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Frequent Links
American Society of Composers, Authors and Publishers
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Formerly called
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The American Society of Composers, Authors and Publishers (ASCAP /ˈæskæp/) is an American not-for-profit performance-rights organization (PRO) that protects its members' musical copyrights by monitoring public performances of their music, whether via a broadcast or live performance, and compensating them accordingly.
ASCAP collects licensing fees from users of music created by ASCAP members, then distributes them back to its members as royalties. In effect, the arrangement is the product of a compromise: when a song is played, the user does not have to pay the copyright holder directly, nor does the music creator have to bill a radio station for use of a song.
In 2012, ASCAP collected over US$941 million in licensing fees and distributed $828.7 million in royalties to its members, with an 11.6 percent operating expense ratio.[1] As of July 2013, ASCAP membership included over 460,000 songwriters, composers, and music publishers.[2]
In the United States, ASCAP competes with two other PROs — Broadcast Music, Inc. (BMI) and the Society of European Stage Authors and Composers (SESAC).
Unlike collecting societies outside of the United States, ASCAP contract is non-exclusive,[3] and although it is not so simple for a foreign person to join ASCAP, it is possible. ASCAP has an office [4] in the United Kingdom. As the artist agreement is non-exclusive, authors can license using a Creative Commons license. Analyzing the ASCAP bill of rights, it states, "we have the right to choose when and where our creative works may be used for free". If an author is going to use a Creative Commons license with another's works, this is the only author's rights organisation that has a non-exclusive contract that a foreign person can join.[citation needed] If an author uses a Creative Commons license and is not a member of a performing rights organisation, and the works would generate royalties, these royalties are collected and given to publishers and artists that are members of these organisations.
ASCAP was founded by composer Victor Herbert at the Hotel Claridge in New York City on February 13, 1914, to protect the copyrighted musical compositions of its members, who were mostly writers and publishers associated with New York City's Tin Pan Alley. ASCAP's earliest members included the era's most active songwriters—Irving Berlin, Otto Harbach, James Weldon Johnson, Jerome Kern and John Philip Sousa. Subsequently, many other prominent songwriters became members.
In 1919, ASCAP and the Performing Rights Society of Great Britain (since 1997 known as PRS for Music), signed the first reciprocal agreement for the representation of each other's members' works in their respective territories. Today, ASCAP has global reciprocal agreements and licenses the U.S. performances of hundreds of thousands of international music creators.
The advent of radio in the 1920s brought an important new source of income for ASCAP. Radio stations originally only broadcast performers live, the performers working for free. Later, performers wanted to be paid, and recorded performances became more prevalent. ASCAP started collecting license fees from the broadcasters. Between 1931 and 1939, ASCAP increased royalty rates charged to broadcasters more than 400%[5]
Antitrust lawsuits
In the late 1930s, ASCAP's general control over most music and its membership requirements were considered to be in restraint of trade and illegal under the Sherman Anti-Trust Act. The Justice Department sued ASCAP in 1937 but abandoned the case. The Justice Department sued again in 1941, and the case was settled with a consent decree in which the most important points were that ASCAP must fairly set rates and not discriminate between customers who have basically the same requirements to license music, or "similar standing." Also, anyone who is dissatisfied with the terms they can negotiate with ASCAP or otherwise are unable to get a license, may go to the court overseeing the consent decree and litigate the terms they find objectionable, and the terms set by the court will be binding upon the licensee and ASCAP. BMI also signed a consent decree in 1941, although the terms were much more favorable to BMI than those applied to ASCAP.[6]
ASCAP boycott
In 1940, when ASCAP tried to double its license fees again, radio broadcasters formed a boycott of ASCAP and founded a competing royalty agency, Broadcast Music Incorporated (BMI). During a ten-month period lasting from January 1 to October 29, 1941, no music licensed by ASCAP (1,250,000 songs) was broadcast on NBC and CBS radio stations. Instead, the stations played regional music and styles (like rhythm and blues or country) that had been traditionally disdained by ASCAP. When the differences between ASCAP and the broadcasters were resoved in October 1941, ASCAP agreed to settle for a lower fee than they had initially demanded.[7]
Membership expands
ASCAP's membership diversified further in the 1940s, bringing along jazz and swing greats, including Duke Ellington, Count Basie, Benny Goodman, and Fletcher Henderson. The movies also soared in popularity during the 1930s and 1940s, and with them came classic scores and songs by new ASCAP members like Harold Arlen, Johnny Mercer, Cole Porter, Morton Gould, and Jule Styne. Classical-music composers Aaron Copland, Igor Stravinsky, and Leonard Bernstein brought their compositions into the ASCAP repertory in the 1940s.[8]
In the 1950s and 1960s, television was introduced as a new revenue stream for ASCAP, one that maintains its importance today. With the birth of FM radio, new ASCAP members, including John Denver, Jimi Hendrix, Quincy Jones, Janis Joplin, and Carly Simon scored massive hits. Many Motown hits were written by ASCAP members Ashford & Simpson, Marvin Gaye, Smokey Robinson, and Stevie Wonder. Both The Beatles and The Rolling Stones licensed their works through ASCAP, and the very first country Grammy Award went to ASCAP writer Bobby Russell for "Little Green Apples".[9] During this period, ASCAP also initiated a series of lawsuits to recover the position they lost during the boycott of 1941, without success.[10]
During the last three decades of the 20th century, ASCAP's membership grew to reflect every new development in music, including the funk, punk rock, heavy metal, hip-hop, techno, and grunge music genres. Creators ranging from Lauryn Hill and Dr. Dre to the Ramones, Slayer, and John Zorn joined. ASCAP launched a Latin membership department to serve ASCAP Latin writers—Marc Anthony, Joan Sebastian, and Olga Tañon among them–with the Spanish-speaking world as their audience. In 1981, ASCAP prevailed against CBS in an eleven-year-old court case challenging the ASCAP blanket license.[11][12][13]
Today, ASCAP remains one of the world's most far-reaching PROs.[citation needed] ASCAP licenses over 11,500 local commercial radio stations, more than 2500 non-commercial radio broadcasters and hundreds of thousands of "general" licensees (bars, restaurants, theme parks, etc.).[14] It maintains reciprocal relationships with nearly 100 foreign PROs across six continents,[15] and licenses billions of public performances worldwide each year.[16] ASCAP was the first U.S. PRO to distribute royalties for performances on the Internet and continues to pursue and secure licenses for websites, digital music providers and other new media.
ASCAP honors its top members in a series of annual awards shows in seven different music categories: pop, rhythm and soul, film and television, Latin, country, Christian, and concert music. In addition, ASCAP inducts jazz greats to its Jazz Wall of Fame in an annual ceremony held at ASCAP's New York City offices and honors PRS members that license their works through ASCAP at an annual awards gala in London, England.[17]
In 1979, ASCAP created The ASCAP Foundation Morton Gould Young Composer Awards to honor composers of Concert music (Classical) in the early stages of their careers.[18] Morton Gould was president of ASCAP as well as a Pulitzer Prize winner. Composers under 30 apply each for cash awards which are funded through the Jack and Amy Norworth Fund. Jack Norworth wrote many Tin Pan Alley hits including the lyrics to "Take Me Out to the Ball Game".[19]
Beginning in 1986, ASCAP created the Golden Soundtrack Award to honor composers for "outstanding achievements and contributions to the world of film and television music." In 1996, it was renamed the Henry Mancini Award to pay tribute to the late composer's history of achievements in the field.[20]
Through its annual ASCAP Plus Awards program, ASCAP compensates those writers whose works are substantially performed in venues and media outside of its surveys. An independent panel reviews the applications and makes cash awards to deserving members as well as writers whose works have a unique prestige value. Award amounts begin at $100. ASCAP is the only PRO with a cash awards program of this kind.[21]
ASCAP also bestows the near-annual Deems Taylor Awards to writers and music journalists. Named after the first president of ASCAP, Deems Taylor, they were established in 1967 to honor his memory. The Deems Taylor Award "recognizes books, articles, broadcasts and websites on the subject of music selected for their excellence."[22]
ASCAP offers the ASCAP OnStage program, which gives ASCAP members the opportunity to get paid for live performances at ASCAP-licensed venues.[23]
ASCAP "I Create Music" EXPO
In April 2006, ASCAP inaugurated its annual ASCAP "I Create Music" EXPO, the first national conference fully dedicated to songwriting and composing. The first EXPO featured workshops, panels, mentor sessions and performances with notable figures from all music genres and sectors of the music industry. The most recent EXPO took place between April 18 and 20, 2013. Highlights included conversations between Ne-Yo & Stargate, Diplo & Big Sean and Nathan Johnson & Joseph Gordon-Levitt; Master Sessions with Steve Lillywhite, No I.D. and Nico Muhly; performances by Judy Collins and Gretchen Peters among other notable music creators and industry insiders.[24]
Member benefits
ASCAP was the first American PRO to offer a package of exclusive benefits to its members. As of July 2013[update] these benefits include:[25]
- Discount on membership to the Songwriters Hall of Fame
- Membership in the U.S. Alliance Federal Credit Union
- Discounts on health, dental, instrument and life insurance via its MusicPro program
- Discount on ASCAP Web Tools, a set of internet-based marketing and sales tools developed by Nimbit, Inc. for ASCAP members
- Discounts on music-related retail products and services
- Hotel and rental car discounts
Playback magazine
ASCAP distributes to its members Playback, a magazine highlighting the progress and career accomplishments of ASCAP's writer and publisher members. Playback content is also available to the general public on ASCAP's website.[26]
ASCAP attracted media attention in 1996 when it threatened Girl Scouts of the USA and Boy Scouts of America camps that sang ASCAP's copyrighted works at camps with lawsuits for not paying licensing fees.[27] These threats were later retracted.[27] However, it has drawn negative attention for cracking down on licensing fees on other occasions as well, such as when it demanded that open mic events need to pay licensing (even if most or all of the songs are original).[28]
ASCAP has also been criticized for its extremely non-transparent operations, including the refusal to release attendance records for board members, the notes from board meetings, and the reasoning behind their weighting formulas which determine how much money a song or composition earns for use on television or radio.[29]
In 2009, an ASCAP rate court case regarding ringtones generated considerable public attention. Critics claimed that ASCAP may seek to hold consumers responsible for a ringtone public performance.[30] In statements to the press, ASCAP noted the following:
- It is seeking to ensure that wireless carriers pay ASCAP members a share of the substantial revenue that mobile operators derive from content (like ringtones) that uses ASCAP members' music. This content includes the delivery of full track songs, music videos, television content, ringtones and ringback tones.
- It has been licensing wireless carriers and ringtone content providers since 2001, and that it is not in any way seeking to charge consumers.
- It is striving to license those that make a business of transmitting its members' music. This holds true for any medium where businesses have been built by using this music as content or a service – whether terrestrial broadcast, satellite, cable, Internet or wireless carriers providing audio and video content.[31]
On October 14, 2009, a federal court ruled that "when a ringtone plays on a cellular telephone, even when that occurs in public, the user is exempt from copyright liability, and [the cellular carrier] is not liable either secondarily or directly." The ruling made clear that playing music in public, when done without any commercial purpose, does not infringe copyright. (US v. ASCAP, US District Court, Southern District of New York).[32]
Further controversies arose involving ASCAP in 2009 and 2010. The organization requested that some websites pay licensing fees on embedded YouTube videos, even though YouTube already pays licensing fees,[33] and demanded payment from Amazon.com and iTunes for 30-second streaming previews of music tracks,[34] which traditionally does not require a license, being considered a promotional vehicle for song sales. It also sued a Manhattan bar over the unlicensed use of music, naming Bruce Springsteen as a plaintiff without Springsteen being informed or consenting.[35]
In 2009, Mike Masnik, the founder and CEO of Floor64, accused ASCAP of keeping some royalties instead of passing them on to artists. He claimed ASCAP collects royalties from all sizes of live performance on behalf of all the artists it represents but passes on the royalties only to artists whose music is represented in one of "the top 200 grossing US tours of the year."[36]
In June 2010, ASCAP sent letters to its members soliciting donations to fight entities that support weaker copyright restrictions, such as Public Knowledge, the Electronic Frontier Foundation, and Creative Commons,[37][38] creating notable controversy as many[39] argued that these licences are a form of copyright and offer the artist an extra choice. Lawrence Lessig, a co-founder of Creative Commons, responded stating that they are not aiming to undermine copyright, and invited ASCAP for a public debate.[40] The offer was turned down by ASCAP's Paul Williams.[41]
See also
- ^ "ASCAP 2012 Annual Report" (PDF). Ascap.com. Retrieved 2014-05-09.
- ^ "About ASCAP". Ascap.com. Retrieved 2014-05-09.
- ^ "Music in the Marketplace - BBB News Center". Bbb.org. Retrieved 2014-05-09.
- ^ "Membership Offices". Ascap.com. Retrieved 2014-05-09.
- ^ "Lawrence Lessig: Laws that choke creativity | Talk Video". TED.com. Retrieved 2014-05-09.
- ^ "Litigation & Dispute Resolution - Experience". Mayer Brown. Retrieved 2014-05-09.
- ^ Elijah Wald, How The Beatles Destroyed Rock'n'Roll, p. 131
- ^ [1][dead link]
- ^ [2][dead link]
- ^ [3][dead link]
- ^ [4][dead link]
- ^ [5][dead link]
- ^ [6][dead link]
- ^ [7][dead link]
- ^ [8][dead link]
- ^ [9][dead link]
- ^ "ASCAP : We Create Music : Events and Awards". Ascap.com. Retrieved 2014-05-09.
- ^ "Young Compsoer Award Recipients 1979-2011" (PDF). Ascapfoundation.org. Retrieved 2014-05-09.
- ^ "The ASCAP Foundation". The ASCAP Foundation. Retrieved 2014-05-09.
- ^ "ASCAP Henry Mancini Award". ASACP. Retrieved January 28, 2012.
- ^ "ASCAP Plus Awards Information". Ascap.com. 2012-02-22. Retrieved 2014-05-09.
- ^ [10][dead link]
- ^ "ASCAP OnStage". ASCAP. Retrieved February 12, 2013.
- ^ "Missed This Year's Incredible ASCAP "I Create Music" EXPO? Watch it Online!". Ascap.com. 2013-04-23. Retrieved 2014-05-09.
- ^ "ASCAP Member Benefits". Ascap.com. Retrieved 2014-05-09.
- ^ "Playback Magazine". Ascap.com. Retrieved 2014-05-09.
- ^ a b "ASCAP". Law.umkc.edu. Retrieved 2014-05-09.
- ^ "How ASCAP And BMI Are Harming Up-And-Coming Singers". Techdirt. 2009-01-12. Retrieved 2014-05-09.
- ^ "ASCAP Since AFJ2 – A Series of Unfortunate Events :: Film Music Magazine". Filmmusicmag.com. Retrieved 2014-05-09.
- ^ "ASCAP Makes Outlandish Copyright Claims on Cell Phone Ringtones | Electronic Frontier Foundation". Eff.org. 2009-07-02. Retrieved 2014-05-09.
- ^ [11][dead link]
- ^ "Court Rules That Phones Ringing in Public Don't Infringe Copyright | Electronic Frontier Foundation". Eff.org. 2009-10-15. Retrieved 2014-05-09.
- ^ "ASCAP Seeks Royalties on Embedded YouTube Music Videos | Digital Media Wire | connecting people & knowledge". Dmwmedia.com. 2014-05-02. Retrieved 2014-05-09.
- ^ Sandoval, Greg (2009-09-17). "Music publishers: iTunes not paying fair share - CNET". News.cnet.com. Retrieved 2014-05-09.
- ^ "Shore Fire Media - Boutique Public Relations Firm". Shorefire.com. Retrieved 2014-05-09.
- ^ Masnick, Mike (September 10, 2009). "How Performing Rights Groups Funnel Money To Top Acts And Ignore Smaller Acts – From the Nice-Trick Dept". Blog on Techdirt. Retrieved April 2, 2012.
- ^ "ASCAP Declares War on Free Culture". Zeropaid.com. 2010-06-24. Retrieved 2014-05-09.
- ^ "Music & Copyright: ASCAP vs. The World; The World vs. ASCAP?". Nicolabattista.it. 2010-06-25. Retrieved 2014-05-09.
- ^ Masnick, Mike (June 25, 2010). "ASCAP Claiming that Creative Commons Must Be Stopped; Apparently They Don't Actually Believe in Artist Freedom – From the Protectionism-All-the-Way Dept". Blog on Techdirt. Archived from the original on August 14, 2010. Retrieved August 23, 2010.
- ^ Lessing, Lawrence (July 10, 2010). "ASCAP's Attack on Creative Commons". Op-ed essay on The Huffington Post. Archived from the original on July 16, 2010. Retrieved August 23, 2010.
- ^ Masnick, Mike (July 28, 2010). "ASCAP Boss Refuses To Debate Lessig; Claims that It's an Attempt To 'Silence' ASCAP – From the You-and-Me-Against-the-World Dept". Blog on Techdirt. Archived from the original on July 31, 2010. Retrieved August 23, 2010.
Further reading
- Blume, Jason (2006). This Business of Songwriting. Billboard Books (New York City). ISBN 978-0-8230-7759-5.
- Choquette, Frederic, "The Returned Value of PROs", Music Business Journal, Berklee College of Music, May 2011
- Passman, Donald S. (2003). All You Need to Know about the Music Business. Free Press (New York City). ISBN 978-0-7432-4637-8.
- Shemel, Sidney; Krasilovsky, M. William (1990). This Business of Music. Billboard Books (New York City). ISBN 978-0-8230-7706-9.
External links
- Official website
- ASCAP archives, 1914-1986 Music Division, The New York Public Library.


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|WCC Overview
FIDE World Championship Tournament, 2007
Mexico City
In 2006, the world championship title had become unified again after 13 long years. FIDE immediately presented a rather complicated procedure for the new world championship cycle, which involves alternating between a tournament format and a match format. At the same time FIDE announced that, as compensation for being denied entry to the 2007 tournament, Topalov would have special privileges in the World Chess Championship 2008 cycle.
Winning four games and drawing the rest, Viswanathan Anand finished with 9/14 points, thereby becoming FIDE World Chess Champion for the second time.
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subset: commoncrawl


text:
Refresh: Manual | Auto | Jump to current inning
Feel better today Cubs fans? Me neither.
I had the strangest dream last night. Lou Piniella was rolling a big doughnut and this snake wearing a vest was filling out the Cubs' lineup card.
Piniella thinks everyone obsesses way too much about who bats where. It's hard to agrue with that, but what the heck else is there to talk about, "Top Chef"? C'mon now.
Yesterday's lineup was a smashing success and played to rave reviews throughout the land with Alfonso Soriano back in the leadoff spot. At one point the man did the unthinkable and drew a four-pitch walk. The Cubs avoided the sweep and looked decent, especially Ryan Dempster, who pitched six spot-on innings in his first start in three years.
Gone are the Brewers, who from this desk chair look like the class of the division (through three games), and enter the Houston Astros, who ain't exactly setting the world on fire.
It's Rich Hill's turn today. Perhaps that big, overhand curve and his new compact windup will be effective against a struggling Astros lineup. Former White Sox left fielder/potted plant Carlos Lee is hitting .176 and the Mitchell Report's Miguel Tejada just .200.
Chris Sampson, who has a 0.60 ERA in two starts against the Cubs and baffled them for five perfect innings last season, will pitch today for the 'Stros.
It was raining this morning, but now it's not. Today's lineups are right here for you.
First inning
The Cubs take the field in the sunshine. Sorry, Q on the board, but I let you down in the second paragraph. Rich Hill takes a few more warmup tosses, Geovany Soto throws the ball down and we're ready to go. Michael Bourn digs in and the Astros are wearing those hideous red tops. Hill gets a fastball and then a curve over and gets ahead 0-2. Bourn taps one to Lee, who steps on the bag himself on a close play. Bourn was flying down the line. Hunter Pence pops out to Lee. Lance Berkman bounces out to Aramis Ramirez, who throws low but Lee helps him out. Hill has a snappy first. Onward.
ET, I may be in the minority but I love those oddball, organge-striped Astros unis from back in the day. Soriano grounds out to Tejada. Ryan Theriot grounds out to second. Lee flies out to Pence in right.
Tallyhoe! Tally-ho!
No score
Second inning
Carlos Lee leads off the second, swings at the first pitch and pops out to DeRosa. Tejada shoots a double down the right-field line. Ty Wigginton draws a walk. Mark Loretta bloops one into shallow right, where Lee makes a nice over-the-shoulder catch for the second out. Hill hits J.R. Towles on the leg and, in the process of trying to avoid the pitch, Towles does some acrobatics in the box, walking on his hands for his bit. I'm not sure what that was all about, but he should've walked all the way down to first on his hands. Hill has lost his control. The pitcher Sampson hits with the bases loaded and Hill gets out of the jam with a strike out.
Exactly, Wildkit 76, the Tally-Ho is a Rogers Park bar. It's no Candlelight. Ramirez flies out to right. Kosukue Fukudome hits the first pitch right up the middle for a single. The man continues to get on base. As Len Kasper discusses Kaz Matsui's anal fissure surgery, DeRosa hits into a 6-4-3, inning-ending double play.
Nope, nothing
Third inning
Bourn draws a walk to start the third. Pence bounces to DeRosa, whose throw to Theriot is wide and consequently Theriot's throw to first is wide. They got Bourn at second. Pence was safe at first. Berkman flies out to left. Lee crushes one deep to left but it hooks foul. Lee hits the next pitch on the ground to Ramirez for the third out.
Soto flies out to right. Pie grounds out to first and Ronald Steward's bank shot for the Zee-Bees ... ugh. Open your eyes next time. Hill strikes out and that ends the third inning. The Cubs still can't touch Chris Sampson.
Fourth inning
Hills strikes out Tejada on a 2-2 curve. Hills gets Wigginton swinging over a breakign ball, too. Loretta draws a two-out walk and that comes back to bite Hill as Towles hits a two-run homer just inside the left-field foul pole and just over the wall. Sampson grounds out to DeRosa but the Astros take a 2-0 lead.
Astros 2, Cubs 0
Soriano takes two balls and then swings and misses at a fastball. He strokes one to the left-center gap where Bourn robs him of a likely double with a diving catch. Martin's man-crush Theriot hits the first pitch hard but Bourn catches it on the run in the right-field gap. Bourn's getting a lot of work out there. Lee flies out to the center-fielder and again the Cubs can't do anything against Sampson.
Astros 2, Cubs 0
Fifth inning
Man, I just inadvertently hit some strange combination of keys and it changed the font. What the? This sucks because I can only work in Courier New. Hill strikes out Bourn looking at a curve. Pence flies out to Pie in center. Berkman shoots a single past Theriot. With Lee up, Berkman takes off for second, Lee singles to left but Berkman can 't take third because a.) he's a little husky and b.) he slid head first into second and had no idea what was happening. Speaking of the husky section, here's Miggy. He lines one to the right side but Lee gloves it to end the threat.
Ramirez pops out to first on the first pitch as Jon Lieber gets up in the Cubs' pen. Fukudome bounces one to Berkman for the second out. DeRosa, who GIDPed (GedIDP?) last time up, singles to left for the Cubs' second hit of the game. Wow. Soto lifts one to center. Bourn shades his eyes with his glove and makes the catch just in front of the track.
Astros 2, Cubs 0
Sixth inning
Can someone find Rickie Weeks to run into someone again? The Cubs need another wake-up shot. Hill remains. Wigginton grounds out to third to break the seal on the sixth. Loretta flies out deep to left. The curly-headed catcher Towles flies out to Fukudome and with the hook on the horizon, Hill goes 1-2-3 in the sixth, albeit against the bottom of the Astros' order.
Pie tries to bunt himself on but bunts foul. Hill's done as new guy Reed Johnson stands in the on-deck cirlce. Pie flies out to right. Johnson takes a couple of pitches, one of each type, and then nearly knocks it out, banging a pinch-hit double off the top of the wall in left. Soriano grounds weakly to first on the first pitch. Ugh, however, it does move Johnson to third. Called strike, swinging strike, foul ball, ground out to third goes Theriot. Berkman makes a great play toeing the bag on the high throw. So much for the double.
Astros 2, Cubs 0
Seventh inning
Jon Lieber makes his 2008 Cubs debut and faces the pitcher Sampson to start the seventh. Sampson taps it back to Lieber, who bobbles it a bit but it doesn't really matter and gets the out. Lieber strikes out Bourn. Hunter Pence, a name more suited for polo than baseball, is out on a swinging bunt. Here's Bill Madlock to sing TMOTTBG and hopefully pinch hit in the bottom half of the inning.
Lee, Ramirez and Fukudome in the seventh for the Cubs. Lee grounds out to short. Ramirez hits one back of third that Wigginton fields but eats. Infield single. Fukudome singles past a diving Loretta. Ramirez stops at second and Madlock laughs at Loretta's lack of range. DeRosa grounds out to third, advancing both runners. Soto hits with runners on second and third and two outs. Soto rips the first pitch into left, scoring both runners to tie the game. Astros manager and former Brewers great Cecil Cooper walks out to yank Sampson for the lefty ... I didn't see before they went to commercial. Make that Wesley Wright. Pie breaks his bat grounding out to second but the Cubs do the unthinkable the way this one was going and tie it up.
Cubs 2, Astros 2
Eighth inning
Berkman hits a grounder to the right side on the first pitch and DeRosa boots it, has time to recover but then boots it again and a third time for good measure. Lee flies out to Pie. Tejada bounces one down the third-base line past Ramirez. Ramirez thinks it's foul, the ump thinks otherwise. Oh, boy, it hits the side wall, bounces by Soriano and all the way to the left-field wall. Berkman scores easily and Tejada ends up at third. Wigginton flies out to center, scoring Tejada. Sure, they give Tejada a triple on that. Whatever. I guess because Soriano never touched it, but that was a brutal play out there, really bad, and has to be ruled an error. Loretta grounds out to third to end it.
Astros 4, Cubs 2
Ronny Cedeno will hit for Lieber. Wright was out there warming up, but they announced Cedeno and Cooper will go with the righty and we go back to commercials. Doug Brocail is the new pitcher. Cedeno sits down, which is fine, and the lefty Daryle Ward will hit. Ward grounds out to first. Soriano files out to Pence and that's 0-for-4 for him plus the misplay in the field. Theriot fights one off and singles the other way down the right-field line. With Theriot on the move, Lee singles up the middle and Theriot takes third. Ramirez fouls off a few pitches and the count goes to 2-2. Brocail misses ont he outside corner and we're full. Ramirez strikes out swinging and the Cubs gets nothing. We get to move to the ninth.
Astros 4, Cubs 2
I don't understand that McDonald's commerical "Here's to waking up Thursday and thinking it's Friday." Is this guy actually excited about this that he's toasting it with an Egg McMuffin or drowing his sorrows in one? I assume it's the latter, in which case he should have something a little stronger. Major changes here: Michael Wuertz to pitch and bat fourth, DeRosa to third, Soriano moves to second, Ward stays in to play left and Ramirez takes a seat. Towles grounds to Soriano who takes his sweet time and lets the ball come to him and barely gets the catcher at first. And if things weren't all wacky enough, here's former White Sox Darin Erstad to hit. Erstad flies out to center on a 3-1 pitch. Bourn grounds out to Soriano, proving the rule of baseball that the ball will find you. Soriano handled the two chances, which is expected considering he used to play second. Anyway, Fukudome, DeRosa and Soto coming up in the ninth for the Cubs.
Closer Jose Valverde, who had 47 saves for the D'backs last season, comes on for the Astros. Fukudome pops out to short. DeRosa rips a line-drive homer to the first row of the left-field bleachers. Soto gets ahead 3-0. Soto takes a strike then lines out right at Lee in left. Well hit but right at the guy. Unfortunately for the Cubs and their fans it's up to Pie, who pops out near the Cubs' dugout.
Final: Astros 4, Cubs 3
Tough loss, everyone, especially with the Cubs booting the ball all over the joint in the eighth. They continue to invent new ways to lose. Thanks for joining us, everyone. On the upside, it is Friday. We'll see you Monday.


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Adding Up with Excel 2007's SUM and SUMIF Functions
In Excel 2007, you use the very familiar SUM function to total values in your worksheets. Use the SUMIF function when you want to total only the numbers in a range that meet a criteria you specify. These functions are located with the Math & Trig functions on the Ribbon's Formulas tab and in the Select a Category list in the Insert Function dialog box.
No function in the entire galaxy of Excel functions comes anywhere close to the popularity of the SUM function. So popular is this function, in fact, that Excel has its own AutoSum command button located on the Home tab of the Ribbon (the one with the on it) that you most often use to build your SUM formulas. You should, however, be aware of the workings of the basic SUM function that the AutoSum button enables you to use so easily.
For the record, the syntax of the SUM function is as follows:
When using the SUM function, only the number1 argument is required; this is the range of numbers in a cell range or array constant that you want added together. Be aware that you can enter up to a total of 29 other optional number arguments in a single SUM formula, all of which are separated by a comma (,). For example, you can build a SUM formula that totals numbers in several different ranges, as in this formula:
In this example, Excel sums the values in the cell range B3:B10 on Sheet1, Sheet2, and Sheet3 of the workbook, giving you the grand total of all these values.
What about those times when you only want the total of certain items within a cell range? For those situations, you can use the SUMIF function. The SUMIF function enables you to tell Excel to add together the numbers in a particular range only when those numbers meet the criteria that you specify. The syntax of the SUMIF function is as follows:
In the SUMIF function, the range argument specifies the range of cells that you want Excel to evaluate when doing the summing; the criteria argument specifies the criteria to be used in evaluating whether to include certain values in the range in the summing; and finally, the optional sum_range argument is the range of all the cells to be summed together. If you omit the sum_range argument, Excel sums only the cells specified in the range argument (and, of course, only if they meet the criteria specified in the criteria argument).
The figure illustrates how you can use the SUMIF function to total sales by the items sold. This figure shows a Sales list sorted by the store location (there are three locations: Mission Street, Anderson Rd., and Curtis Way) and then the item sold. To total the sales of lemon tarts at all three locations, you could palce the following SUMIF formula in cell I3:
=SUMIF(item_sold,"=Lemon tarts",daily_sales)
In this example, item_sold is the range name given to the cell range C3:C62, which contains the list of each item that has been sold in the first five days of January 2008 (Lemon tarts, Blueberry muffins, Lots of chips cookies, or Strawberry pie), and daily_sales is the range name assigned to the cell range G3:G62, which contains the extended sales made at each store for each item.
The SUMIF formula in cell I3 looks for each occurrence of "Lemon tarts" in the item_sold range (the criteria argument for the SUMIF function) in the Item column of the Cookie Sales list and then adds its extended sales price from the daily_sales range in the Daily Sales column to the total.
The formulas in cells I4, I5, and I6 contain SUMIF functions very similar to the one in cell I3, except that they substitute the name of the dessert goodie in question in place of the "=Lemon tarts" criteria argument. The formula in cell I8, however, is slightly different: This formula sums the sales for all items except for Strawberry pies. It does this with the SUMIF function in the following formula:
=SUMIF(item_sold,"<>Strawberry pie",daily_sales)
Because the item Strawberry pie is preceded with the not (<>) operator (which can be placed before or after the open double quotation mark), Excel sums the daily sale for every item except for Strawberry pie.


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Saturday. 7.7.2012, 23:00 – open end
PICKNICK, Dorotheenstr. 90, Berlin–Mitte
This post is about, or let's say "On the Subject of...": Anne Bitterwolf and Susanne Treumann, two fashion lovers who (...)
DERZEIT is in a French conversation. Or let's call it a "Modalogue", with Christian Poulot. He's the face and brain (...)
To share Fashion Week Berlin's ideas and images, for July 2012 DERZEIT has collaborated with four international fashion blogs. Among (...)
Petra Metzger believes in strength – and that strength is reflected in her fashion. "A woman who has something to (...)
While the designer was delighting in all the guests who had come to "ooh" and "aah" at his collection, I (...)
July, 2012
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WASHINGTON, April 26 (UPI) -- The U.S. House easily passed a bill Friday aimed at ending sequester-related flight delays by restoring funding for air traffic controllers.
The Senate approved the same bill Thursday evening by unanimous consent. The vote in the House for the Reducing Flight Delays Act was 361-41 with most Democrats joining Republicans to support the bill, The Hill reported.
President Obama had previously rejected measures to alleviate problems caused by the sequester. But the administration suggested Wednesday it would support a restructuring of cuts to the Federal Aviation Administration.
"I think we all agree the FAA and the administration has handled the sequester poorly," Rep. Tom Latham, R-Iowa, said. "The FAA has negotiated in bad faith with the FAA employees, the airlines, the flying public and the Congress, and the administration has played shameful politics with sequestration at the cost of hard-working American families. We are taking this action to end the administration's political games that threaten our passengers rights and their safety."
Advocates said the bill should halt furloughs and keep the air-traffic control system operating at a normal pace through Sept. 30, the end of the current fiscal year
Both houses are in a one-week recess next week. Most lawmakers planned to fly out of Washington to their home states Friday, one of the week's busiest travel days.
The furloughed controllers could return to work as early as Saturday, officials said.
The furloughs, which started Sunday, require a day off without pay for every 10 workdays, or a total of 11 days off, through the end of the fiscal year ending Sept. 30.
The result was about 10 percent of the 15,000 air-traffic controllers were off every day.
The furloughs were prompted by $85 billion in across-the-board federal spending cuts, known as the sequester, that were required under a 2011 deal to raise the federal borrowing limit.
Many Republicans said the Transportation Department had the flexibility to avoid the furloughs all along. But the department and White House said the agency couldn't avoid them because of the way the mandated budget cuts were written into the Budget Control Act of 2011.
The FAA had predicted the furloughs, intended to save $200 million in this fiscal year, could result in as many as 6,700 flight delays each business day.
As of Thursday, the number of flights arriving or departing behind schedule was an average 2,800, The Washington Post said. Many of those delays were attributed to weather problems at hub airports.


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Sometimes you come across a great and simple recipe that appeals to you instantly. These roasted cabbage "steaks" caught my attention at a food bloggers' Facebook chat few days ago, and I made the dish just hours after reading about it. I had made roasted cabbage slices with lemon from Kalyn's Kitchen before, several times, actually, so I knew I'd love roasted cabbage. This was very similar recipe, though the cabbage was cut into thick slices instead of wedges, and garlic was used to season the cabbage instead of lemon juice.
Cheap as chips, suits pretty much all known diets (Paleo, LCHF, vegetarian/vegan, gluten-free), overall a great way to serve that humble cabbage to your family and friends.
Oven-roasted cabbage steaks
Serves 4 to 6
Adapted from Everyday Maven, originally Martha Stewart's recipe. Martha suggests you sprinkle a tablespoon of caraway or fennel seeds on top and I can see how that would work really well. Next time!
1 head of green cabbage, preferably organic
olive oil
a few garlic cloves, finely chopped
sea salt and freshly ground black pepper
Preheat oven to 200 C/400 F.
Brush a baking sheet lightly with oil.
Remove the outer leaves of the cabbage, then cut the cabbage from top to bottom (e.g. the root end) into 1-1,5 cm thick slices ("steaks"). Place onto the baking sheet.
Scatter about half of the garlic on top, season generously with salt and pepper, then drizzle with olive oil.
Bake in the middle of the oven for about 25-30 minutes, until the "cabbage steaks" are golden brown on edges.
Carefully flip the cabbage slices over, scatter the rest of the garlic on top, season and drizzle with oil. Return the oven and bake for another 20-30 minutes, until cabbage is cooked and golden brown around the edges.
Serve hot.
Got leftovers? Chop the cabbage and use in those dishes:
Finnish mince and cabbage gratin
Estonian cabbage and mince stew


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Zorb Football
Organising a stag do can be a very stressful business, and if you get it wrong you're going to look like a right chump. All our customers get their own personal stag do manager, who will be able to give you advice on what will work best for your group, is on hand to answer any questions you may have, and make sure the stag do is a complete success.
When you submit an enquiry, we create your own personal stag do area. You can view and edit your event, invite guests, see who paid what and when, get maps, directions and a whole host of other things to make your life simple!
Picturesque yet party-hard, one of England's most iconic cities has fast become the port of call for a good old fashioned knees-up.


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Drilled Shafts, Augercase Piles, Earth Retention Systems and Large Diameter Access Shafts
Phone number:
Anderson Drilling, a leader in the drilled shaft industry, specializes in the construction of deep foundation elements and earth retention systems. Our deep foundation elements consist of drilled shafts, augercast piles, drilled displacement piles, and micropiles, providing a variety of construction solutions for bridge and building foundation support, transmission line and substation foundation support, underpinning, soil stabilization, and contaminated soil removal. Additionally, our expertise in design-build cantilevered shoring, tiebacks, soil nails, tangent pile walls, secant pile walls, and large diameter access shafts has provided high quality, cost-effective solutions to a myriad of earth retention challenges.
Anderson Drilling's commitment to excellence will ensure your project receives the highest quality of service performed in a safe work environment. Our vision "To be #1 in the eyes of our employees and our customers" continues to drive us towards that goal. Anderson Drilling wants to be your choice for your next deep foundation and/or earth retention project.
5775 Eudora Street
Commerce City,
2017 Anderson Drilling Inc. Reserved.


text:
"RECENT FLOODING?" When
is the last time you had your drains scoped?
Call us today to inspect your perimeter drains, by way of Digital CCTV camera, to ensure your drain tile is flowing properly. We can flush your older drain tile using a Hydro Jetting Machine and provide your older drain tile with a periodic cleaning and maintenance schedule to help extend the life of your system.
Read more...
Saanich Drain Services specializes in Perimeter
Drain Repairs, Installations, Trenchless
Sewer & Water line Pipe & replacements at
an affordable price. Our well trained staff
and specialized equipment can install any
drainage system needed. We also offer Electronic
Pipe Line Locating, Hydro-Flushing
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impact on your property.
We staff only trained, industry licensed
or certified technicians, and installation
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of Saanich Drain Services is an employee. We
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we stay working until the job is finished
and you are satisfied. We appreciate your
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At Saanich Drain Services, we look forward to
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Serving the Greater Victoria Area. We are
a member of the Better Business Bureau. We
also offer seniors discounts. For all your
plumbing needs - visit our partner site Wade
Roberts Plumbing - GotPipes.ca


text:
Pomona Tequila Tasting 2005
Pomona Tequila Tasting Video of some of the happenings at the Pomona Tequila Tasting in Pomona, CA. For information on future tequila tastings in the Pomona, California, area, contact the Agave Girls. The Agave Girls are Latinas passionate about agave spirits! From highland Tequilas, to heirloom Mezcals, to emerging Bacanoras and beyond, they love exploring … Read morePomona Tequila Tasting 2005


text:
If you're booking a promotional offer or a Corporate negotiated rate you'll need a special booking code. Don't use any special characters such as (.) (,) (-) (:). If you would like to make a booking with code VOF, please call us +46 8 517 517 20.
Save your booking code for the next time you visit the page by ticking the box "Remember". Don't tick the box if you're using a public computer to avoid unauthorized access to your booking code.
Only valid for prepaid Bonus Cheques. Supplements are applicable at certain hotels and must be paid at the hotel.
As a Scandic Friends member you need to be logged in to book a reward night (membership number and password). The points can be used to book reward nights at all Scandic hotels.
With us you don't need to worry about parking. Our hotel has a garage which can be accessed at the address Verkatehtaankatu 13.
If our own garage is full, you can try the Finnpark P-Hämppi garage near the hotel. The parking fee is EUR 24/day for hotel guests when paid at the hotel.
Don't skip training! Sure, the beds are comfortable, but make sure to work out for even better sleep. Visit the gym or if you prefer birdsong borrow walking poles or a bicycle from reception.
We have made sure there is always something fun to do for the kids. Here they can draw, read and do crafts. During summer and selected periods we also offer a play area with toys and crafts.
Find the information you might need, before visiting us. You are always welcome to our hotel - completely without barriers. Regardless of impairment, sight, hearing, allergies or wheelchair, we have made sure that you enjoy your stay.


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Dissertation in History: South Asia
- Module Code:
- Credits:
- 60
- Taught in:
- Full Year
The dissertation provides an opportunity for further regional specialization and for primary research on a topic of direct interest to the student. It is normally expected that students make use of primary sources. The proximity to the School of many archive depositories and records offices, including its own archival collection as well as the British Library, and also the increasing availability of digital archives greatly enhances the potential for this type of dissertation work.
Objectives and learning outcomes of the module
- research, writing, and organizational skills in the field of African history through an independent study project and the completion of a long written assignment based on primary sources
- in-depth knowledge and understanding of approaches, methods and theories in the Historical Sciences and the region and topic of specialisation
- the ability to undertake further postgraduate study
The student will have a minimum of three meetings with the dissertation supervisor.


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I was able to do the appearance in Washington DC, while attending the NDSA/NDIIPP 2011 Partner Meetup. The morning of July 21, I took a taxi to an ABC studio in DC, did the interview (about 4 minutes) and took a taxi back to the conference in time to make the morning session. I had not been on TV before and was both nervous and excited. The local and Canadian crew made the entire experience painless and the whole interview was over right as I started to get comfortable.
Given the short time, I tried to stress two topics: the first is that the ODU/LANL Memento project is not a new archive, but rather a way to leverage all existing web archives at once (this is a common misunderstanding we've experienced in the past). The other point I tried to make was that much of our cultural discourse occurs on the web and we should try to preserve as much of that as possible (including things like lolcats) because we (collectively) do a bad job at predicting what will be important in the future. Shortly after airing, the video segments was available on-line at:
As the URI suggests, this is the homepage for Canada AM (http://www.ctv.ca/canadaam/), but with an argument ("?video=504307") specifying which video segment (i.e., each individual story -- not the entire morning's show) to display. I shared the video URI with colleagues, friends, and family and was enjoying my 4 minutes of fame (I should still have 11 left in the bank). I had not made a local copy of the video because their web site obfuscated the actual URI of the streaming video, I had to finish the rest of the conference and drive back to Norfolk, and I thought I would have the time to figure it out after I returned.
So imagine my surprise on Friday at about lunch time when I reload the URI and do not see the video, but instead a newly redesigned Canada AM web page! The video of me making the point that we should save web resources lasted approximately 24 hours. I don't mean to seem ungrateful for the opportunity Canada AM afforded me, but as a professor I try to see everything as a teaching opportunity, so here it goes...
Sometime on Friday morning (July 22), the entire web site was redesigned and the old URIs no longer worked (cf. "Cool URIs Don't Change"). The video id was an argument and is now silently ignored, so even worse than a 404 you now get a "soft 404":
% curl -I http://www.ctv.ca/canadaam/\?video=504307
Server: Apache/2.2.14 (Ubuntu)
Content-Type: text/html
X-Varnish: 2550613724
Date: Thu, 28 Jul 2011 16:55:48 GMT
Connection: keep-alive
The soft 404 means people clicking on the original video link in Facebook, Twitter, email, etc. won't even see an error page -- they see the new site, but without the video or indication that the video is missing. The new site has a link titled "watch full shows", with the URI:
Which is textually described as the "Canada AM Video Archive", but the archive begins on July 22, 2011 -- one day after my appearance! The new segments are available at URIs of the form:
The older videos are not available, not even as an argument to the new URI, which also returns a soft 404 (i.e., the video is not available despite the 200 response):
% curl -I http://www.ctv.ca/canadaAMPlayer/index.html\?video=504307
Server: Apache/2.2.14 (Ubuntu)
Content-Type: text/html
X-Varnish: 2550976182
Date: Thu, 28 Jul 2011 17:35:35 GMT
Connection: keep-alive
The video ids seem to be continuous (i.e., they did not appear to start over with "1"), so URL rewriting could easily make all the old video URIs continue to work, unless whatever CMS that hosted those videos has been retired with no migration path forward.
Here are some screen shots of the newly redesigned home page (left) and the video archive page (right) from July 22:
Of course, I did not think to make a screen shot of the original home page, or the page of my video because I thought it would live longer than 24 hours! I was able to find a recent (December 8, 2010) copy in the Internet Archive's Wayback Machine:
And I also pushed the two pages above to WebCite, which nicely contrasts two styles of giving URIs for archived pages (URI-M in Memento parlance):
The IA's URIs violate the W3C "good practice" of URI opacity, but they sure are handy for humans. WebCite actually offers both styles of URIs, for example the latter of the two URIs above is equivalent to:
But the resulting URI encoding, while technically correct, is not conducive to easy memorizing and exploration by humans. Different styles of using a URI as an argument to another URI will be explored in a future blog post.
Fortunately I was given a DVD of the session, from which I was able to rip a copy and upload it to YouTube, provided below with the dual interests of vanity and pedagogy. I'm not sure about its status with respect to copyright, so it might disappear in the future as well. It should be covered under fair use, but I would not count on it. However, that is also a topic for another blog post...
2012-05-30 Update: Apparently Canada AM did create a new page about the video, including a nice, anonymously authored summary of the material with direct quotes from me:
It appears to be authored on July 24, 2011, not just via the byline but through the HTTP response headers as well. For example, look at the "Last-Modified" header for this image that appears in the page:
Server: Apache/2.2.0 (Unix) DAV/2
Last-Modified: Sun, 24 Jul 2011 10:52:59 GMT
ETag: "a9e08e-51a4-807938c0"
Accept-Ranges: bytes
Content-Length: 20900
Content-Type: image/jpeg
Date: Wed, 30 May 2012 14:02:21 GMT
Connection: keep-alive
I originally wrote the above article on July 28, 2011 and I was unable to find any trace of my appearance on their site. Perhaps I just missed it, or perhaps it was written but not yet linked. This nicely illustrates the premise behind Martin Klein's PhD research: things rarely disappear completely, they just move to a new location; the trick is finding them.
2017-07-24 Update: Apparently Canada AM was cancelled in 2016 (just over a year ago). Unfortunately, ctv.ca has removed the Canada AM material from the live web, and is using robots.txt to block access in the Internet Archive.
$ curl -I http://www.ctv.ca/CTVNews/SciTech/20110722/internet-website-archive-memento-project-110724/
HTTP/1.1 500 Internal Server Error
Content-Length: 38660
Content-Type: text/html
Cache-Control: max-age=300
Expires: Mon, 24 Jul 2017 20:06:34 GMT
Date: Mon, 24 Jul 2017 20:01:34 GMT
Connection: keep-alive
$ curl -i http://www.ctv.ca/robots.txt
Content-Type: text/plain; charset=utf-8
X-Frame-Options: SAMEORIGIN
Access-Control-Allow-Origin: *
Access-Control-Allow-Methods: GET
Access-Control-Allow-Headers: Content-Type
X-UA-Compatible: IE=edge
Content-Length: 286
Cache-Control: private, no-store, must-revalidate
Expires: Mon, 24 Jul 2017 20:03:51 GMT
Date: Mon, 24 Jul 2017 20:03:51 GMT
Connection: keep-alive
Disallow: /api/
Disallow: /admin/
Disallow: /servlet/*
Unfortunately, there are no other mementos in other archives, as shown by this 404 TimeMap from Memgator:
$ curl -i http://memgator.cs.odu.edu/timemap/link/http://www.ctv.ca/CTVNews/SciTech/20110722/internet-website-archive-memento-project-110724/
HTTP/1.1 404 Not Found
Server: nginx/1.11.3
Date: Mon, 24 Jul 2017 20:06:30 GMT
Content-Type: text/plain; charset=utf-8
Content-Length: 19
Connection: keep-alive
Access-Control-Allow-Origin: *
Access-Control-Expose-Headers: Link, Location, X-Memento-Count, X-Generator
X-Content-Type-Options: nosniff
X-Generator: MemGator:1.0-rc7
X-Memento-Count: 0
404 page not found
Attempts to access images.ctv.ca produce 504 responses:
$ curl -i http://images.ctv.ca/archives/CTVNews/img2/20110721/470_professor_nelson_110721_225128.jpg
HTTP/1.1 504 Gateway Time-out
Server: AkamaiGHost
Mime-Version: 1.0
Content-Type: text/html
Content-Length: 174
Expires: Mon, 24 Jul 2017 20:08:14 GMT
Date: Mon, 24 Jul 2017 20:08:14 GMT
Connection: keep-alive
An error occurred while processing your request.

Reference #97.d040f17.1500926894.d6475a1
$ curl -i http://images.ctv.ca/robots.txt
HTTP/1.1 504 Gateway Time-out
Server: AkamaiGHost
Mime-Version: 1.0
Content-Type: text/html
Content-Length: 174
Expires: Mon, 24 Jul 2017 20:08:59 GMT
Date: Mon, 24 Jul 2017 20:08:59 GMT
Connection: keep-alive
An error occurred while processing your request.

Reference #97.d040f17.1500926939.d652474
If not for the youtube video, I would be hard pressed to prove that I'm big in Canada.


text:
Nutrition Facts
Percent Daily Values (DV) are based on a 2,000 calorie diet.
Servings and Times
Cups of Fruits and Vegetables Per Person: 0.5
Ingredients and Preparation
- Combine all ingredients in a large nonstick skillet.
- Cook on medium-high heat just until cranberries begin to soften, stirring occasionally.
- Remove from heat. Cool slightly.
- Spoon into bowls and top with low-fat whipped topping, fat-free sour cream or low-fat frozen yogurt, if desired.


text:
Last week I wrote a post about my 6 year old diva daughter. Well, this week, the "divaness" has transferred over to my 12 year old son. I am sure a lot of what is going on with him is typical, pre-teen boy behavior and the laziness that come along with all of that. That does not make living with him any more pleasant. Maybe some of it is my fault. I try to do what I can to make things easier for him, right up until he starts to take advantage of the situation. I have really been doing a lot for him lately b/c of his broken hand. (He goes to the dr next Wednesday, let's hope that the cast can come off and he can be re-instated to his position as my
servant..ahem…I mean to do his chores.) So, in my helping him out over the past few weeks with chores, homework, getting his snacks & food that he is normally able to get, he has become increasingly comfortable with ordering me around and depending on me for everything. He is becoming more lazy, if that is even possible.
He wants us to write his math problems out for him, which in and of itself is not that big of a deal, (his teacher is only requiring him to do about a fourth of the problems) until he wants you to do all the problem solving for him! Then he gets mad and says that we are being mean and won't help him with his homework even though he has a broken hand. He is playing us like cheap fiddles! I keep reminding him that his brain isn't broken, just his right hand. I have also pointed out to him that he has a perfectly good left hand that he has repeatedly bragged about being able to use better than his right! Sigh. Calgon, take me away!
Wednesday morning it was raining outside and it was kind of chilly out too. I was in the middle of making breakfast for Hannah and packing her lunch. Jon is walking out the door and walks right back in and tells me (not asks) that I have to drive him to school. I asked him why. He said because it was raining. I told him that I couldn't leave, I was busy making breakfast/lunch and waiting for Emma to be dropped off. Plus, I couldn't leave his sister alone and she was no where near ready to even attempt to go anywhere. He said, again, that I had to take him. He went on to say that he couldn't get his cast wet. Okay, put your sweatshirt on, pull up your hood, and put your hand in the front pocket (you know the ones like kangaroo pockets). He says he can't. WHAT? I told him that they make these things called "Umbrellas" for people to use to keep the rain off of themselves when it is wet outside. I told him to go get his umbrella or get mine out of my car. He refused. Then he proceeded to tell me that it is going to be all my fault when his cast gets ruined from the rain. Sigh. By this time I am counting to 10 (make that 1000). He finally decided to put on his sweatshirt (YAY…his brain does work!) and pull it over his cast and put his hand in the front pocket.
When he came home later on that day his cast was just fine. Guess good ole Mom will get off without being blamed for ruining anything for Jon on that day. 🙂
Filed under: Family, Gluten-Free | Tagged: rain, umbrellas | 3 Comments »


text:
Jackson Local teachers have a new three-year contract which provides annual pay raises.
Teachers in the Jackson Local School District will receive annual pay raises during each year of a new three-year contract.
The school system's Board of Education approved the new contract Friday. It expires June 30, 2016 and is retroactive to July 1.
The pay raise schedule is 1 percent in the first year, 1.5 percent in the second and 2 percent for the final year.
"It is your ability to pay at the time you negotiate," Superintendent Chris DiLoreto explained. "What we try to do is balance a competitive contract within the Stark County marketplace with being fiscally responsible."
Annual base salary for a beginning teacher with a bachelor's degree will be $34,668. Along with scheduled pay raises, teachers will receive lump-sum payments of 1 percent of their base salary in the first year of the contract and 0.5 percent during the second year.
"That does not go on to their base salary going forward," DiLoreto said. "There is no lump-sum payment in the third year."
And, "all employees will pay 12 percent of the health-care premium during the course of the contract," DiLoreto said. "Previously, it wasn't tied to a percentage. They were paying one month of their premium. It is an increase (new contract) without a question."
Attempts to contact Susan Ray, president of the teachers' union, were not successful.
Negotiations began in April. One element that prolonged negotiations, according to DiLoreto, was the inclusion of provisions concerning new state mandates for teacher evaluations.
"We had to work through the teacher evaluation process," DiLoreto said. "That is part of all negotiations."


text:
Looking for something or someone? Post your query. (Post queries for music or lyrics in their respective forums above).
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


text:
About A
The About series is HAY's most versatile furniture series. It began with a chair and blossomed into a series with virtually unlimited potential. With the About series, Hee Welling has proven that a single strong idea can hold a wealth of development options. Today, the series includes dining and conference chairs, office chairs, bar stools, lounge chairs, tables, a foot stool and, as the latest addition, a sofa, and it is equally perfect for private and public settings. The About series is a true pragmatist, able to blend in or stand out, depending on the task it is assigned. Dramatize the silhouette with heavier upholstery, or opt for more subtle materials and colours. The many colour, upholstery and frame options are a particularly strong feature that allows you to tweak the design without compromising the basic concept.
About a Chair has an open frame construction in bent steel that brings added lightness to the intuitive design. The shell is round and upright at the same time and combines a high degree of seating comfort with an inviting expression. The open frame is available in stainless steel as well as a black or white powder-coating, which lets you design contrast-rich colour combinations of frame and seat. The many possible combinations of frame, shell and colours make About a Chair an ultra-flexible and versatile chair that celebrates individuality.
Available with seat pad
About A / Designer
Hee Welling is a Danish furniture designer who founded his own studio in Copenhagen in 2003. Welling has received a number of design awards, including the Bo Bedre Award (Denmark), Good Design Award (USA) and has been nominated as the Danish designer of the year in both 2013 and 2014. Welling is the son of a cabinetmaker, and his fascination with production techniques, materials and machinery was fired as a child. He went on to study at The University of Art and Design in Helsinki, and received his master's degree in furniture design from The Royal Danish Academy of Fine Arts (where he is also now a design tutor). His design ethos is centred around the idea of creating technically accomplished products that can reach a wide audience. His work is characterised by a great sense of proportion and quietly elegant looks. For HAY, Welling has designed the About A series and the Hee Chair, Lounge Chair and Bar Stool.
About A / INSPIRATION


text:
Q&A With Softball's Jenny Maze
Related Links
In the 30-year history of UC
Q—How did it feel to break the UCSD career home run record as a junior?
MAZE—Amazing. I wasn't actively focusing on the record, but I knew if I just stayed focused on hitting the ball hard that it would come eventually.
Q—At about the midway point of the 2007 season, you've already hit more home runs than you had in either of your first two years. What's behind the power surge?
MAZE—I think my approach as a hitter has become more advanced, especially since last year. I'm trying now more than ever to focus on hitting line drives and ground balls. Lately, that's been translating into more home runs.
Q—Two of your home runs have been walk-off game-winners. Are you consciously looking to hit a home run in those situations?
MAZE—Definitely not. Anytime you go up to bat thinking like that, chances are its not going to happen. I just like being up in those situations, and I'm happy that I've been able to come through when my team needs me.
Q—The team is currently 14-8 in CCAA play and third in the conference standings. Going forward, what are the keys to making the four-team CCAA Championship tournament?
MAZE—We just need to continue doing the things that make us successful. Defensively, our No. 1 pitcher Melissa (Ward) is a huge key to our success. We need to keep up solid defense behind her with as few errors as possible. Offensively, we just need to continue to string hits together, come up clutch and focus on being tough outs.
Q—Who were some of the players you looked up to when you first came to UCSD? Do you try to play a leadership role now on what is something of a young team?
MAZE—When I first came to UCSD as a player I really looked up to the seniors on the team. They showed me such a great respect and love for the game which was something that I didn't have previously. I realized that the game was much bigger than me. As far as a leadership role, I am conscious of the fact that I am probably looked up to by the younger players. I try my best to be a positive role model and instill in the younger players the same love and respect of the game that was instilled in me when I was a freshman.
Q—Speaking of young players, a number of freshmen and sophomores get significant playing time—which of the younger players do you expect to be the biggest contributors down the stretch in 2007?
MAZE—I think that each individual regardless of playing time has the ability to contribute tremendously to our success. But the younger players have definitely stepped it up a lot and are already major factors on our team.
Q—What is the most difficult thing about playing third base?
MAZE—You tend to get very hard hit balls and have a short amount of time to react and play them which can be challenging at times. I don't look at that as being difficult though. I enjoy the challenge.
Q—Have you ever been nicked by a line drive or bad hop?
MAZE—Daily! But battle scars come with playing the game.
Q—What type of process do you use in studying an opposing pitcher before you face her?
MAZE—I get information from the batters who hit before me about what she's throwing. If I've faced her before I look at charts from previous at bats. Other than that, I just go up confident and try to hit the ball hard.
Q—Which player(s) on your team get the most out of their ability?
MAZE—To me, Dani Lukk and Randi Bundy really epitomize this characteristic. They really maximize their talents, and their work ethics are absolutely phenomenal.
Q-Softball seems to be a sport where players go through a lot of little routines. What are some of the routines practiced by the UCSD Softball team?
MAZE—There are too many to list all of them. The team as a whole has little things from walking up to the field in a certain order, putting out gear in the exact same spot every game, and having the exact same warm up every game. Individually I'm sure each player could list off many habits and superstitions as well.
Q—Besides playing softball, what do you like about UCSD?
MAZE—All the great friends I have made.
Q—Do you have any long range plans after you graduate?
MAZE—I don't really know what kind of profession I would like to go into but I know that one long range goal I do have is to get married and having a family. I can't wait!
Q—The team has never made the NCAA Division II Playoffs, will this year be the first time?
MAZE—That's the goal!
Previous Q&A Articles
Previous Q&A Articles
Zach Johnson (Men's Crew Head Coach) March 18, 2007
Michelle Osier (Women's Basketball) March 7, 2007
Brooks Dierdorff (Men's Volleyball) March 1, 2007
Scott Clement (Baseball) February 15, 2007
Chelsea Ambort (Women's Fencing) January 29, 2007
Meaghan Noud (Women's Basketball) January 15, 2006
Susan Bell (Women's Swimming) January 6, 2007
Tim Fuller (Men's Swimming) December 20, 2006
Alexis Mezzetta (Women's Basketball) December 10, 2006
Clint Allard (Men's Basketball) November 30, 2006
Kristin Halvorsen (Women's Volleyball) November 18, 2006
Adnan Jerkovic (Men's Water Polo (November 1, 2006)
Caitlin Ryan (Women's Soccer) October 24, 2006
Amber Ries (Women's Volleyball) Sep. 24, 2006
Chase Douglas (Men's Soccer) Sep. 13, 2006
Diane Dunn (Women's Cross Country) Sep. 5, 2006
Jesse Casellini (Men's Water Polo) Sep. 1, 2006
Nicole Courtney (Women's Volleyball) Aug. 18, 2006
Chelsey Campbell (Women's Soccer) Aug. 9, 2006
Dan Holligan (Men's Cross Country) Aug. 2, 2006)


text: Drawing precedes painting in my work. Since 1998 I have been using compasses to choreograph a network of circular forms, originally based on a sine wave or 's' curve. These play with my interest in centrifugal/centripetal forces, in edges that set up tension as well as flow. Symmetry and other sets at times reference echo, reflection, and establish pattern. As forms expand and contract, interconnect and vie for dominance, the drawing serves as an extension of my breath, setting up a kind of dance that pulsates across the surface. Circles remain or morph into other shapes until an overall web of 'bubble slices' exists. These forms serve as vessels for color. Color decisions begin intuitively, and build, based on desires for either harmonic or dissonant relations. I balance using what I know and what I don't about color, allowing it to declare itself, yet keeping surprise in the equation.The painted surface is precise and uninflected, allowing spatial interaction to be revealed simply and clearly, establishing a balance between surface tension and movement. I am compelled by the discreet relationships that emerge from the interplay of color and form, in a tense field where subject and ground alternate. I want the images to act as suspended, yet connected slices of light, breathing, tense and emergent, impelled by the discrete relationships that emerge from the interplay of color and form.


text:
"Saturday Night Live's" opening sketch this week predicted a dark future for America.
Apparently, it's not Obamacare or the government shutdown that could ultimately lead to America's demise, it's Miley Cyrus' risqué 2013 MTV VMA performance.
Backstage before her now infamous VMA foam finger work, Cyrus was greeted by a time-traveling "future Miley" (Vanessa Bayer) who warned her not to take the stage.
"If you walk out there like that," Bayer said. "They're going to put you in prison."
Present day Cyrus thought it was all a joke.
"I must be hallucinating," she said. "I must have smoked way too much…cigarettes."
That was just the beginning of both Cyrus' antics and pokes at the government following this week's shutdown.
During the show, Cyrus played Scarlett Johansson in a "50 Shades of Gray" casting call. In another skit, Cyrus played Hillary Clinton in an MTV show based on a potential presidential candidate's life (The same segment also featured a parody of Clinton as a version of "Breaking Bad's" Walter White.).
Cyrus even played Republican Rep. Michele Bachmann in a parody of her hit song, "We Can't Stop" that portrayed Speaker of the House John Boehner and other leading GOP members living large with a house party over the government shutdown.
Weekend Update with Seth Meyers and Cecily Strong also focused their attention on this week's government shutdown.
Meyers, who's leaving the show later this season to focus on his new gig as the host of "Late Night," made note of the last government shutdown that occurred in 1995.
"So basically, the government shuts down every time Arsenio (Hall) gets a TV show," Meyers said.
The duo then had some fun with the Republican party in a "Winners and Losers" segment.
Meyers focused much of his wrath on Boehner.
"I feel sorry for you buddy. It's exhausting watching you try maintain your dignity wrangling those tea party maniacs," Meyers said. "You're like 'Seinfeld' if there were 30 Kramers."
Meyers cited a Fox News poll this week that said the GOP's disapproval rate was 59 percent, but Strong called the Tea Party winners.
"It's always nice to see a vocal minority get their way," she said. "You're like a naked lunatic that gets his own subway car. Congrats on soiling your way to power."
Weekend Update also stretched past politics and into pop culture. Two memorable segments featured former NFL star and analyst Shannon Sharpe (Jay Pharoah), who "spelt out" some of his favorite picks for this week's pigskin action, while mother Pat Lynhart (Kate McKinnon) obsessed over her love of "Grand Theft Auto V" and told her family she had left her old life behind and was now a Latino war lord.
Cyrus, pulling double duty as host and musical guest, performed "Wrecking Ball" and an acoustic version of "We Can't Stop."


text:
Foil-Wrapped Baked Apples
This easy baked-apple dessert lets you complete most of the work before you get to the grill. You just wrap the cored, nut-and-raisin-stuffed apples in sheets of foil and set them on the back of the grill behind other foods for your meal.
Preparation time: 25 minutes
Grilling time: 20 to 25 minutes
Yield: 4 servings
4 tart apples (such as Granny Smith or Macintosh), about 8 ounces each
1/4 heaping cup chopped walnuts or pecans
1/4 cup light brown sugar, packed
2 heaping tablespoons raisins
1 teaspoon cinnamon
1/4 teaspoon ground allspice
2 tablespoons butter
2 tablespoons apple brandy or rum (optional)
Vanilla ice cream or sweetened whipped cream (optional)
Run a paring knife clockwise around an apple's core.
Leave about 1/4 inch at the bottom.
Pull the core out.
Repeat Steps 1 and 2 with the remaining apples.
Butter a 9-inch square piece of heavy-duty aluminum foil.
Place each cored apple on the aluminum foil.
In a medium mixing bowl, combine the walnuts or pecans, brown sugar, raisins, cinnamon, and allspice.
Divide the mixture equally among the apples, packing it into their hollowed centers.
Top each apple with a half tablespoon of butter.
Fold up the edges of the foil around the apples to make a tight package.
Prepare a medium fire in a charcoal or gas grill.
Place the foil packages on the grid.
Grill for 20 to 25 minutes or until the apples are tender when pierced with a fork, rotating occasionally to different spots on the grid to ensure even cooking.
Be careful not to overcook, or you'll end up with almost an applesauce.
Remove from foil and (if desired) pour 1/2 tablespoon brandy or rum over the top of each.
If desired, serve with vanilla ice cream or whipped cream sweetened with maple syrup or maple extract and sugar.


text:
Have you heard the one where Ron Paul, Pat Robertson, and John Bolton walk into a bar? According to the "Mount Vernon Statement," the declaration of first principles signed yesterday at part of George Washington's estate by conservatives of varied persuasions, the punch line would be "Constitutional conservativism." Led by Edwin Meese, President Reagan's attorney general, the collection of prominent economic, social, and "national security" conservatives aimed to clarify and recommit themselves to conservativism's bedrock political philosophy.
They modeled the project self-consciously on the 1960 Sharon Statement that ushered in "new conservativism" when the Young Americans for Freedom signed it at William F. Buckley Jr.'s estate in Sharon, Conn. Like those young activists, Frank Meyer's and Mr. Buckley's vision of a theory able to "fuse" disparate American conservative ideologies inspired Meese and Co. The resulting mix of pabulum, historical revisionism, and internal inconsistency sheds light on enduring and contemporary tensions within American conservativism.
First, their argument. The main nugget of "Constitutional conservatism" is that America needs to return to the "limited government based on the rule of law" ideals of the Founders, who "sought to secure national independence, provide for economic opportunity, establish true religious liberty and maintain a flourishing society of republican self-government."
In "recent decades," the statement continues "America's principles have been undermined and redefined in our culture, our universities, and our politics," while the ""selfevident [sic] truths of 1776 have been supplanted by the notion that no such truths exist." The signatories demand that the federal government respect Constitutional limits and apply the principle of limited government based on the rule of law to every proposal.
They round out their philosophy by arguing that these ideals, embodied in the "conservatism of the Declaration," connect with the natural law tradition. Without this natural morality, the free market cannot operate; but with too big a government, "moral self-government" fails. Thus the connection between libertarians and social conservatives.
Thomas Jefferson would scoff at the characterization of the Declaration as "conservative." American conservatives have always had a difficult ideological road to travel. They have to be conservative about the historically radical ideas of democracy, liberty, and individual rights. The result here is an odd reading of the Founders, federalism, and the Constitution.
The signatories call for a small federal government for the sake of small government, but the Founders were more concerned with small federal government for the sake of small central government, leaving the states broad authority to govern and grow as they wish. Dispersion of authority, arguably more than the size of the authority, was the point of the constitutional limits and the 10th Amendment, with its reservation to the states or the people any powers not expressly delegated to the federal government by Constitution.
As America grew more complex and interconnected, however, federal regulation made increasingly more sense as a means of securing national coordination and public goods, as exemplified in The Interstate Commerce Act of 1887 and the Sherman Antitrust Act of 1890. But if the federal government and federal taxes shrunk down dramatically as Mt. Vernon supporters envision, most state and local governments – with the exception of Texas and a few of its conservative friends – would likely metastasize to fill in the regulatory and welfare gap, and we are left at square one. And the constitution, especially on their strict reading, would have little to say about this.
More important, the signatories imply that the limits of the Constitution present historical and political, rather than legal questions. The judiciary, however, is empowered to interpret the constitution. And from Chief Justice John Marshall on down, the Supreme Court has broadly interpreted the Commerce Clause, which allows the federal government to "regulate Commerce … among the several States."
The federal government can rule on almost any issue that mildly affects interstate commerce, including, as we learned in Gonzales v. Raich, the home cultivation of marijuana for personal use. Healthcare, representing 1/6 of the economy, would be an even easier case of constitutional regulation. If we are to respect "the rule of law" above all, as the signatories admonish, well-established Supreme Court precedent is a good place to start.
Just because big government is constitutional, however, does not mean government must be big. What constitutes good political theory is a separate issue. On this point, the Mount Vernoners miss more directly, at least in terms of consistency. There's a reason conservatives feel the urgent need to reassert fusionist principles: earlier efforts to braid the various threads of conservatism have repeatedly unraveled.
The inherent tensions of conservatism are more glaring today than in 1960. Christian Right domestic policies and neoconservative foreign policy have little to do with small, unobtrusive government. The former's mission is to use the government to curtail individual cultural and lifestyle choices. And an aggressive belief in the ability of the federal government to create gigantic institutions abroad – indeed, new governments – founds the latter.
The hard-core cold warriors involved with the Sharon Statement, with their opposition to illiberal totalitarianism, were more obvious bedfellows for a libertarian conservativism than neoconservatives. And as to the libertarians, why should they be enmeshed with a conservative cause that sees Christian morality as the basis for economic development, when China and Singapore show that a free market can thrive in countries hostile to religion?
One reasonable response to this is that ideology is a process, these groups do identify with one another in some sense, and this presents a step in the direction of discovering potentially shared values. Fair enough. Burkean conservativism, however, and its commitment to organic social growth, rather than limited government based on the rule of law, might present more fertile common ground.
This statement, in the end, is really about Presidents Bush and Obama. Its lamentations of the values of "recent decades" includes Mr. Bush's eight momentous years and reveals the right's now desperate attempt to find a way around that history, and return to Reagan.
As for Mr. Obama, the statement says, "Isn't this idea of change an empty promise or even a dangerous deception? The change we urgently need, a change consistent with the American ideal, is not movement away from but toward our founding principles."
Obama is at an ideological breaking point. Whether his promised reforms represented new American values, as opposed to merely new American policies, was always the lingering question.
He attempted to sidestep the philosophy debate under the cover of "pragmatism." But that has failed politically.
Even if it's mildly incoherent and historically inaccurate, the right has thrown down the ideological gauntlet. It is time Obama and the left clarify their own values.
Jacob Bronsther, a law student at New York University and former Fulbright Scholar, writes for ThePublicPhilosopher.com.


text:
Sundays with the Modern offers unique perspectives on the Museum's architecture, permanent collection, and special exhibitions. A variety of artists, art historians, critics, writers, and architects hold conversations and lead tours in the galleries.
Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.


text:
Dr. Clementine L. "Clem" Kaufman, a former social worker and volunteer who also served for years on numerous boards throughout the community and worked tirelessly for social justice, died of cancer Sept. 23 at Roland Park Place. She was 89.
"She was a phenomenal person, and I got to know her when she was one of then-President Michael Hooker's assistants," said Freeman A. Hrabowski III, current president of the University of Maryland, Baltimore County and a longtime friend.
"She always cared about social justice issues, and she worked hard to connect us to those initiatives in the city. She understood the challenges families and children faced and was as caring as possible," said Dr. Hrabowski. "And she worked with people from a variety of ethnic and religious backgrounds. Clem represented the best of Baltimore and America."
Clementine Alice Lazaron, the daughter of Morris S. Lazaron, a rabbi who led the Baltimore Hebrew Congregation, and Pauline Horkheimer, a homemaker, was born in the family's home on Naylor Lane in Pikesville, where she was also raised.
She was 9 when her mother died in 1933, and she took on the role of her father's hostess in their home.
Growing up in the Baltimore of her youth, she visited Gertrude Stein at the home of the art-collecting sisters Claribel and Etta Cone in the Marlborough apartments on Eutaw Place. She was impressed with the "world of these highly educated Jewish women," reported The Baltimore Sun in 1987.
"She also recalled the composer Irving Berlin, who was a friend of her father's, coming to their home to play at the family seders," said her daughter, Peggy Kaufman Wolf of Guilford. "And they always ended by singing 'God Bless America.'"
After graduating in 1942 from the Park School, she attended Bennington College in Vermont, Bard College in New York and the Johns Hopkins University. She earned her bachelor's degree from Goucher College.
In 1945, she married Frank A. Kaufman, a Baltimore attorney who later became a U.S. District Court judge. He died in 1997.
Later in life, Dr. Kaufman earned a master's degree in 1973 from the University of Maryland School of Social Work and a doctorate in 1981 in social work, also from the University of Maryland.
During the 1950s, she was chairwoman of the board that operated the Montrose Training School for Girls in Reisterstown, which was then a privately run organization with segregated facilities.
Dr. Kaufman was head of the board that transformed the facility in 1956 to an integrated and state-run facility administered by the old state Department of Public Welfare.
She volunteered at the state Department of Juvenile Services from 1962 to 1969 and thereafter continued to volunteer on advisory panels and commissions at the state level.
Dr. Kaufman served as president of the Women's Division of Associated Jewish Charities and Welfare Fund, and chaired the Women's Campaign of the Associated Jewish Charities and Welfare Fund. She was also a member of Union Memorial Hospital's Women's Board, and the Peabody Institute and St. Mary's College boards.
In addition to her work, Dr. Kaufman taught courses in voluntarism at Johns Hopkins and UMBC.
During the 1980s, Dr. Kaufman was assistant to the president at UMBC, and when Dr. Hrabowski arrived on campus in 1992, she remained in that position and helped establish the Shriver Center, which opened in 1993.
The mission of the center, which was funded by the state Department of Juvenile Services, was to fight urban decay and send college graduates into cities where they worked as mentors and role models.
Dr. Kaufman also served as a member of the White House Commission on Children and Youth Action and the Kettering Foundation, and was associated with the School of Hygiene and Public Health at Johns Hopkins.
Dr. Kaufman and her husband "were always hosting dinners in their home, and that is how I got to know the leaders of Baltimore," said Dr. Hrabowski.
"They were both enlightened Americans and felt deeply and brought passion to their fight against injustice, and analytical thinking. They were humble and willing to be connected to all kinds of people from different backgrounds.
"They had grace," he said.
He recalled Dr. Kaufman's "ready smile and piercing eyes that focused on issues. She was very special."
Dr. Kaufman was a scratch golfer at Suburban Club, her daughter said. She also taught ballroom dancing in the basement of her home on Clovelly Lane in Pikesville.
She was a member of the Women's Hamilton Street Club. She was a dog fancier and enjoyed reading, traveling, listening to music and writing.
Funeral services were held Sept. 25 at Baltimore Hebrew Congregation.
In addition to her daughter, Mrs. Kaufman is survived by a son, Frank A. Kaufman Jr. of Pikesville; a stepsister, Ellie Lou Rothschild Thaviu of Chicago; four grandchildren; and four great-grandchildren.


text:
Statement on
Auditing Standards
Issued by the Auditing Standards Board
March 1981 34
AlCPA American Institute of
Certified Public Accountants
The Auditor's Considerations
When a Question Arises About
an Entity's Continued Existence
1. When the continued existence of an entity is imperiled, there is
heightened concern about the recoverability and classification of
recorded asset amounts and the amounts and classification of liabilities.
This Statement provides guidance regarding the auditor's considerations
when information comes to his attention that raises a
question about an entity's ability to continue in existence.1
2. Ordinarily, such a question relates to the entity's ability to continue
to meet its obligations as they become due without substantial
disposal of assets, restructuring of debt, externally forced revisions
of its operations, or similar actions. Other factors, not presently
involving solvency, may also bring into question an entity's ability to
continue in existence (for example, loss of key personnel, principal
customer, essential supply source, or primary revenue producing
1This Statement does not apply to an examination of financial statements based
on the assumption of liquidation (for example, when (a ) an entity is in the
process of dissolution or liquidation, (b) the owners have determined to commence
dissolution or liquidation, or (c) legal proceedings, including bankruptcy,
have reached a point at which dissolution or liquidation is probable).
Copyright © 1981 by the
American Institute of Certified Public Accountants, Inc.
1211 Avenue of the Americas, New York, N.Y. 10036
1 2 3 4 5 6 7 8 9 0 AudS 8 9 8 7 6 5 4 3 2 1


text:
When making plans for design improvements to the home or office, one of the easiest and most cost effective ways to increase visual appeal and value is to add Crossheads to your doorways and windows. Whether you're working with indoor or outdoor applications, Crossheads are an excellent design improvement to the outer casings of doorways and windows. Often used in tandem with other architectural trim items like Pilasters, Crossheads provide outstanding visual improvement without spending a lot of money. Our Crossheads are made of a highly dense foam product called Urethane. Urethane has the same basic feel of Pine wood without having to deal with the typical weathering issues of a wood product. They are water proof and unappealing to insects and will not expand or contract with fluctuating temperatures so they will not crack your paint. This makes our Crossheads ideal for both indoor and outdoor applications. Our Crossheads come in a variety of sizes and are easy for anyone to install. They can be trimmed with common woodworking tools and installed with simple construction adhesives and wood applicable hardware.
- Eye-catching style for your door or windows
- Lightweight and easy to install
- Low maintenance product
- An answer for both indoor and outdoor applications
- Optional trim to add further depth and personality
- Add pilasters and pediments for an extraordinary look
- 97 in. Bottom width x 98 1/8 in. top width x 3-1/2 in. H x 7/8 in. P bedford crosshead


text:
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NYC Indie Film Fest
The 11th Annual NYC Independent Film Festival provides a showcase for indie filmmakers from NYC and around the world to the NYC public & entertainment industry. Indie filmmakers selffund projects with budgets from $0 - $1,000,000 and often overlooked, these filmmakers show extraordinary talent and creativity under tight budgets. The Festival provides filmmakers with the opportunity for potential distribution while meeting fans and promoting their film.
The Festival is an annual event and will run May 10 - 17, 2020, taking place at Producers Club, The Caveat and Cameo Clnton Studios. We will screen 150 films, host panels and presentations, as well as after parties, a live script reading, and a live comedy sketch performance! All while hosting hundreds of filmamakers from around the world!
2020 submission categories include: Narrative Feature, Short Film (narrative), Super Short Film (narrative), Documentary Fearure, Documentary Short, Music Video, Art/Experimental (short film), Animation (short film), Short Sketch Comedy Videos.
Join us in New York City May 10 to 17, 2020!
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text:
Carlos Santana, 1977 by Baron Wolman
Carlos Santana, 1977 by Baron Wolman
Carlos Santana playing at one of Bill Graham's Day on the Green concerts at the Oakland Coliseum.
Framed print prices are for a 1" black frame with white matting. Upgraded Archival Framing includes UV protected glass (sometimes referred to as museum grade) and thicker, acid-free matting. For prints over 20"x30", additional options and custom framing, please contact us!
Baron Wolman was Rolling Stone's first staff photographer and from 1967 through the early seventies his pictures appeared in nearly every issue. While working there he had virtually unlimited access to the stars of the day, photographing Janis Joplin, The Rolling Stones, Bob Dylan and Jim Morrison among others. After leaving Rolling Stone, Wolman started a countercultural magazine called Rags which was acknowledged as a journalistic success. Baron Wolman: Every Picture Tells A Story, the Rolling Stone Years was published in 2011. The book talks about Wolman's career from the beginnings of Rolling Stone and tells the story behind his photographs.
George Harrison photographed at Apple Records in 1968. Recently featured in the Martin Scorcese directed HBO documentary "George Harrison: Living in the Material World".
Joni Mitchell photographed at her home in Laurel Canyon in 1968.
Jimi Hendrix performing at the Fillmore West in San Francisco. This was Hendrix's first Bill Graham produced event.
Pink Floyd photographed at the Casa Madrona Hotel in Sausalito, CA. Taken for Rolling Stone during their first visit to the United States.
"This iconic photo of Pete Townshend was taken in November 1967, during my first live-concert assignment for Rolling Stone. Was I just lucky or did Pete know it was my first time and generously look directly at my camera to offer this photographic gift? The wonderful British mod costumes of the sixties soon gave way to tee's and jeans as fans made off with much of the musicians stylized garb. Anyhow, it wasn't about looks but about sounds, and the music and excitement remained." - Baron Wolman
Pink Floyd posing on the fire escape of the Casa Madrona Hotel in Sausalito, CA. Taken for Rolling Stone during the band's first visit to the United States.
B.B. King photographed backstage at Winterland, San Francisco in December 1967.
Miles Davis with his Ferrari 275 GTB in New York.
Jim Morrison of The Doors performing at Winterland in San Francisco in December 1967.
The Grateful Dead photographed for Rolling Stone in front of their then-home at 710 Ashbury St. in San Francisco.