surf the Web looking up information about the content being viewed (checking out IMDB or Rotten Tomatoes, for example), or logging in to Twitter or Facebook to discuss what's onscreen with friends.
Complementary behavior is assumed to reinforce the TV experience, enhancing engagement to the point where people are starting to try to measure the phenomenon.
Rentrak has been publishing a Stickiness Index and Social Media Index (Rentrak compiles the former; Bluefin Labs compiles the latter). Content with the most engaged viewers will have a higher Stickiness Index rating number, indicating that more of the audience is tuned in for the duration of the series. Similarly, series that generate the most social media comments will have a higher Social Media Index rating.
The interesting thing is the correlation between the two lists; series that rank high by one measure tend to rank high by the other. It's pretty much what most people would expect, but it's nice to see some confirmation.
And since it's pretty much what most people would expect, it's also no surprise that service providers have begun to enable second screen usage.
The kickoff
The first attempts at second screen usage are apps that turn second screen devices into remote controls. Comcast earned an extraordinary amount of media attention when it announced its Xfinity remote control app at CES in 2010 and introduced a version for Apple iOS devices later that same year.
The app provided more than remote control; it was also a window for the Xfinity program guide. Xfinity subscribers could use the same device for navigation.
Over the ensuing 15 months, other service providers have, one after the other, introduced similar remote control/nav apps – each trying to add a little more value than the one before – incorporating control of DVRs or rolling in TV Everywhere/multi-screen capability into the same app.
In September, BendBroadband introduced an app that works in conjunction with the Arris gateway it is using that enables its subscribers to use an iPad as a remote control for both the TV and DVR, as well as for access to the program guide.
Last December, Rogers Communications introduced its Anyplace TV Home Edition second screen app, enabling its subscribers to use their mobile devices as a remote control, to perform navigation and search, to program their PVRs, and to stream live video. At the point of introduction, Rogers was transmitting 25 different channels to broadband subscribers.
At the most recent CES, Cox Communications and Dish Network both vowed to up the ante with second screen apps.
Cox demonstrated an app being built by Cisco that will attempt to personalize the video experience for its customers based on customer preferences and viewing habits. The new app builds off of a previous app called Cox TV Connect, which allows customers to experience live TV on their mobile devices.
The new Cox app, as yet unnamed, features 90 live channels, access to on-demand content and the ability to use a tablet as a remote control for Cox's Trio guide. It will also rely on software from ThinkAnalytics that will provide personalized video recommendations through the Trio guide.
Also at CES, Sling Media announced its forthcoming Slingbox Companion app. Sister company Dish Network separately announced an app called Explorer that Sling Media helped build and which includes some of the features of Slingbox Companion.
The company is working to integrate that with additional technologies to amplify the value. The company arranged to incorporate in its Slingbox 350 and 500 models software from Audible Magic that automatically identifies content that allows the Slingbox Companion to connect viewers to supplemental television show content, connections to Facebook and Twitter for sharing of viewing experiences, and value-added information related to TV commercials where viewers can link to additional information.
"It will show you the show in front of you, and you can see what people are saying about it on Twitter. It can show you other shows that are similar to that one," said Brian Jaquet, a PR consultant for Sling Media.
This is similar to the zeebox app that Comcast and others have been working with. Zeebox allows users to access a program guide and see what tweets are being posted about the show they're watching. Viewers are also presented with related links and items of news, along with static information such as credits. Zeebox also provides interactive features such as polling; Comcast unit NBC is using that feature.
Comcast is also integrating customized apps and social media features (including Twitter, Facebook and Pandora) with its traditional video services in the app that goes along with the X1 DVR-based service the MSO began rolling out this year.
The app, of course, allows customers to use their handhelds as remote controls, but also to access interactive guides and create personalized shortcuts and favorites (Comcast is calling them "Quick Links"). In addition, customers can use their second screen devices' virtual keyboards to search through content.
Have nav?
It is no coincidence that a lot of second screen apps now include navigation and some form of advanced search and discovery. Traditional navigation can be brutally unwieldy. From the service provider side, there's an argument to be made that the second screen phenomenon is all about the interface.
One of the people making that argument is Dave McElhatten, senior vice president of studio and services at ActiveVideo Networks.
"Why has all this happened? A lot of interfaces may not be from 1980, but they sure feel like it. A lot of experience out there is sub-optimal. Interfaces are just not a focus, and there have been a lot of problems with the boxes out there," McElhatten said. "A few years ago, I was with an operator, and all we wanted to do was a simple change in the text. We had to go through two vendors, and it would take several months – it just wasn't worth it."
ActiveVideo's approach is to make almost everything cloud-based, including the delivery of the interface. By building everything on Web standard HTML5, which was designed for serving up interactive experiences for any size screen, ActiveVideo is providing essentially by default what other companies are accomplishing through apps.
"We're delivering games to a major operator," McElhatten said. "They're the same games that are available elsewhere, and maybe they're even done better elsewhere. But we're serving 10 million games a month to one MSO, and the average session is a little less than 30 minutes. Why? It's multi-player. It's sharing. And the other thing is people want to play on the biggest display in the house."
You can create a virtual channel on your iPad – it gets delivered as a personalized program guide. It's literally my TV, McElhatten added.
"You start with tuning, move to better navigation, and on to search and discovery, and then personalization – yes, check, check, check. But this is about so much more than that. The box is an anchor, and we think the cloud gets you away from that. You do this for the quality of service, for the consistency of the brand and for interactivity," McElhatten said.
Chris Knowlton, vice president of product management at Wowza, agrees that the goal with second screen apps has to be more interactivity.
"Some of the early things were not very compelling. You can do things that provide information on actors and actresses, but stuff that does not change is less interesting," Knowlton said. "You might put in a quiz. Providing new information is even better. What you're looking for is a richer experience. Perhaps you might even want to develop something that would anticipate what you might want to see.
"Another thing that can be interesting is seeing something on the primary screen, and on the second you offer a different view – an offer to go to a sideline cam, for example," Knowlton continued. "It's getting more and more about having content that complements whatever you see on the primary screen."
"We know a lot of our customers are sports fans," Jaquet said. "We can deliver stats – it's a fantasy football player's dream."
Sling Media also introduced a new feature on its 500 box that enables people to hook up a USB hard drive and store their own media. That facility is controlled by an app – My Media with Sling Sync – that allows Slingbox owners to navigate through their media on the drive and display it on their TVs.
"Slingbox can be an important part of the living room experience. We used to be all about outside the home, but now we're also about using it inside the home. If we let people use their tablets not only for viewing but for navigating – that stickiness will help us now and in the future."
The discussion about simultaneous behavior thus far has focused entirely on complementary behavior. But that's only the logical beginning, because there are plenty of multitasking behaviors that could be turned complementary with a little bit of effort.
People are already using their smaller screens for shopping. That behavior is already ingrained. Furthermore, TV is already a major catalyst for search – 22 percent of all searches on smartphones and 10 percent of all searches on PCs/laptops are initiated by people responding to what they see on their TVs, whether content or ads, according to Google.
A lot of smart people think that video providers should eventually be able to take advantage of that by providing multi-screen viewers opportunities to purchase items and services they see in the video they consume.
"Monetization is usually tied in with ads," Knowlton observed. "Say you see an ad for a Ford F-250. You can push a banner onto the second screen that says, 'If you want to see more about this truck, click here.' Or if you see James Bond walking out with a new toy – one that actually exists – you can ask, 'Would you like to see more about that?' You can stop the Bond movie, view the ad, then go back to the film."
The idea, he explained, would be to have everything triggered to happen automatically once the viewer indicates an interest in seeing the ad.
Years after Netflix, smartphones and tablets all hit the scene, even those service providers capable of multi-screen delivery continue to struggle with the multi-screen phenomenon. That's because even as service providers respond to viewers' increasing appetite for video on screens other than the TV, consumers' multi-screen behavior continues to evolve.


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This isn't a money problem, it is am attitude problem, probably understandable under the circumstances, but not correct and not kind.There are "looks" and comments that can be made when someone exhibits the etiquette sin of boasting. I's start checking Miss Manners, especially the books. Surely she has way to handle the nouveau rude. I personally would go for the non-responsive look -- as if the speaker just said an inappropriate word -- and something like, "how nice for you," and bean dip.
Quote from: KinseyanneIn the bag was two cans of kitten formulaSo now ... just add water and you get kittens? What will they think of next??
In the bag was two cans of kitten formula
The farm is her new toy and like an excited kid she wants to show it off to her friends and part of that is telling them how "special" it is.
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Grateful Dead
Eternally Grateful
Hmmm......Very nice very neat,but somehow it reminds me a "the best of the GD 1977",a virtual concert that never went down like this,without any gaps of course(..seems strange to me anyway all this complaints about "gaps".there were entirely part of the concert.just think about a moment when they preparing their instruments for black-throated wind,you hear it coming and BOOM-out of nowhere starts the most incredible Jack-a-roe you ever heard,gaps,..hahaha)its only my humble personal opinion,but the way dick made his picks seems to be honest,you get a upgraded version of a real concert.what can be better?I mean with "the best of whatever year" you will be finished in 95 anyway.seems like a little marketing error,because lets talk buisness.these polished versions of the GD are for the people who maybe never saw them live or just came on the bus because it was "cool" for a while.they dont have the time or maybe not even the patience to put in a whole show and go through it a few times,because thats what it needs.a few times listening and you start to discover incredible licks,wonderful jams that make you feel like travelling to mars,yeah but you have to take the time.....GD easy listening is for the stressed who put it into the car cd on their way to work.Not the best way to listen to the Boys anyway...........:-)(-.
specifically now that the Road Trip series has been announced, is that these new compilation-oriented releases will probably bring us some new folks here. Since we were all newbies once (and everybody has a different story to tell about what got them on the bus) I think it'll be pretty interesting to see how it all looks to these guys.
I'm chiming in late to this discussion. This is a response to the David Gans post. You know, I don't even see any vehement disgust towards the Starbucks deal in this thread -- it must have been all in the Taper's Section thread as mentioned. But let me say there is absolutely nothing wrong with this deal and in fact GDP are SO LUCKY to have been able to do it! I work in the music industry and let me tell you, the physical CD market is dying. I was speaking with a friend/former co-worker who is out there trying to start up a small indie label (they have about a half dozen artists and releases right now) and there are just really so few places to go to sell records these days. In fact the one thing I said to him was, 'Hey the Holy Grail must be Starbucks -- are you trying to get in there?" He was like, "shit yeah -- it's impossible." So look, it's a great thing for GDP that they got in there. (Not to say it was hard for them -- they're WB/Rhino - and really, they're the Dead -- SBUX OF COURSE would have them. My point is, SBUX is the THE PLACE to be right now if you are in the business of selling record album CD's).
As far as the album itself? Yeah - it is obviously not for us. It is a GH/compilation where even the live portion is just "tunes" that are nothing new to what we all already have lots of. It's for the SBUX masses and hopefully they sell lots of them. Maybe there will be future releases that will be cooler for us.
As for the coffee? Good stuff. I like it it plain, black with ice. I don't go in there often. I do my joe at home in the morning and occasionally grab an afternoon cup for free at the office...
* * * * * * * * * * * *
-enjoyin' the ride
is a few weeks away, and I've been talking to my folks about going down to LA and doing the family thing, for which it seems like a good moment.
As to the musical selection, I need to give that a bit of thought! Thanks for the kind wishes.
don't slink too far. please continue to share your wealth of experiences and wisdom with us!!
peace and many more to you
nothing left to do but smile, smile, smile
And what musical selection will you have with that latte?
"From day to day, just lettin' it ride,
You get so far away from how it feels inside,
You can't let go, 'cause you're afraid to fall,
But the day may come when you can't feel at all."
is the big day, marye? You gonna do something really really great to celebrate?
Don't part with your illusions. When they are gone, you will still exist, but you have ceased to live.
Samuel Clemens
slinking off into the sunset as I prepare to turn 60...
with a venti latte, I guess.
by chance, are u a ren & stimpy fan???? that line brings back some memories (no sir, i don't like it) i'm thinking of a horse.
nothing left to do but smile, smile, smile
i am of the hippie ideal. i loved the boomers' ideas, and their balls to do what's right. but too bad so many of them lost their values along the way
nothing left to do but smile, smile, smile


text: Dave's ESL Cafe's Student Discussion Forums :: View topic - friends Dave's ESL Cafe's Student Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in friends Dave's ESL Cafe's Student Discussion Forums Forum Index -> Opinions View previous topic :: View next topic Author Message jenannJoined: 22 Feb 2003Posts: 27 Posted: Tue Apr 01, 2003 9:12 am Post subject: friends Hi Roseray! Hi everybody! I would even say that the english version is better than the translated ones since it's the original! And therefore the jokes come more naturally. F.R.I.E.N.D.S Back to top jenannJoined: 22 Feb 2003Posts: 27 Posted: Tue Apr 01, 2003 9:14 am Post subject: oops...sorry...i posted it wrong! This was meant to be an answer to my "F.R.I.E.N.D.S" topic... so do not wonder too much plz Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Dave's ESL Cafe's Student Discussion Forums Forum Index -> Opinions All times are GMT - 8 Hours Page 1 of 1 Jump to: Select a forum Student Forums----------------ComputersCurrent NewsCultureEnglish SchoolsFamilyFilm and CinemaFoodHealth and FitnessHelp CenterHobbiesHolidaysLearning EnglishLiteratureMaking FriendsMusicOpinionsPetsScienceSportsThe Strange and MysteriousTOEFL and Other English ExamsTravel You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum Dave's ESL Cafe is maintained by the one and only Dave Sperling. Banner Advertising | Bookstore / Alta Books | FAQs | Articles | Interview with Dave Copyright © 2018 Dave's ESL Cafe | All Rights Reserved | Contact Dave's ESL Cafe | Site Map Teachers College, Columbia University: Train to Teach English Here or Abroad Powered by phpBB © 2001, 2002 phpBB Group