text:
Fleeing Clearwater
Spring training
has turned the final corner toward the finish line. Spring training comes in three phases, in my
experience: (1) Can't wait to get here; (2) Daily practices become so routine
that you can't wait to start playing games; (3) The exhibition games eventually
make you anxious: "Bring on the season!"
During the final
days of spring training shaping the opening day roster takes precedent. Players in the big league camp are returned to the minors for the most part. Players in the minor league camp face a different fate. A few days ago 20 Phillies minor leaguers were released. Gone.
Leftover thoughts from the 60th spring season in Clearwater:
Frequent mileage: Rookie outfielders
Shane Victorino and Chris Roberson made all 14 road trips and put in 751 miles
riding buses. "Beats not being on the bus," philosophized Roberson.
Oh no: John Vukovich, Special Assistant to General Manager Pat Gillick, spent his spring scouting the Phillies, Yankees, Devil Rays and Blue Jays. Late in the spring, he hopped in his car and headed for an afternoon game in St. Petersburg to catch the Rays. As he pulled up to an empty Progress Energy Park, he learned the game was a 7:05 night game as originally scheduled. At least
no one ribbed Vuke.
Interesting sign: A hand-printed sign in the press box at
Marchant Stadium in Lakeland: "Everyone Brings Great Joy to This Press Box… Some when they arrive… Some when they leave."
How times have changed: The Phillies' game
against the Red Sox drew a stadium, Clearwater, and Pinellas County record 9,893 fans on
the final Sunday Florida afternoon. That fell just short of the Phillies' entire spring training attendance in 1960: 10,269.
2 Comments
Seriously. A guy hits almost .500 an entire spring, does everything you ask of him, and you sign some loser who will help you be average at best. ******. You need new jobs. All of you.
You were crappy last year, why be crappy again. Idiots. Tow words for you: Chris Coste. Quit play politics and being scared. This guy is a winner. You guys are losers without him.


text:
Who Qualifies for Social Security Retirement Benefits?
Copyright © 2012 AARP. All rights reserved.
Social Security retirement benefits were created to help older Americans live in dignity and independence after a lifetime of work. To qualify for these benefits, you have to meet certain earnings requirements. The good news is that these requirements are in relatively easy reach for most healthy people who've worked for a number of years.
How you qualify for Social Security
Under the rules, you get credits toward eligibility by earning certain amounts of money. Most workers pick up the necessary credits without even thinking about it. Generally, 40 credits — which you can pick up in ten years of covered employment — does the trick. Covered employment means a job in which you and your employer pay Social Security taxes. (If you're in business for yourself, you have to pay both the employer and employee shares.) These days, almost all jobs are covered.
People born before 1929 need fewer than 40 credits to qualify.
In 2012, Social Security awarded you one credit for every $1,130 in earnings, and you could get up to a maximum of four credits per year. (The dollar amount typically rises each year to reflect growth in wages.) For example, say you earned $4,520 in 2012. That means you earned a total of four credits ($1,130 x 4 = $4,520). Now, say you earned $100,000 in 2012. You still earned a total of four credits, because four credits is the yearly maximum no matter how much money you make.
Retirees become eligible for benefits on the first full month after their 62nd birthday — so if you turn 62 on July 19, you become eligible for benefits on August 1. The August payment would arrive in September, however, because Social Security pays with a one-month delay.
You don't have to take your benefit when you turn 62. The longer you wait, the higher your monthly payment will be, until you reach 70. At that point, there's no payoff in further delay.
Who can receive Social Security
If you qualify for retirement benefits, Social Security also may provide benefits to other family members under certain conditions, without reducing the benefits that go to you. Eligible dependents may include
A spouse age 62 or older.
A spouse of any age who cares for your dependent child who is younger than 16 or disabled.
The SSA tends to follow state guidelines in terms of recognizing common-law marriages, although the rules leave some wiggle room for interpretation. As of 2012, the SSA does not give spousal benefits to partners in same-sex unions.
Your children.
To qualify, children must fall into one of the following categories:
Younger than 18 and unmarried
Full-time students up to age 19 who haven't yet completed high school and are unmarried
Age 18 or older and severely disabled with a disability that began before age 22
If your grandchild depends on you financially, and the grandchild's parents provide no support (for example, due to death or disability), the grandchild may qualify for Social Security benefits on your work record.
A former spouse(s).
Your ex(es) may get benefits if the following apply:
You were married for at least 10 years.
You've been divorced for at least 2 years.
He or she is 62 or older, has not remarried, and is not eligible for a bigger benefit on anyone else's work record.

subset: commoncrawl


text:
A detailed neurological exam should be part of a standard physical exam
to diagnose
Parkinson's disease and to separate Parkinson's
disease from other conditions. Your family doctor or general practitioner can do this. Or you may
be referred to a neurologist, which is a doctor who specializes in disorders of the nervous
system (brain, spinal cord, peripheral nerves, and muscles).
During this exam, your doctor will observe your movement, coordination,
and balance. You may be asked to complete a few physical tasks, such as walking
up and down a hall or getting up from a chair. The doctor also will watch for
any rapid, repetitive movements, such as finger-tapping or tremor. Simple tests
may be used to evaluate your muscle strength and control, reflexes, sensation
(such as the ability to feel a pinprick or a light touch), and vision.
The neurological exam also will include a brief assessment of your mental
ability and emotional condition. The doctor may ask you to repeat a series of
numbers or to answer simple questions about dates, places, and current events.
The doctor usually can judge your emotional condition during the exam by paying
attention to your actions and statements and by asking direct questions about
your mood and emotions.
The doctor will also listen to your heart
and lungs and may perform other routine examinations.
Next Section:
Previous Section:
Last Revised:
December 5, 2012
Healthwise Staff
Medical Review:
Anne C. Poinier, MD - Internal Medicine & G. Frederick Wooten, MD - Neurology
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
Herdade dos Grous, which belongs to the Vila Vita group, is situated in a landscape surrounded by fields, vineyards, picturesque white villages, olive groves and cork oak forests in Alentejo.
How to earn miles at Herdade dos Grous
Book a stay or meal at Herdade dos Grous and earn 5 miles for every euro spent.
Book your stay or meal directly with Herdade dos Grous by email or telephone (+351 284 960 000).
After enjoying the experience, when you pay do not forget to provide your TAP Miles&Go Number to collect your miles!
€1 spent
5 Miles
Offer sold
Terms and conditions
- Miles earned: from accommodation at BAR rate (Best Available Rate) and at the Herdade dos Grous restaurant.
- Only applying to bookings made directly with the Estate via email or telephone (+351 284 960 000).
- The miles cannot be combined with any other offers, promotions or discounts.
- Please check directly with the Estate for the cancellation conditions.
- Miles will be credited to your TAP Miles&Go account within 90 days.
- Once the miles have been credited to the Client's Account they cannot be returned.
There are currently no ongoing campaigns.


text:
Company Posts Record 30-Day IP Rates
T. MARYS, W.Va., Nov. 8, 2012 /PRNewswire/ — Trans Energy, Inc. (ticker: TENG), a pure play Marcellus Shale exploration and production company, today announced production results on the Dewhurst #110H and Dewhurst #111H in Wetzel County, West Virginia.
30-Day Production Rates Set Company Record
Initial 30-day production rates from the Dewhurst #110H and Dewhurst #111H averaged 6,765 Mcfe/d and 8,146 Mcfe/d, respectively. Both the Dewhurst #110H and Dewhurst #111H produced at rates significantly higher than the Keaton 1H, previously Trans Energy's best performing well in the Marcellus, which averaged an initial 30-day production rate of 5,074 Mcfe/d.
John G. Corp, President of Trans Energy, said, "Results from the Dewhurst #110H and #111H further validate our strategic position in the wet gas section of the Marcellus Shale located in Wetzel County, West Virginia. Improved execution, combined with enhanced drilling techniques, drove 30-day production results to record levels. As we continue to exploit our position in Wetzel County, as well as our more than 60,000 gross acres across the Marcellus Shale, we'll leverage these techniques to further maximize production results and returns, especially on the Anderson #5H and Anderson #7H."
The two Dewhurst wellbores are parallel to one another and were hydraulically stimulated at the same time. The effective lateral lengths that were hydraulically stimulated in the Dewhurst #110H and the Dewhurst # 111H were 3,856 feet and 4,448 feet, respectively. In the Keaton 1H well, 4,650 feet of effective lateral had been hydraulically stimulated.
Two Additional Marcellus Wells Turned into Sales
Trans Energy further reports that it has hydraulically stimulated the Anderson #5H and Anderson #7H, also located in Wetzel County, West Virginia. The Anderson wells were drilled from a nearby pad and were completed in the same manner as the Dewhurst wells. The Anderson wells have been turned into sales and will reach 30 days online within the next few weeks. Pending 30-day production results on the Anderson #5H and the Anderson #7H, Trans Energy will provide an update on each of these wells.
About Trans Energy, Inc.
Trans Energy, Inc. (ticker: TENG) is a pure play Marcellus Shale oil and gas exploration and development company, headquartered in the Appalachian Basin. Further information can be found on the Company's website at www.transenergyinc.com.
Safe Harbor Statement under the Private Securities Litigation Reform Act of 1995 – Forward-looking statements in this release do not constitute guarantees of future performance. Such forward-looking statements are subject to risks and uncertainties that could cause our actual results to differ materially from those anticipated. Forward-looking statements in this document include statements regarding the Company's exploration, drilling and development plans, the Company's expectations regarding the timing and success of such programs. Factors that could cause or contribute to such differences include, but are not limited to, fluctuations in the prices of oil and gas, uncertainties inherent in estimating quantities of oil and gas reserves and projecting future rates of production and timing of development activities, competition, operating risks, acquisition risks, liquidity and capital requirements, the effects of governmental regulation, adverse changes in the market for the Company's oil and gas production, dependence upon third-party vendors, and other risks detailed in the Company's periodic report filings with the Securities and Exchange Commission. For a more detailed discussion of the risks and uncertainties of our business, please refer to our Annual Report on Form 10-K for the fiscal year ended December 31, 2011 filed with the Securities and Exchange Commission. We assume no obligation to update any forward-looking information contained in this press release or with respect to the announcements described herein.
Company contact:
John G. Corp


text:
Butler County
mu extension > Butler County > faculty and staff > Jakob Pallesen
Jakob PallesenBUSINESS DEVELOPMENTMissouri SBDC at Southeast Missouri State University (SEMO)920 BroadwayCape Girardeau, MO 63701Phone: 573-651-5156Fax: 573-986-6083Email: email@example.com
Counties served: Bollinger, Butler, Cape Girardeau, Carter, Dunklin, Iron, Madison, Mississippi, New Madrid, Pemiscot, Perry, Reynolds, Ripley, St. Francois, Ste. Genevieve, Scott, Stoddard, Wayne
© 1993
to Curators of the University
of Missouri, all rights reserved, DMCA
and other copyright information
University of Missouri Extension is an equal opportunity/access/affirmative action/pro-disabled and veteran employer.
University of Missouri Extension
© 1993
to Curators of the University of Missouri, all rights reserved


text:
Here I go with another art or craft that is quite environmental friendly called as – PAPIER MACHE. The art of Papier Mache, like many other art forms, is an individual expression and there is no right or wrong ways to do things.
History of Papier Mâché
Despite the French sounding name, Papier Mâché was not made in France until the mid 17th century. However, they were the first country in Europe to do so.
Papier mache actually originates from China; the inventors of paper itself. They used papier mache to make helmets of all things, which they toughened by many layers of lacquer.
From China, the interest in papier mache spread to Japan and Persia, where it was used in mask making and festival activities. Eventually it spread across the world. Large imports of papier mache objects swamped European markets. This in turn led France to start making its own wares, and England followed suit in the 1670s. There was only a half-hearted interest until the late 1700s and into the 1800s, when it became widely used.
Papier Mache (French for "chewed paper") is believed to have got its name from French workers in London papier mache shops who did just that! Whether this is actually true or not we shall probably never know. The manufacturers didn't seem to mind this idea being put about - possibly because it gave them the chance to hide their true methods and recipes, some of which little is known about even today.
These days we have different by-products to recycle, but a much more serious reason for using them. With landfill sites are filling up and forests becoming bare of trees, the more we can do to prevent further damage to our planet the better.
Now a day's am always lookout for throwaway items like newspapers, papers, magazines, useless CDs which I can use in my work.
I have created these bowls using newspapers. These can be kept on dressing tables for keeping ear-rings, rings and other accessories.
Recycling not only saves money, but it also keeps our environment friendlier.
Happy Recycling!!!


text:
The Ten Best: Christmas puddings
1. Hale and Hearty £8.99 (454g), hollandandbarrett.com
Anyone on a gluten-, wheat- or dairy-free diet can enjoy this indulgent award-winner.
2. Fortnum & Mason King George Pudding
From £9.95 (227g), fortnumandmason.com
Made with beef suet and top-notch ingredients like Turkish sultanas.
3. Figgy's Christmas Pudding
From £10 (350g), figgys.co.uk
Hand-made in Devon, this award-winner uses real ale and fine brandy for a great boozy kick and after-dinner relaxation.
4. Harrods Limited Edition Christmas Pudding
£59 (700g), harrods.com
It costs a fortune, but the fruit, walnuts and apricots soaked in brandy make it spectacular.
5. Selfridges Champagne Christmas Pudding
£11.49 (450g), selfridges.com
Inspired by an original 1929 recipe this is dark, decadent, and bursting with fruit.
6. Wilkin & Sons Organic
£9.99 (454g) tiptree.com
This pudding is refreshing, zesty, well rounded and light – great for those who struggle for stomach room after the turkey.
7. Heston's Hidden Orange Christmas Pudding
£13.99 (1.2kg), waitrose.com
Last year's must-have culinary craze seems to be flying off the shelves again this year.
8. Marks & Spencer Perfectly Matured Christmas Pudding
£9.99 (907g), marksandspencer. com
Boasting generous amount of fruit and nuts, this is moist and moreish.
9. Lakeland Christmas Pudding
£4.99 (425g), Lakeland.co.uk
A traditional moist pudding, packed with fruits and flavoured with Irish stout and French brandy.
10.Blas ar Fwyd
From £4.25 (200g), blasarfwyd.com
Made to an old Welsh recipe, this award-winner is rich, plump and dark with fruit and alcohol.
Belfast Telegraph


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One of the happiest moments of my life was the night Dr. Kimberly Shaw tore off her wig. It was December, 1992, and my friends and I had been gathering weekly to watch "Melrose Place." When our favorite character—a red-headed home-wrecker who had seemingly died in a car crash, then popped up months later, with little explanation—stood in front of the mirror, exposing a mysterious scar that wormed up her scalp, we jumped off the sofa in shock. Then we started dancing. We were that overjoyed not to understand, not to know what came next.
We're living through a renaissance of ambitious television, although almost no one would describe "Melrose Place," the definition of a guilty pleasure, as a harbinger of that phenomenon. Instead, we praise the great modern cable dramas, from "The Sopranos" to "Breaking Bad." As viewers, we rely on hierarchies to govern our notion of television ambition: cable trumps network, drama is better than sitcom, adult is worthier than teen, realistic is more grownup than sci-fi, grim beats sunny, PBS documentary tops Bravo reality show, and "as good as Dickens" is superior to anything resembling a soap opera.
Some of these judgments are legitimate: "The Wire" is leagues deeper than "Law & Order." But others are unquestioned ways of "ordering" television, a symptom of our anxiety about the medium and its low-rent habit of arriving in episodes, each crooking a finger to the next. If there's a marker for television serialization—a scar of sensation worming up its scalp—it's the cliffhanger ending.
Narrowly defined, a cliffhanger is a climax cracked in half: the bomb ticks, the screen goes black. A lady wriggles on train tracks—will anyone save her? Italics on a black screen: "To be continued . . ." More broadly, it's any strong dose of "What happens next?," the question that hovers in the black space between episodes. In the digital age, that gap is an accordion: it might be a week or eight months; it may arrive at the end of an episode or as a season finale or in the second before a click on "next." Cliffhangers are the point when the audience decides to keep buying—when, as the cinema-studies scholar Scott Higgins puts it, "curiosity is converted into a commercial transaction." They are sensational, in every sense of the word. Historically, there's something suspect about a story told in this manner, the way it tugs the customer to the next ledge. Nobody likes needy.
But there is also something to celebrate about the cliffhanger, which makes visible the storyteller's connection to his audience—like a bridge made out of lightning. Primal and unashamedly manipulative, cliffhangers are the signature gambit of serial storytelling. They expose the intimacy between writer's room and fan base, auteur and recapper—a relationship that can take seasons to develop, years marked by incidents of betrayal, contentment, and, occasionally, by a kind of ecstasy.
That's not despite but because cliffhangers are fake-outs. They reveal that a story is artificial, then dare you to keep believing. If you trust the creator, you take that dare, and keep going.
Long-arc television is just a Johnny come-lately when it comes to episodic storytelling. The original show runner was Scheherazade, the narrator of "A Thousand and One Nights." Even the most put-upon NBC writer never faced such a demanding audience: a cuckolded king so bitter that he marries a new virgin each night, then lops off her head. Scheherazade volunteers to meet this regal head of programming, then begins her pitch—only to stop in the middle. And so on for a thousand and one nights, a new cliffhanger each dawn. By then, her audience has fallen in love with her, and they've had three kids, an ending that's even more romantic than syndication, which requires only a hundred episodes.
The great nineteenth-century novels were famous for their cliffhangers, and many people associate the form with Charles Dickens, who wrote serial novels so complex, yet so rewarding, that one might even say they resemble "The Wire." Printed episodically in magazines, Dickens's cliffhangers triggered desperation in his readers. In 1841, Dickens fanboys rioted on the dock of New York Harbor, as they waited for a British ship carrying the next installment, screaming, "Is little Nell dead?" (Spoiler: she was.)
Yet the iconic cliffhanger derives not from Dickens but from "A Pair of Blue Eyes," a little-known novel by Thomas Hardy, which was published in fifteen installments in Tinsley's Magazine, in 1873. Despite its reputation, "A Pair of Blue Eyes" is anything but action-packed—it's more "Felicity" than "Indiana Jones." Elfride, the fickle vertex of a love triangle, spends her days hiking around towers, dropping the odd symbolic earring. Halfway through the book, she's strolling with Mr. Knight, the older, more highborn and didactic of her suitors (whom she fell for when he panned her novel, as one does). The two engage in coy banter. Then he falls off a cliff.
Well, first he simply stumbles downhill, and Elfride follows. But, once he boosts her to safer ground, he loses his foothold, his love gazing down at him from the ledge. As Mr. Knight clutches "the last outlying knot of starved herbage," the passage concludes, "A minute—perhaps more time—was passed in mute thought by both. On a sudden the blank and helpless agony left her face. She vanished over the bank from his sight." There is a paragraph break, and then one stark final sentence: "Knight felt himself in the presence of a personalized loneliness."
This historic cliffhanger does not lead to an action sequence. Instead, in the next installment Hardy's readers were treated to dense but also oddly riveting introspection, as Knight philosophizes about the unfairness of his intellect's getting snuffed out, mistakes trickles of rain for a storm, and discovers that he is not in fact alone: he is eye to eye with a trilobite. Twenty-nine paragraphs later, Elfride reappears, drenched by rain. She has torn off her outer garments, which she twines into a rope so that she can pull him to safety.
The sequence is both laughably artificial and entirely convincing, a manipulation that may have been motivated by commercial demands but becomes an opportunity for existential exploration. It is by far the liveliest moment in the book. And it foretells the way cliffhangers have come to be used in ambitious contemporary television shows like AMC's meth morality tale "Breaking Bad"—not merely as an engine for excitement but as a narrative challenge, a glimpse into the extremes of human experience. In Hardy's day, novels were very much like TV: fiction was the medium decried for leaving "the mind collapsed and imbecile," the half-commercial enterprise that inspired alarmist essays about addiction. Once novels began to be published in blocks, rather than in slivers, they became art, perhaps in part because the author and the reader were held at a more dignified distance.
But by then the cliffhanger—that viral sneak—had jumped into fresh formats. Radio programs conventionally featured thrill-packed endings, including the British Paul Temple series, a hit detective drama that ran from the thirties through the sixties, using a tune from the symphonic suite "Scheherazade" as its theme. Starting in the early sixties, cliffhangers became par for the course in comic books (and not merely for superheroes; two years ago, when the strip "Little Orphan Annie" ended, after eighty-six years in print, the plucky orphan had been kidnapped by a war criminal nicknamed the Butcher of the Balkans).
And then there were the movies. Although many assume that the cliffhanger began with "The Perils of Pauline," the true pioneer of the genre was actually "The Adventures of Kathlyn," which arrived in 1913, a year earlier than Pauline. Kathlyn Williams, who played a virginal blond heiress named Kathlyn Hare, raced through thirteen segments of the serial, pursued by a hunky, scheming Hindu named Umballah (Charles Clary). Each installment concluded with a titillating disaster, as Kathlyn evaded lions, tigers, leopards, wolves, baboons, and elephants (the producer owned a zoo), fled a volcano, and subdued her enemies with, to quote the script, "the natural electric force with which the Anglo-Saxon always controls the brown man." It was the first significant movie serial.
These films became a production model for early Hollywood, but they originated as a publicity stunt for the Chicago Tribune, which was in a fierce circulation war with other Chicago dailies. Teaming up with William Selig, the founder of one of the first motion-picture studios, the Tribune distributed the films through the seedy circuit of nickelodeon theatres, with live piano as the soundtrack. They published ads aimed at working-class women, with headlines like "Young Ladies! Watch your Sweethearts. Kathlyn is coming!" As each segment débuted, its plot was printed in the newspaper; after that, the chapters were collected in a book. "Kathlyn," in addition to being the first cinematic cliffhanger, was an early example of synergistic branding, and the paper reported that its circulation increased by ten per cent. The Tribune sold collectible postcards; there was also a dance craze, a clothing line, and a cocktail named for Kathlyn. "Kathlyn" was an early version of "Lost," crossed with "Sex and the City," and it spawned myriad imitators, from gangster serials to jungle adventures, a mini-industry that lasted thirty years—adding sound and color—running parallel to the development of full-length features and filling theatres with eager young addicts.
One might imagine that the first years of TV would mimic this lively and lucrative production model. But the early decades of prime time were pretty much cliffhanger-free, initially because television sets were luxury objects, as were many of the programs they aired. Produced in New York and performed live, the shows of TV's first golden age included expensive one-offs, or elements within an anthology, like "Marty," the iconic teleplay by Paddy Chayefsky, from 1953. These producers took as their inspiration literary fiction and Broadway drama, not serial movies or radio shows. There were also cop shows, variety shows and game shows—none with cliffhangers. Even once "I Love Lucy" began to revolutionize the market—creating a new model of syndication and relocating the industry to Los Angeles—sitcom episodes were designed to run in any order, not to tell ongoing stories.
The exception was daytime TV, which began cranking out soap operas, targeting housewives. In 1950, CBS aired the first network soap opera, "The First Hundred Years." (It lasted two.) Like women's magazines and romance novels, these shows were viewed by outsiders, and often by their own writers, as a tawdry industry—as were the popular radio soap serials of the thirties and forties, like "Today's Children," that inspired them. The genre's name dripped with disdain: "soap" for the ads they sold, "opera" to parody the absurdity of feminine emotions treated as high drama. Televised daily, the soaps dragged out their plots slowly, but goosed the audience with cliffhangers. In the nineteen-sixties, more ambitious writers raised the stakes, with the gothic soap "Dark Shadows," the social-relevance soap "One Life to Live," and the prime-time sensation "Peyton Place," which ran several nights a week. Whether good or bad, such shows attracted passionate fans, who adored the genre's bold style and outsized characters, feeding off a fresh crisis every Friday.
By the mid-fifties, the evening TV schedule had largely dropped its highbrow aspirations; TVs got cheaper, the anthology series dissolved, and, as the audience widened, advertisers demanded that shows be simpler and more upbeat ("happy shows for happy people with happy problems," as one adman described it to David Susskind, according to Stephen Battaglio's 2010 dishy biography of the TV producer and talk-show host). For three decades, as prime-time TV was transformed, few shows—whether fun-trashy or edgy-political—employed cliffhangers, because few shows told the kinds of stories that could extend beyond an episode, let alone a season.
According to Jason Mittell, an associate professor of film and media culture at Middlebury College, whose book "Complex TV" comes out next year, the main exceptions were not dramas but two sitcoms, each of which was a satirical response to the daytime soap operas: "Mary Hartman, Mary Hartman" and "Soap," which aired in the late seventies. "Mary Hartman" was created in 1976, by Norman Lear, the pioneering sitcom creator behind hits like "All in the Family," but, despite Lear's pull, many stations ran the show late at night, considering it too avant-garde for early evening. At once a soap opera and an anti-soap, the show was an assault on a TV-addled audience, with its heroine becoming as alarmed by the waxy yellow buildup on her kitchen floor as she was by the revelation that her grandfather was the notorious Fernwood flasher. In the Season 1 finale, a cliffhanger, she had a breakdown on "The David Susskind Show" and was institutionalized; when the show resumed, she discovered that her fellow-inmates were a Nielsen-ratings family.
The 1977 series "Soap" was a lighter concoction than "Mary Hartman," but it, too, brought serial DNA into prime time, including regular cliffhangers. Each week concluded with a cheerful narration ("Does Dutch really believe Eunice is planning a surprise shower for him? Or is Eunice really in for a surprise? Will Billy and his teacher ever be alone long enough to have an affair?"), followed by the kicker: "These questions—and many others—will be answered in the next episode of . . . 'Soap.' " The first few seasons were written by Susan Harris, who had also been a writer for Lear on "All in the Family" and "Maude." In "They'll Never Put That on the Air: An Oral History of Taboo-Breaking TV Comedy," by Allan Neuwirth, Harris's husband and partner, Paul Junger Witt, described their aims not merely as satire but as an attempt to "free ourselves of the shackles of a really difficult storytelling form," the enforced closure of episodic storytelling, in which characters rarely changed and plots couldn't leap.
In 1979, NBC ran a ten-episode show called "Cliffhangers!," an experimental homage to the early cinema serials, such as "Kathlyn," which was quickly cancelled. But less than a year later the first great TV cliffhanger emerged, and it changed the model of network television. Initially, "Dallas" was a slow-moving nighttime soap opera about a family of Texan oil and cattle tycoons. The series had risen to become a top drama on CBS, when, on March 21, 1980, an episode called "A House Divided" aired. Larry Hagman's J. R. Ewing—a villainous minor character who became, through Hagman's magnetism, the smirking star of the series—was plugged in the gut. The nation had a new catchphrase: "Who shot J.R.?"
The real culprit behind the shooting was a network brainstorm. "We had done, I think twenty-two shows, and CBS was making so much money they wanted to extend it for four," Hagman recalled, in 2010. "And our producers said, 'Let's just shoot the S.O.B. and figure it out later.' " J.R. was featured on the covers of Time and People. CNN, which had just been launched, devoted a series of segments to hyping the show, hoping for some pop heat during that grim year (hostages in Iran, the economy in the dumps). But the cliffhanger might have been less effective if Hagman hadn't walked off the set. He flew to Europe and demanded a raise, which triggered rumors that the producers would resort to a plastic-surgery twist to replace him with Robert Culp. In July, a Screen Actors Guild strike delayed production for three more agonizing months.
By the time the resolution—"Who Done It?"—aired, eight months had elapsed, giving CBS an opportunity to rerun the original season. These delays made "Dallas" a global phenomenon. (A session of the Turkish parliament was reportedly suspended so that members could tune in.) The solution to the mystery was concealed even from the cast members, each of whom was filmed shooting J.R. Eventually, the culprit was revealed: Kristin, J.R.'s sister-in-law. (J.R. didn't press charges, because she was carrying his baby.)
"Who Done It?" became the highest-rated episode in TV history, watched by an estimated three hundred and fifty million people worldwide. The show's success spawned endless imitators, on soaps and non-soaps and sitcoms and dramas: weddings, births, bombs, the invasion of the Moldavian terrorist, Jim kissing Pam, a plane crashing into Wisteria Lane, Ross saying "I take thee, Rachel," the illumination of the Hatch on "Lost," and so on. Once soap entered prime time, its conventions fuelled the complex dramas of the nineteen-eighties, among them "Hill Street Blues" and "St. Elsewhere." These shows brought greater depth to storytelling, but they also relied on the pleasurable shocks of "junk" genres, including the cliffhanger—sometimes with brassy absurdity, as when Rosalind Shays plummeted down that elevator shaft on "L.A. Law," in 1991.
David Lynch's "Twin Peaks," the critically adored auteurist breakthrough of the nineties, acknowledged its debt to the genre directly, with the soap-within-a-soap "Invitation to Love," to which the show's small-town characters were addicted. The series even ended with its own surreal cliffhanger, in the midst of uncertainty about a third season: Agent Cooper, possessed by the evil spirit that had killed Laura Palmer, bonked his head against a mirror, giggling maniacally and moaning, without explanation, "How's Annie?"
In the late nineties, television took a great leap forward. This story could be told in many ways: by focussing on the quality cable dramas, starting with "The Sopranos"; by emphasizing luminous genre myths like "Buffy the Vampire Slayer"; or by highlighting experimental sitcoms, such as the British version of "The Office," themselves a reaction to the advent of reality television. Pugnacious auteurs emerged, resistant to TV formulas. The result was one innovation after another: juggled chronologies, the rise of antiheroes, and a new breed of challenging, tangled, ambitious serial narrative. Dramas often combined a plot of the week with longer arcs, a technique pioneered by "The X-Files," allowing for subtler levels of irresolution. Some ambitious comedies incorporated serial elements, while others, like "Arrested Development," satirized cliffhangers in much the way that "Soap" had.
While not every show embraced cliffhangers (David Simon's "The Wire" resisted them), many series, like "24," made a fetish of them or used them selectively, as elements of a primal cinematic universe, like "Breaking Bad," a deep meditation on morality that was also a throwback to movie serials. In the gorgeously filmed Season 3 finale, Jesse (Aaron Paul), the young junkie immersed in the meth business, showed up at the door of the cheerful, eccentric Gale, a man targeted only for the crime of potentially replacing our antiheroes. Jesse held a gun, but his eyes filled with tears. His hands shook. A shot went off—but it was unclear what had happened. We had to wait more than a year to find out, but Vince Gilligan, the show's creator, had built his story skillfully enough that those thirteen months welled up with meaning. The show's heart-in-throat suspense had become inseparable from its resonant themes, from the cruel calculus of modern capitalism to the American fantasy of masculine autonomy.
Technology was a crucial factor in this change, including DVDs, TiVo, and the emergence of a vibrant online TV-fan community. "The idea that viewers would want to watch—and rewatch—a television series in strict chronology and collectively document their discoveries with a group of strangers was once laughable, but is now mainstream," Mittell writes in "Complex TV." Television was no longer an ephemeral experience, to be watched and discarded: it could be collected, shared, and analyzed.
In this changing landscape, it's worth acknowledging how cliffhangers, broadly defined, link disparate genres: they connect "Fringe" with "The Good Wife" and the languid, dreamlike "Mad Men" (which hung off a cliff for more than a year after Don ran off to marry his secretary). They echoed through the finales of the smart thriller "Homeland," the exquisite dark comedy "Enlightened," and the delirious melodrama "Revenge," in which Madeleine Stowe stepped onto a jet rigged to explode. (I suspect that, like Kimberly, she'll be back.)
These shows may have very different aims, but each of them uses the gap between episodes in a deliberate manner: they make manipulation a virtue. If the modern project for television critics is to move beyond comparisons to novels and movies, to find a way to celebrate and critique television in purely television terms, part of that struggle may require wrestling with, and at times embracing, the power of soapy, serial DNA—and the feminine, juvenile, commercial shame of it. Consider how even the most fervent fans still put down the shows they love, saying, "Well, really, it's just a well-made soap opera"—even as soap operas themselves have disappeared from daytime TV, chased off by reality series and talk shows.
Besides, there's another aspect of cliffhanger history: joy. When done poorly, the cliffhanger is all about shoddy craftsmanship, the creepy manipulation by a storyteller who has run out of tricks. When done well, however, it can be about much more: surprise, shock, outrage, and pleasure—the sort of thing that might send you dancing off the sofa. The cliffhanger is part of some of the silliest shows on TV; it's also key to understanding many of the greatest ones. It's the visceral jolt that's not so easily detached from television's most erudite achievements. But, then, that's the mind-body problem of TV, a conversation that has only just begun.♦


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FAQ013, January 2019
What is endometriosis?
Endometriosis is a condition in which the type of tissue that forms the lining of the uterus (the endometrium) is found outside the uterus.
FAQ193, June 2016
How common is heavy menstrual bleeding?
Heavy menstrual bleeding is very common. About one third of women seek treatment for it. Heavy menstrual bleeding is not normal. It can disrupt your life and may be a sign of a more serious health problem. If you are worried that your menstrual bleeding is too heavy, tell your obstetrician–gynecologist (ob-gyn).
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How to Evaluate Linear Data with R
Naturally, R provides a whole set of different tests and measures to evaluate how well your model fits your data as well as look at the model assumptions. Again, the overview presented here is far from complete, but it gives you an idea of what's possible and a starting point to look deeper into the issue.
How to summarize the model
The summary() function immediately returns you the F test for models constructed with aov(). For lm() models, this is slightly different. Take a look at the output:
> Model.summary <- summary(Model) > Model.summary Call: lm(formula = mpg ~ wt, data = mtcars) Residuals: Min 1Q Median 3Q Max -4.5432 -2.3647 -0.1252 1.4096 6.8727 Coefficients: Estimate Std. Error t value Pr(>|t|) (Intercept) 37.2851 1.8776 19.858 < 2e-16 *** wt -5.3445 0.5591 -9.559 1.29e-10 *** --- Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1 Residual standard error: 3.046 on 30 degrees of freedom Multiple R-squared: 0.7528, Adjusted R-squared: 0.7446 F-statistic: 91.38 on 1 and 30 DF, p-value: 1.294e-10
That's a whole lot of useful information. Here you see the following:
The distribution of the residuals, which gives you a first idea about how well the assumptions of a linear model hold
The coefficients accompanied by a t-test, telling you in how far every coefficient differs significantly from zero
The goodness-of-fit measures R2 and the adjusted R2
The F-test that gives you an idea about whether your model explains a significant portion of the variance in your data
You can use the coef() function to extract a matrix with the estimates, standard errors, and t-value and p-value for the coefficients from the summary object like this:
> coef(Model.summary) Estimate Std. Error t value Pr(>|t|) (Intercept) 37.285126 1.877627 19.857575 8.241799e-19 wt -5.344472 0.559101 -9.559044 1.293959e-10
If these terms don't tell you anything, look them up in a good source about modeling. For an extensive introduction to applying and interpreting linear models correctly, check out Applied Linear Statistical Models, 5th Edition, by Michael Kutner et al (McGraw-Hill/Irwin).
How to test the impact of model terms
To get an analysis of variance table — like the summary() function makes for an ANOVA model — you simply use the anova() function and pass it the lm() model object as an argument, like this:
> Model.anova <- anova(Model) > Model.anova Analysis of Variance Table Response: mpg Df Sum Sq Mean Sq F value Pr(>F) wt 1 847.73 847.73 91.375 1.294e-10 *** Residuals 30 278.32 9.28 --- Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
Here, the resulting object is a data frame that allows you to extract any value from that table using the subsetting and indexing tools. For example, to get the p-value, you can do the following:
> Model.anova['wt','Pr(>F)'] [1] 1.293959e-10
You can interpret this value as the probability that adding the variable wt to the model doesn't make a difference. The low p-value here indicates that the weight of a car (wt) explains a significant portion of the difference in mileage (mpg) between cars. This shouldn't come as a surprise; a heavier car does, indeed, need more power to drag its own weight around.
You can use the anova() function to compare different models as well, and many modeling packages provide that functionality. You find examples of this on most of the related Help pages like ?anova.lm and ?anova.glm.


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After doing the update, what happened was the nvidia drivers for my card failed to work correctly. I suspect that what happened was the update was done in two stages, and my impatience might have caused the issue. Anyway, I will describe what I saw and what I did to correct it.
First, when the update hit my machine, it appeared to me that the Update Manager GUI was not working correctly, so I killed it and opened up a terminal (I'm more comfortable working in a terminal anyway). I did the following:
I downloaded and upgraded around 1008 packages. During the update, I was prompted about differences between configuration files, which I can understand and seem normal. Once the upgrade was complete, I did a reboot, thinking that a bunch of major packages just got upgraded, and some stuff probably needed to be re-started.
Code: Select all
apt-get update
apt-get upgrade
When my system came up, I was greeted with the ! icon from the Update Manager indicating that there were updates available. I opened it up, and sure enough it listed around 600+ more packages that needed to be upgraded. I went ahead and chose to install the updates, and went about my merry way. When it was done, I went ahead and did a reboot (old Windows habit) and low-and-behold, the X server would not start. I ran the following and tried to reboot again.
The X server still would not start! I don't remember the exact error in the X server log, but I did note that it was looking for an older nvidia driver that had supposedly been updated. Sure enough I did
Code: Select all
sudo nvidia-xconfig
and it listed pacages for versions 295.20-1 and 302.17-2. What I ended up doing was copying all of the 302.17-2 packages to root's home folder
Code: Select all
ls /var/cache/apt/archives/nvid*
I then became the root user. HUGE WARNING! DO NOT do this unless you know what you are doing!
Code: Select all
sudo cp -v /var/cache/apt/archives/nvid*302* /root/
I then re-installed all of the packages using this command.
Code: Select all
sudo su -
After a re-boot, everything is working as it should.
Code: Select all
dpkg -i *.deb
Again, this may have been my mistake and my fault, but I thought that others may possibly learn from this and maybe be able to correct any problems that they might have. I suspect that what happened was the updated nvidia packages got installed prior to the newer kernel packages being installed.


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Impacts of climate change
Over the period 1948 to 2013, the average annual temperature in Canada has warmed by 1.6 °C (relative to the 1961-1990 average), a higher rate of warming than in most other regions of the world. Increased winter and spring temperatures have contributed to this warming trend to a greater degree than other seasons. Warming trends are seen consistently across Canada, but the regions showing the strongest warming trends are found in the far north. Strong warming in high-latitude regions is a robust characteristic of projections of future climate change as well. This indicates that the climate of Canada, particularly in the North, to which Canadians have been accustomed and to which we have adapted our activities, is expected to undergo substantial change in the future. Future warming will be accompanied by other changes, including the amount and distribution of rain, snow, and ice and the risk of extreme weather events such as heat waves, heavy rainfalls and related flooding, dry spells and/or droughts, and forest fires. In addition, Canada is a maritime nation with 8 of its 10 provinces and all three territories bordering on ocean waters (including Hudson Bay). Thus many regions of Canada will also be affected by changing ocean environments, including changes in average and extreme sea level, wave regimes, and ice conditions. Dramatic reductions in Arctic sea ice cover, particularly during the summer season, are already evident and well documented, and have been attributed to human-induced global warming.
Canada in a Changing Climate: Sector Perspectives on Impacts and Adaptation is an update to the 2008 report, From Impacts to Adaptation: Canada in a Changing Climate. The report assesses literature published since 2007 on climate change impacts, adaptation and vulnerability in Canada. It includes chapters on natural resources, food production, industry, biodiversity and protected areas, human health, and water and transportation infrastructure.
Related Links:
- Canadian climate: past, present and future
- Health Impacts
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Germany - Power Metal "Progressive"
-Precession (2012)
10/01/2012 / Comments (0) / by Hard Rock Passion news
Posted in: F
Welcome on HRP Website, updated regularly, slowly but surely. No download, no racism, no politics, no sex, no religion only passion of music! Visit us on Myspace (2) Facebook (2) Twitter, ReverNation.
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- This event has passed.
Playgroup – 7th June 2018
June 7, 2018 @ 09:45 - 11:15£2
We welcome bumps, babies and toddlers (aged 0-3 / pre-schoolers), with mums, dads, grandparents, nannies, au pairs, childminders etc.
Please make sure ALL adults and children are signed in on arrival. Cost is £2 per family, including tea/coffee/squash and biscuits (served until 10.45).
If you are able to help set up, please arrive at 9.30am. There is free play until about 10.50, then everyone helps clear away the toys, and we usually have singing/nursery rhymes from 11am until 11.15. There is a separate baby area.
There is a large car park (entrance on Watling St). If you are bringing a buggy, please park it in the corridor to allow extra playspace in the hall. There is a separate baby area.
Note: Please close doors behind you when you enter and leave the premises, in order to prevent escaping toddlers!
The playgroup is run by mums / dads / grandparents and we always need volunteers to set up, make teas and tidy away. If you feel you can help in any way even just occasionally please email the playgroup orgainiser on firstname.lastname@example.com.


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Albert Bryan, son of Morrison Bryan and Rhoda Johnson, was born on 29 July 1815 in Greene County, Ohio. He married Ann Parker on 12 November 1850 in Jefferson County, Iowa. In 1847 Albert was granted a land patent in Fairfield, Mahaska County, Iowa. Albert worked as a farmer and a master carpenter. He spent the rest of his live in Poweshiek County, Iowa.
Albert and Ann had five children. I was able to follow four of the five children, I have been unable to determine what happened to Sarah Emily Bryan who was born in 1855 and was listed in the 1860 census. So, the children of Albert and Ann were
Oliver Bryan (1851-1944) Iowa to California [married Mary Emma Doyle]
William Morrison Bryan (1853-1938) Iowa to California [married Belinda N. Alexander]
Sarah Emily Bryan (1855- ) Iowa
Alice Edna Bryan (1859-1925) Iowa to South Dakota [married Edward Alonzo Stone]
Joseph Theodore Bryan (1865-1950) Iowa to California [married Mary Jane Good]
I believe that Albert is buried in the I.O.O. F. Cemetery in Montezuma, Poweshiek County, Iowa. I have been able to acquire a death certificate. Also, I am looking for information about a grave marker in order to get a photo of it.
If you are interested in any of these family members and would like to collaborate, please contact me.


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American to begin Los Angeles-Auckland route/
American Airlines will begin service to Auckland, NZ from Los Angeles, CA in June 2016. The flights will be operated by American's newest aircraft, the Boeing 787-8 Dreamliner.Read More
Debrian Travels, published by Debrian Media, is a travel blog that focuses on both travel experiences as well as travel planning.
American Airlines will begin service to Auckland, NZ from Los Angeles, CA in June 2016. The flights will be operated by American's newest aircraft, the Boeing 787-8 Dreamliner.Read More
Debrian Travels will speak to working professionals who are passionate about travel. These individuals seek to maximize their travel value by enjoying premium experiences at a reasonable cost. The blog will discuss techniques to maximize this value through planning and preparation while leveraging travel rewards to lower expenses. I will offer personal success stories, review my travels, analyze relevant news, and present tutorials to help others maximize their travel "experience value." Content will be structured so as to be relevant to those readers who do not completely match the profile of the average reader of the blog.
About Derek
Welcome! I am Derek, publisher of Debrian Travels and owner of Debrian Media. I am a native of Atlanta, GA and live with my family in the city's northern suburbs. I love to travel domestically - I have been to all 48 of the continental U.S. states - but have begun to venture abroad. After my first visit to Europe in 2014, I developed an unquenchable thirst for international travel. I am very thankful that my wife enjoys and values travelling overseas as much as I do. Unfortunately, travel is only a hobby and not my career. I currently work as a financial professional for a Fortune 500 company. Read More
Comments Policy: All comments are subject to moderation. I believe in open discussion and permit any comment that is not profane, harassing or threatening. Removal of any comment is solely at my discretion.
Disclaimer: All opinions expressed on DebrianTravels.com are mine alone and do not reflect those of any company whose product or service I may review or discuss. Opinions expressed do not reflect the views of any employer I may have at any time during the publication period of this blog.
Advertising Disclaimer: I receive no compensation in any form from any of the products I review or mention in this blog. The only compensation I earn from DebrianTravels.com is from Google Ads that are placed on the site.
© 2019. Debrian Media. All rights reserved.


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From the Australian Open to the US Open, I couldn't get enough tennis. It seemed like there was a constant stream of news. I was attending tournaments almost monthly and if I wasn't watching in person, I was glued to the TV. For those of you in Europe, I highly recommend a subscription to the online Eurosport player. They provide great tennis coverage, much better than what we have here in the US. Anyway, the last month has been tough for me, not because of my crazy schedule or copious amounts of work, but because I'm going through tennis withdrawal. My favorite blogs are only updated every few days, my twitter feed is as silent as I've ever seen it, and if I want to watch a match I have to stay up until 3am.
Luckily, next week the ATP tour moves back to Europe and I can stop being nocturnal. Even better, there's actually been news. The last few weeks have been pretty boring. Rafa won another tournament. Yeah, that's not really news anymore. Serena Williams claimed she was coming back at Linz and then tweeted that she was actually wrapping up the year instead. I guess that's kind of news, but who didn't see that coming?
Anyway, let's talk about some of this week's developments.
First up, Caroline Wozniacki has reopened the infamous WTA #1 debate. After winning the Beijing tournament Caro topped Serena Williams for the number one spot even though Wozniacki remains winless at Grand Slam events. I thought we exhausted this debate when Jelena Jankovic was #1, and then again when Dinara Safina was #1, but I was wrong. Everyone had to weigh in all over again and I was actually quite surprised by the overwhelming criticism of the adorable Dane. As far as I'm concerned the numbers don't lie. She won the points and deserves the credit. Plus, Caroline Wozniacki has won as many tournaments this year as Serena Williams has played. Don't tell me she doesn't deserve this.
Nadal lost in Shanghai. I think there was actually more press about his loss to Jurgen Melzer than the fact that he won last week's tournament. Frankly Nadal can afford to spread the wealth a little when it comes to winning and this was pretty darn impressive for Jurgen Melzer, who has never beaten Rafa before. Also, a great way for Melzer to underscore the point I made in my article a couple of weeks ago that the older players keep getting better. If he keeps playing this way, Jurgen actually has a reasonable chance of making the World Tour Finals.
Roger Federer was named in a betting lawsuit. Apparently the owner of IMG, Fed's management firm, upped his bet on Fed to win the 2006 French Open final based on a tip. The IMG guy may be guilty or he may not, but I honestly don't believe Fed had anything to do with this. Roger addressed the situation in his latest press conference, saying he was unconcerned as there was no truth whatsoever to the claim.
Daniel Nestor and Nenad Zimonjic are parting ways next year. If you don't follow doubles, this means nothing to you. However, these guys are the number two doubles team and have won three Grand Slam titles together. Nestor will play with Max Mirnyi next year and more interestingly, Zimonjic will pair up with Michael Llodra. I'm pretty intrigued by this second pair. Nenad only plays doubles so I'm a little surprised he chose a partner that is currently a high ranked singles player.
Andy Roddick is injured, again. Poor Andy just can't catch a break. He was forced to withdraw from his first match in Shanghai against Guillermo Garcia Lopez with a leg injury. He hopes to be back for Basel and almost certainly for Paris, but it's going to be an uphill battle to make it to the World Tour Finals this year. Roddick looked pretty torn up about his withdrawal in Shanghai and I can't blame him. Andy's bestie Mardy Fish is also out, with some kind of ankle injury. Hopefully they both make a full recovery and we'll see an American back in the Top 10 soon.
In weird tennis news, Ana Ivanovic was docked an entire game worth of points during a match in Linz. Apparently she had to leave the court to throw up but wasn't given permission. It turns out the game was insignificant since Ana won quite convincingly, but you've got to think this was a little unfair. Would the ref have preferred she throw up on court?
Well, that's a wrap for this week's tennis news. Plus, it's 3am and I'd really like to catch the Djokovic/Garcia Lopez match. I'll be back next week, hopefully with something a little more interesting.
Copyright © 2013. All Rights Reserved.


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Commercial partner set
New European club league to open in 2014/2015
Fans in Europe will be able to attend attractive international games of 40 participating club teams. Pictured is the O2 World where Eisbären Berlin plays. Photo: Florian Pohl / City-Press
ZURICH/ZUG The Board of the European Club Competition (ECC) has appointed the international sports marketing company Infront Sports & Media as the exclusive commercial partner for the new pan-European club ice hockey competition.
The cross-season, international league format will start as of the 2014-2015 season and determine the European club ice hockey champion out of 40 top-tier clubs and national league winners.
The time is now right to establish a pan-European league for top club ice hockey, said Anders Ternbom, Chairman of the ECC and representative of the clubs within the board. We all believe in the potential of this project and we are positive that with all stakeholders closely involved and having Infront as proven marketing partner, we will put in place a successful, competitive and financially viable league.
The inaugural season will see 40 clubs from the national leagues in Austria, the Czech Republic, Finland, Germany, Sweden and Switzerland take part, including the respective national champions and regular season winners. Discussions with the Kontinental Hockey League (KHL) regarding the participation of KHL clubs are still on-going. Out of the 40 teams in the Preliminary Round, 16 will advance to the 2nd knock-out stage playoff round.
The new brand name of the international league, which will stretch out from August to February each season, will be communicated in early 2014.
In many major European markets, club ice hockey is played on an impressive sportive level and is enjoyed by thousands of committed fans, said Kalervo Kummola, IIHF Vice President and representative of the international federation within the ECC Board. It is therefore the logical next step to take club ice hockey to another level and go international. We are convinced that the joint forces of clubs, leagues and federations backing the ECC will make this project a boost for the European winter sports landscape.
The ECCs commercial partner was selected following an international tender process and will see Infront exclusively handle all commercial and media related areas of the new competition, which is being launched and fully backed by all relevant stakeholders in national and international ice hockey. The decision to enter the all-encompassing partnership was made at an ECC Board meeting taking place in Berlin last week.
Ice hockey is part of our companys DNA and the partnership with ECC is a key priority for Infront, said Philippe Blatter, President & CEO of Infront. Our experience within the commercialisation and promotion of ice hockey makes us strongly believe in the sportive and marketing potential of the new competition and we are fully committed to help develop an impactful pan-European league.
Our target from day one will be to ensure maximum exposure producing and giving fans access to each and every ECC game played during the season. The new league has the potential to become a must-have property for commercial partners in all core and adjacent ice hockey markets in the world.
Infront will be responsible for the worldwide distribution of media rights, the centralised marketing rights, merchandising rights as well as the high-quality multimedia production of all 149 ECC games in HD format. In addition, Infront will provide substantial support to the ECC rights holders in the overall development of the new competition, delivering services in the area of digital media, branding, promotion and rights delivery.
Initial feedbacks from the market on the launch of the ECC competition have been entirely positive and prove all efforts in bringing the project to life worthwhile, said Bruno Marty, Infront Executive Director Winter Sports.
Winning the ECC tender is a great success for Infront, for which we have been working hard for a few years. Our team has a strong track record of managing both media and marketing rights under one roof and efficiently exploiting the resulting synergies to develop major sports events in a strategic manner. Based on our broad experience with winter sports properties we will make sure that the expectations of the ECC shareholders, commercial partners and ice hockey fans worldwide will be more than fulfilled.
The new competition, which will start in August 2014, is fully owned and operated by the European Club Competition (ECC), which includes as its shareholders top European clubs, six national leagues and the International Ice Hockey Federation (IIHF). This means that all levels of national and international ice hockey are represented in the planning and implementation of the annual event.
With the new European Club Competition we will create additional value sportive, financial and emotional for the European clubs, leagues and fans, said Gernot Tripcke, Managing Director of the German Ice Hockey League (DEL) and representative of the leagues within the ECC Board.
Infronts comprehensive and very detailed approach provides a perfect fit for the needs of the new league and its stakeholders. We are very confident to have the best partner on our side to develop a new, strong ice hockey property over the next coming years.
Infront has already entered a partnership with the sportsman media group, collaborating on the media rights exploitation in German speaking territories, for the distribution of certain marketing rights as well as selected specialised services.
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Artist description:
There its done!Luna is so adorable i wanna draw her again sometime!And her personality is so cute :3 the wolf is a sadistic so he likes to annoy and tease my other OC Runa :P Luna and Wolfie wud get along so well that I'm going to feel sorry for Runa
Java Draw Created Nov 17, 2012 736 x 1024px Unless noted Copyright 2012 ChocoMiu.
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Hahaha! This really made me laugh! Great job, and I love the chibi girl in the upper left corner. She looks awesome! 5h!
Thank you!!!
Cute! You really made it funny as well! I think you should use Luna more as well, you portrayed her well. ~ 5/5h ~
Thank you~!!! Im glad i was able to portray her well!!!
nice draw with storyline! 5h great idea!
haha Thank you!!!


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Watch your back, Suze Orman: There's another tough-talking platinum blond dispensing sound financial advice.
In an interview in the latest issue of Entertainment Weekly (on stands today) the 32-year-old pop iconoclast reveals that, on the advice of her former label head (and current X Factor judge) L.A. Reid, she maintains a special "F— You" account where she deposits more than half of her earnings. "When I first started, L.A. Reid said, 'Make sure you put money into your F- - - You account. That's the account that, one day when people ask you to do things you don't want to do, you say "F- - - you." ' I make sure that my F- - - You account is okay, so that you never have to make decisions based on money. I feel like that's where people kill their careers."
The "Blow Me (One Last Kiss)" singer says it's one of the ways she measures whether her career is going well. "I'm never the kind of person who's sitting at home reading the charts and basing how I feel about myself or even my career on stats. I've always based it on, Am I doing the best that I can do? And how's my F- - - You account?"
Pink, whose The Truth About Love is due Sept. 18, also says unequivocally that she will never sign on to appear on a reality show. "It's not gonna happen. It's not that I don't want to do one, it's just out of spite for everyone else doing one and it being so f- - -ing annoying. I believe that ours would be very entertaining, but no thank you. I've been asked to do American Idol and X Factor. I'm an Ed McMahon kind of girl. Star Search? I'm in, all day long. It felt more authentic, and the market wasn't oversaturated with karaoke -contests. It's just not for me."
For more unfiltered honesty from Pink — including the untold stories behind some of her biggest hits — and more on the most-anticipated albums and tours of the coming season, pick up our current issue, which features our Fall Music Preview.
More on EW.com:
Alicia Keys talks to EW about her upcoming 'Girl on Fire', reveals new album cover
Rick Ross and David Copperfield hang out on stage in Vegas — VIDEO
Dee Snider doesn't want Paul Ryan using Twisted Sister's 'We're Not Gonna Take It'
Dave on Twitter: @davekarger


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McNeese Website Documentation
Using & Managing Workflow
Using & Managing Workflow
Workflow States
Workflow is used on the McNeese website to control how content gets published and if a given content is allowed to be published. What a user is and is not allowed to do is directly related to the workflow state. Users must understand what each workflow state's purpose is and what those states are meant to be used for. This is of particular importance in terms of accessibility compliance given that, in accordance to U.S. Federal law, content cannot and will not be published if it fails certain accessibility criteria. The workflow is broken into the following states:
Draft is the default state for all unpublished content. Content in this workflow state is considered not-ready for publishing and not ready for review. Draft content may transition into:
- Needs Review
- Needs Validation
Needs Work
The needs work state is similar to the draft state with the exception that a problem has been found that prevents the content in question from being published. The most common case is when content fails accessibility validation due to some sort of major accessibility violation. Some content may require needs review before it can be published and so some users will not be allowed to transition to needs validation. Needs work content may transition into:
- Draft
- Needs Review
- Needs Validation
Needs Review
Content may be required to be approved by some user before it may be published. The needs review state represents a request for review so that content may be published. Reviewers may only transition content to either needs work or needs validation. Reviewers usually cannot edit content. Needs review content may transition into:
- Draft
- Needs Work
- Needs Validation
Needs Validation
In accordance to U.S. Federal law, all content published on www.mcneese.edu must be made accessible. All content must be placed in this state before that content can become published. Most users are not allowed to change the transition state for needs validation content. When content is placed in this state it will be auto-scanned for accessibility issues and if there are no major issues, then the content will immediately be place into the published state. If content fails validation due to major accessibility issues, then that content will be immediately placed into the needs work state and an alert will be presented to the user. A person may manually validate their content by visiting the moderation tab and selecting the accessibility link for a specific revision. Sitewide accessibility statistics are available to all logged in users at www.mcneese.edu/admin/content/accessibility/node_statistics. Read the Web Accessibility documentation for details on what accessibility is. Needs validation content may transition into:
- Draft
- Needs Work
- Needs Review
- Published
Content in this state is published content. When content transitions into this state then that content also becomes live. Published content may not transition into any other state. If a user does not want some content to be published, they must either unpublished that revision (if authorization allows such), revert an older revision, create a new draft and submit it for publishing, or delete that content.
Manging Workflow States
Content that is created for the first time is automatically placed in the draft state (Unless Auto-Validate Drafts is enabled in the user's profile). For all other content, the states must be transitioned by the appropriate users. On each page there exists a workflow tab that will direct users to the content's workflow moderation page. The workflow page provides a table of revisions that represents all changes made to the content and all transitions the content has undergone. On the far right of each row are two important columns:
- Actions
- Workflow Log
The actions column provides a collection of links used to perform administrative and management tasks such as viewing a particular revision, viewing accessibility statistics for a particular revision, and even reverting a given revision. For administrative users there may even be the ability to delete individual revisions, but this is considered bad practice.
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Copenhagen to Oulu Flights (CPH-OUL)
Copenhagen to Oulu
Finnair serves Copenhagen through Copenhagen Airport (CPH). Enjoy a world of in-flight entertainment with a library of music, movies and more. Start your next trip in true Nordic style and comfort when you fly with Finnair.
Copenhagen Airport is conveniently located just 8 km to the southeast of Copenhagen itself. Getting to the airport is simple, with Øresundståg trains running between the city centre and the airport. Alternatively, Line M2 of the Copenhagen Metro takes just 15 minutes to transport you from the city to CPH. Movia buses 5C, 35 and 36 also connect Copenhagen's centre with the airport, meaning there are plenty of ways for you to get there.
Departing from Copenhagen with Finnair
- Your Finnair flight from Copenhagen will depart from Terminal 2.
- Check-in opens 2 hours before your flight time and closes 45 minutes before departure.
- You can also check in at the kiosk at Copenhagen's central railway station.
- We operate up to four flights a day from the city, meaning you can travel at the most convenient time for you.
Oulu is the largest city in northern Finland. A technology-focused city, it is famous for its citywide free public Wi-Fi and for being home to the offices of several national IT companies. It's not only business travellers and IT professionals who visit Oulu, though; the city has plenty to keep everyone busy for a few days or longer. Find out more with this useful Finnair travel guide to Oulu and have a great time discovering northern Finland.
Sights in Oulu
Oulu's must-see sights include the Rotuaari pedestrian boulevard, with its cosy cafes, street entertainment and tempting restaurants; and Tietomaa science centre, which was the world's first dedicated centre of its kind. In addition, be sure to check out some of the lush green parks, which you can find dotted about the city, as well as a hiking path or two. One of the main city parks is now located where Oulu Castle once stood; the castle was, however, destroyed in the 18th century when a flash of lightning ignited gunpowder stored in the castle. The beach at Tuira is a nice place to relax on warm, sunny days. Art lovers should pay a visit to the fascinating Oulu City Art Museum, which is home to various modern works of art. Old buildings surround the dockyard and recreational activities include public swimming pools, cinemas, bowling and a theatre. Great for children and adults alike, Pelibunkkeri has table football, snooker tables, laser tag, air hockey and a variety of arcade and video games. One of the city's more unusual events is the International Air Guitar Festival, held each August.
Things to See and Do Near Oulu
- Koitelinkoski – The rapids along the river are ideal for adventure seekers, with excellent canoeing and white-water rafting opportunities.
- Iso-Syöte – This is a prime winter destination for downhill skiing.
- Hailuoto – Catch a ferry or ride the cable car to the biggest island in the Gulf of Bothnia and visit the lighthouse, church and dunes.
Shopping in Oulu
Oulu's shopping offers a selection of products including, somewhat unsurprisingly, electronics and various mobile devices.
- Oulu Market Hall – In operation for more than a century, this market has a wide selection of foodstuffs. You can also find a diverse assortment of local souvenirs here.
- Luhta Outlet – Fans of discount fashions are sure to love the bargains here.
- Rotuaari – The pedestrian district has diverse shops and boutiques catering to varied tastes and budgets.
- Stockmann – Browse in the most northern branch of the famous Scandinavian department store and pick up goods like luxury clothing, toiletries and cosmetics, footwear, items for the home, household appliances and more.
Food and Drink
- Rössypottu – A basic meal that originates in Oulu, this is a type of thick and hearty stew. The main ingredients are potatoes, pork and blood pudding.
- Pettuleipä (Bark Bread) – This local bread is made using rye flour and pine bark for an unusual flavour and texture.
- Rönttönen – This traditional sweet open pie has a crust made from rye or barley dough. The filling consists of sweetened mashed potato with berries. Lingonberry is the most common berry used to make the pie.
- Leipäjuusto – More of a snack or a side accompaniment than a meal in itself, this is a type of bread cheese.
Transport in Oulu
With a large pedestrianised area, good cycle routes and extensive, reliable bus networks, moving around different parts of the city is generally very easy and timely. Day tickets are available for buses in Oulu, allowing you to take as many journeys as you like over a 24-hour period for one fixed price.
- By foot – The pedestrian street of Rotuaari can only be accessed by foot, and walking is the best way to see the surrounding streets too.
- By bicycle – Various cycle tracks run around the city, making it easy to get to most places by bicycle. Cycle lanes are generally very well respected and safe in Finland. There are several bike rental shops around the city.
- Buses – The price for bus tickets depends on the zones travelled through; vehicle transfers are allowed on the same ticket as long as you have paid the appropriate fare for the total journey. Additional fees apply at nighttime. Regular tickets are valid for one hour. Day passes are convenient for visitors.
- Sightseeing services – During the summer months, the hop-on hop-off Potnapekka is a good way for tourists to travel between the city's major sights. A combination of bus and train, there are two routes: one via Nallikari and one via Hupisaaret. Both services start at the end of Rotuaari.
- Taxis – Taxis are plentiful in Oulu and they work under a set price schedule as indicated by the meter. Surcharges may be added for bulky luggage.


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Data and Information Service
Project DescriptionThe WDC for Glaciology, Boulder and the Electronic Geophysical Year (eGY) in collaboration with many others propose to host the IPY DIS described in the IPY Framework Document. The DIS will work closely with the Data Policy and Management Sub-Committee (Data Committee) and other data management bodies and observing networks to develop the IPY data and information policy and strategy. The DIS will then be the primary implementer of that strategy and policy recognizing that the strategy will need to evolve with the science needs and developments of IPY.
Although much will depend on the strategy that is developed, we envision the DIS as an overall data management consultant and coordinator and a central data portal for an internationally distributed data management system. The DIS will continue to establish close partnerships with data centers and organizations around the world to build on existing systems. We will also work with each specific IPY cluster to ensure appropriate centralized data description and distributed archiving. Regional or discipline-specific "affinity centers" coordinated by the DIS will facilitate appropriate data description and archive. For example the Frozen Ground Data Center at the WDC, Boulder is working closely with the permafrost cluster, while the proposed Arctic Peoples' Observations Center (EoI 358) could coordinate community-based monitoring data. Other potential affinity centers based on our current partners could include Russian data, Chinese data, data for education and outreach, remote sensing data, geospatial data infrastructures (regional and global), paleoenvironmental data, marine biological data, bibliographic data, and others (a detailed spreadsheet is available on request). Many of these affinity centers will likely create their own means of access to the data. It is unrealistic for a central DIS to be the single or even primary means of access, but we would like to establish a means to automatically share metadata across the system through a common (perhaps XML-based) framework
Specific activities of the DIS could include:
•Collection (automated, where possible) of catalog metadata for all IPY projects and provision of Web-based portals to all IPY data archived around the world.
•Examination and implementation of data discovery tools and data presentation schemes such as an interoperable web-based map server to enhance data access through a Web portal (could include a locator map for all IPY projects).
•Identification of existing tools to facilitate data management, and build on those to meet the needs of the IPY community. For example, the Global Change Master Directory's (GCMD) metadata authoring tool, docBuilder, could be customized.
•Serving as a focal point for cross-disciplinary data integration, especially across the natural and social sciences.
•Creation of appropriate management tools for non-numerical data such as interview transcripts, photographs, and videotapes.
•Collaboration with eGY to make data management best practices and principles available to researchers and agencies, via Web pages, workshops, and other channels.
•Acting as a clearinghouse and facilitator for data management and integration issues that need research, discussion, and resolution.
•Working with eGY to increase awareness of the value of data management for both numerical and non-numerical data.
•Responsive service to the IPY research community regarding data management
The DIS will take advantage of existing data management infrastructures, organizations, and technologies such as National and World Data Centers, the Joint Committee for Antarctic Data Management (JCADM), the GCMD, virtual observatories, and the Global Spatial Data Infrastructure. This distributed system will allow for appropriate management of the various types of data including social science and physical science data, and analog collections. The distributed nature of the system will also encourage development of new and experimental data access methods, including data mining technology and innovative data presentation methods that facilitate data integration.
It is essential, however, to ensure ready and equitable access to and effective long-term preservation of the data. The DIS will assist distributed archives in adhering to sound data management principles and best practices as defined by the Data Committee, eGY, CODATA, WCRP CliC, JCADM, our partners, and other entities. We will ensure that these principles build upon existing international standards such the Open Archival Information System Reference Model and the ISO19115 metadata standard. The DIS will take advantage of emerging shared resources in the geosciences community, such as the effort to develop an international geophysical sample number (IGSN). In addition, the DIS could assist data providers in addressing human subjects protections and confidentiality issues for social science data and for other types of geo-referenced data.
Information provided by http://classic.ipy.org/development/eoi/proposal-details.php?id=49


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Go See It: Modern Home Tours Denver – Saturday June 2
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Let's be honest here for a moment. As a modern-design fiend I personally spend a lot of my "down" time on the internet, googling what essentially equates to tons of pretty pictures of awesome modern architecture and design. When I find something super cool – I love to share it with our team here at Design Public so that we can all oooh and aaahh over it together.
So recently when we had the opportunity to partner with the folks at Modern Home Tours we knew, based on our history of fawning over well-designed things and our commitment to sharing those things with you, that we simply had to do it. So we did – and we're proud to announce that our first tour as a sponsor is happening this weekend in Denver, Colorado.
The photos in this post are actual photos from some of the 8 homes that will be on display this Saturday, June 2nd. If you're in the Denver area, you should be sure to go and check it out. The self-guided driving tour features 8 homes, all of which will open their doors for 6 hours – from 11:00 AM – 5:00 PM on Saturday, June 2, for viewing.
Wanna save a bit of moola? As a friend of ours, you get 5 smackeroos off of the price of each Denver Modern Home Tours ticket – just use code DESIGNPUBLIC at checkout!
And ooh – are you in the Denver area? We have 3 pairs of tickets to give away to a commenter here on Hatch. Leave a comment and make sure you leave an email address for us to reach you – we promise not to spam you. You must comment by 2 pm PST on Thursday, May 31st to be eligible. We will choose a winner at random. Good luck!


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Washington Tasting Room is a new print publication dedicated to Washington wine country. The magazine describes itself as a "tour guide to wineries and wine regions, people, restaurants and eateries, accommodations, sightseeing, entertainment, local artists, and will bring you ideas and inspiration for your home." The first issue was released in the Fall, and the second, Winter issue was recently released.
The first thing one notices about Washington Tasting Room is that it is beautiful in appearance. The magazine features a glossy cover and gorgeous, eye catching photographs throughout. Organizationally, the magazine is composed of a series of articles with event calendar information interspersed between them.
In terms of articles, the magazine features Tour, Taste, Travel, and At Home sections. The Tour section contains articles on wineries and vineyards. The Taste section contains articles on cheeses, restaurants, recipes, and a Sommelier Q&A. The Travel section includes articles about resorts, recreation, and entertainment. The At Home section contains articles on art and other areas of interest. Additionally, the magazine features sections on news and tasting room opening.
One can always tell a lot about a magazine from its advertisements – who are their readers or, in this case, who do they want their readers to be? Advertisements here include those from hotels, transportation services, and, of course, wineries. The magazine seems generally targeted toward wine tourists and is sure to be a tasting room staple. I can imagine seeing a copy on the nightstand of a B&B in wine country.
The choice of devoting a fairly substantial portion of the magazine to food and wine events seems an interesting one, and, again, telling about the overall intention of the magazine. Given that Washington Tasting Room is a quarterly, it can't provide up-to-the-minute listing of the latest goings on. Rather, these listings focus on various long-scheduled events in Washington wine country making one say "Oh look, there is a winemaker tasting in Bainbridge in February. Let's go!" Event listings are broken down into regions across the state.
Overall, Washington Tasting Room is an interesting, visually attractive magazine that one can either flip through and find short pieces of information or spend more time with, reading the longer articles if one so wishes. A perfect wine touring companion.
John Vitale serves as Washington Tasting Room's publisher and editor. Contributors include Linda Hagen Miller, a freelance writer; Steve Roberts, author of the WineTrails book series and websites; Kori Voorhees, editor of Wine Peeps; Jim Tassielli, owner of a consulting firm that works with cheese makers and retailers; David LeClaire, sommelier and founder of Seattle Uncorked; food writer Cynthia Nims; and freelance writer Jill Perillo Clark.
Washington Tasting Room produces four issues annually. Issues are available by subscription ($20 annually) or at various locations such as wineries, restaurants, wine bars, and retailers ($6.95 per issue).
Washington Tasting Room magazine
Washington Tasting Room is a new print publication dedicated to Washington wine country. The magazine describes itself as a "tour guide to wineries and wine regions, people, restaurants and eateries, accommodations, sightseeing, entertainment, local artists, and will bring you ideas and inspiration for your home." The first issue was released in the Fall, and the second, Winter issue was recently released.
5 comments
Thanks for reviewing this! I have been trying to find a copy but might have to resort to ordering online. I was excited to see this publication.
Do you have any experience with Washington Wino magazine? Considering subscription to that one too.
Josh @nectarwine
Will Sean possibly serving as a guest contributor in the future? Just askin.
Sean P. Sullivan Says:
Josh, you can read a writeup I did on WINO about a year back at:
Also, you and other Washington wine lovers should check out Rand Sealey's Review of Washington Wine. See my post here:
Anon, no plans for this. Blogging keeps me plenty busy!
It is exciting to have another high quality magazine for the Washington region. Have you read the Mid-Columbian magazine? It usually has 3 or so wine related articles in the pages as well as a few recipes and other "lifestyle" articles. They use a few different wine article writers but Steve Bjerklie seems to be their main wine corespondent.
Sean P. Sullivan Says:
Anon, many thanks for pointing out the Mid-Columbian. I will look forward to checking it out.


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Chicago Fire hold on for 1-0 win over Revolution
FOXBOROUGH, Mass. (AP) — Quincy Amarikwa scored in the 3rd minute and Sean Johnson saved a penalty kick in the 86th to seal the Chicago Fire's 1-0 win over the New England Revolution on Saturday.
Johnson dove to the right and got his right hand on Chris Tierney's low left-footed PK. The block sent the ball into the air, off the post and rested on the goal line before Johnson secured it.
Johnson's big stop helped the Fire (3-4-10) stop a six-game winless streak. It was the fifth consecutive MLS loss for New England (7-8-2).
Amarikwa's goal was Chicago's quickest score of the season. He won a long ball from Mike Magee and chipped home a shot past Revolution goalkeeper Bobby Shuttleworth.
The Revolution played without leading scorer Lee Nguyen after he was suspended for one game for endangering the safety of an opponent.