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I don't typically equate farming with having a good time in a video game, so imagine my disdain when Rune Factory 4 came in for review. Then imagine my surprise when I find a much deeper and rewarding experience than Nintendo's own Animal Crossing: New Leaf that was released just a few months prior. I'll admit after giving up the Harvest Moon series nearly a decade ago, Rune Factory 4 might be the game that pulls me back in to the series, provided I can get past some of these ridiculously cliché characters and tropes.
Rune Factory 4 starts with your main character aboard an airship, bound for an unknown destination, with a parcel in hand that some ne'er do wells want to get their hands on. A short tussle doesn't quite go your way and now you're an amnesiac (of course), and you're falling from the sky. Thankfully the town of Selphia and their dragon guardian Ventuswill are there to break your fall. Apparently you were expected, though not in this fashion, as Ventuswill has you pegged for the prince (or princess should you choose) that was meant to arrive. How odd though that a prince/princess would be prime material for working the fields of Selphia, but at least everyone seems to be helpful in the town and receptive to your new responsibilities. But there's something a little more sinister at play here, and by following the at times drip-fed storyline, you'll wind up being something a little more important than the groundskeeper of Selphia.
So what does being a farmer in Rune Factory 4 entail? Quite a lot actually. There are a number of roads you can take after the initial introduction to the game, and at times it feels like there is almost too much stuff to do in any given day. First you've got to tend to the crops, and then maybe go make some food with said crops, or do you go sell them to buy seeds for more plants? And then you've got to make sure you're keeping up with the people in town (who are presented in the most generically animated cut-scenes I've ever seen) and make sure you're giving them gifts so that they stay happy. Some of these people in town feel like such cookie-cutter anime characters that it's almost insulting. You've got the brave knight who secretly loves sweet things and is afraid of ghosts, the cheerful bath house attendant with her older sister, but the most jarring member of the town is Porcoline, the town chef who is a fairly effeminate male but grossly overweight, combined with the performance of his voice actor, he stands out as the sole exception to the rest of the town's banality.
Then there are the requests from the townspeople that you've got to fulfill, but not before you go searching for materials so you can build yourself a forge, or maybe a monster barn, or perhaps some cutlery for cooking? Is it someone's birthday? Or is there an event going on in town, like the fishing challenge or the cook-off? There is pretty much always something happening within the town of Selphia that can eat an entire day in game time (1 game hour to 1 minute passing in real time). Then there's the actual storyline to follow, which is where the game takes a noticeable turn for the difficult.
So when you decide to not be totally tied down to the farmer lifestyle, you can go out and explore the areas around Selphia which is full of monsters that will have no problem mowing you down early on. The leveling up system in Rune Factory 4 doesn't adhere to the norms of 'Get XP, stuff happens.' Instead it's similar to that of Final Fantasy 2, where the more you perform an action, the stronger it gets. The same rule applies to gaining hit points, get hit, get points, and rune points which are used to perform actions like cooking, weapon skills, or magic. It pays to play so to speak, but at times it can feel a little overly 'grind-y' making for dull patches of gameplay where you're just running around taking damage or plowing through enemies and fields. The biggest problem here is having little indication to tell you where you should be physically before entering certain areas. And this in turn can lead to quick deaths which also means taking a good chunk of your cash to cover the medical bills when you pass out. Yes just like in real life the threat of crippling medical debt is always looming over your head in Rune Factory 4, so save early and save often, which has me wondering, why is there no easy way to get back to the main menu to load my data? You have to restart the game completely to get to a data loading screen, which is a minor annoyance.
Combat isn't much to write home about, just your typical top-down classic Zelda inspired action-adventure fare, with all attacks mapped to the B button and combos that are performed by hitting the button until things die, and spells mapped to X and Y respectively. There is a dash which is on the R button and is quite useful for getting out of some messy situations, and can be combined with normal attacks once a weapon has been leveled up enough. Hit boxes can be a little weird against some of the bosses, causing them to hit you when it doesn't look like they are, and the same can be said for attacks, which don't always seem to have the range you think they do. It's not enough to be totally detrimental to the game, but it does happen from time to time.
From a visual standpoint this game isn't looking too hot either. The 3D models are alright, but the world surrounding them looks a bit drab, with lower resolution sprites making up a majority of the locales you'll be visiting. The game is certainly bright and colorful, but for some reason it is visually jarring to see 3D characters running around on a 2D plane, and everything just looks flat. And the 3D effects aren't all that impressive either, relegated to small weather effects, it's almost hard to tell whether or not I have the 3D slider turned on. In terms of audio, the game is mostly forgettable in this regard, and I don't know if it was just me, but I was tuned out of the music to the point that I had to turn up the volume just to confirm whether or not there was music in the game. The voice acting features a lot of repeated lines, which thankfully aren't grating on the ears.
While Rune Factory 4 does have a lot of stuff to do, it also falls in to that Animal Crossing grind where I'd check in for a little bit, run a few errands and then put it down for a while. I felt that there was no sense of urgency to get the story done, but once things got rolling I was definitely pulled in, even if on more than one occasion I was stymied by enemies that were way more powerful than me. Thankfully there's a lot more post-game content too, like attempting to marry one of the townspeople. If there is one thing this game isn't short on, it's things to do.
Like I said before, at first I wasn't totally on board with Rune Factory 4, but after spending more time with it than Pokemon X lately I've warmed up to it quite a bit. It's not the prettiest game out there, but it has some solid gameplay mechanics and the amount of things to do is never in short supply. In fact, sorry citizens of Odessa, you're going to have to start picking your own weeds. The town of Selphia needs me, and they've got a lot more stuff going on than visiting islands to catch bugs.
Never short on content, Rune Factory 4 is full of things to do that'll keep players engrossed for a long while.
* The product in this article was sent to us by the developer/company.
In a past life I worked with Interplay, EA, Harmonix, Konami, and a number of other developers. Now I'm working for a record label, a small arm of casual games in a media company along with Gaming Nexus, and anywhere else that sees fit to employ me.


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Your search for a Minneapolis Apartment Ends Here
Tired of the apartment search? Finding the right apartment complex does not have to be so complex. Let Richdale's apartment relocation specialists do all the work for you…Richdale's Minneapolis, MN apartment portfolio encompasses hundreds of apartments throughout the metropolitan area, so all you have to do is tell us what you're looking for, when you want it, and move in. Our residents expect immaculate surroundings and luxury lifestyles, which we deliver in our planned apartment communities at incredible rents.

subset: commoncrawl


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- Description
DetailsThis standard three piece ball valve comes with 2 1/2" female NPT thread on both ends for easy connection and is made using high grade 316 stainless steel. It is designed with a with a full port, rated at 1000 PSI, and WOG (Water, Oil, and Gas) ready.
- Reviews


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The Wiggle offers a relatively flat route between Duboce Park and the Panhandle, enabling bicyclists to avoid some of San Francisco's notorious hills. We support a "neighborhood greenway" along this route that prioritizes walking and biking.
The San Francisco Municipal Transportation Agency and Public Utilities Commission are working together to improve the walking and biking experience along the Wiggle. In 2013, they unveiled final plans that include a traffic diverter at Scott and Fell Streets as well as traffic-calming measures that will improve biking conditions on this well-used stretch of the bike network.
This project was unanimously approved by the SFMTA Board of Directors in November 2015. Read our victory post here.
The Wiggle
Take Action
Proposed Design
After a series of community meetings, SFMTA revealed the following plans following a final open house on January 22, 2014:
- A southbound traffic diverter on Scott Street at Fell Street: This will prevent vehicles from using this residential street as a cut-through. Bicycles will be able to continue in both directions with improved markings to highlight bike access.
- A raised intersection at Scott Street and Page Street: Unique markings will improve the pedestrian experience with this slight gradient meant to slow down people who are driving or biking.
- Improved traffic engineering on Divisadero Street: The SFMTA will accommodate southbound traffic diverted from Scott Street by improving the traffic flow on Divisadero.
- Raised crosswalks, bulb-outs, and "speed reduction stripes" throughout the Wiggle: These treatments will slow bicycles and cars that approach intersection throughout the Wiggle. The SFMTA is considering pilots to ensure that the stripes will not be disruptive to the biking experience.
What is a Neighborhood Greenway?
According to the Portland Bureau of Transportation, "neighborhood greenways are residential streets with low volumes of auto traffic and low speeds where bicycle and pedestrians are given priority." Watch this short Streetsfilm on Portland's neighborhood greenways.
Neighborhood greenways create a calmer experience by allowing bicycle riders, pedestrians, and drivers to slow down in an often-stressful city. Rather than focusing on separated bikeways and bike lanes, neighborhood greenways promote the sharing of street space between bicycles and cars.
Residents and planners pushing for neighborhood greenways usually have the following goals in mind:
- Reduce the use of neighborhood streets for auto cut-through
- Reduce auto speeds
- Provide safer bicycling and pedestrian connections
- Improve wayfinding
Reports and Designs
- SF Municipal Transportation Agency page (http://www.sfmta.com/projects-planning/projects/wiggle-neighborhood-green-corridor)
- SF Public Utilities Commission page http://sfwater.org/index.aspx?page=671
- ThinkBike report (2011) http://sfbike.org/download/thinkbikesf/ThinkBike_Wiggle.pdf


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After slumping during the recession, sales of recreational vehicles are on the rise as U.S. consumers give in to the lure of the open road — with amenities — and are once again able to get credit to buy what many consider an affordable second home, the Baltimore Sun reported.
Sales of RVs, which include travel trailers and motorhomes, have been rising since 2010, according to the Recreation Vehicle Industry Association (RVIA). Today, RV owners number nearly 9 million in the United States — a record.
The increase comes thanks to more available credit, growing interest in RV travel, and a push by RV makers to load up the vacation homes on wheels with high-tech extras, the Reston, Va.-based association said. And many people are just fed up with traditional travel hassles.
"We're seeing a lot of first-time buyers who have traveled other ways and are tired of the air travel or questionable accommodations when they get where they're going," said Greg Merkel, owner and president of Leo's Vacation Center in Gambrills.
When Pat Barton first set eyes on a Winnebago motorhome at Leo's, she knew it was for her.
"It was like, 'This is it,'" said the 65-year-old retired elementary school principal from Anne Arundel County, who had never before owned a recreational vehicle. "I just decided to take the plunge. I loved all the amenities."
But at 30 feet long, the vehicle was intimidating.
"It was scary at first," Barton said. "I've never driven a truck."
Barton got driving pointers from the dealership's salespeople, and by the time she bought the RV in January, was comfortable behind the wheel.
Since buying the Winnebago, Barton has traveled to Harpers Ferry, W.Va., and to local campgrounds, where she likes to hike, swim and relax by a campfire at night.
"It's a great way to get back to some of our roots, going out and building a fire and toasting marshmallows," Barton said. "When you go to the campgrounds, you meet people with similar interests from all over the country, and everyone has a story to tell. I think [RV ownership] is something the Baby Boomers are going to jump into big-time."
Added Barton: "We're retiring, and we can."
To read the entire article in the Baltimore Sun click here.


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Denver Mayor Michael Hancock pays up on NBA bet, wears Heat cap during meeting
Denver Mayor Michael Hancock lost a bet to Councilman Albus Brooks over who would win the NBA Championship.
Hancock bet on the San Antonio Spurs, but the Miami Heat prevailed last month in the seventh game to win their second straight championship. After losing the wager, Hancock had to don a Miami Heat cap for the entire Mayor-Council meeting on Tuesday.
He couldn't find one of their caps, so his staff improvised, creating a make-shift Heat cap to the hilarity of all.
Hancock has had some bad luck when it comes to making sports bets, losing to Boston's mayor in an AFC playoff game in 2011 when the New England Patriots beat the Tim Tebow-led Denver Broncos and to Baltimore's mayor last year when the Broncos lost their playoff games to the eventual Super Bowl Champion Baltimore Ravens.


text: Correct flashing and water table techniques keep water out of the house while preserving a level grade. Landscape architect Jade Cummings shows how she's designed that grade for a barrier-free entry, and Norm visits the Bucksport, Maine, home of Jessica Russell that she and her father, architect John Gordon, designed so she could live independently despite her physical challenges. In the second half of the hour, on ASK THIS OLD HOUSE, Tom and Kevin build a storage bench for an entryway. Then, Richard shares some tips for making watertight connections without soldering. Afterward, Roger helps a homeowner maintain an overgrown perennial garden.


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Java Draw Created Dec 02, 2009 470 x 338px Unless noted Copyright 2009 halloweyes89.
We encourage you to submit a comment and let the artist know what you think of this drawing. Please log in or join to post a comment.
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absolutely breath taking 5/5 fav
Thank you iris!
Just incredible!
Wow! Very nice drawing! C: I think you'd like the song "Nocturnal Me" by Echo and the Bunnymen. It's a really good song :D
still awesome!5h
wow, very beautiful, the moon could be a bit rounder though :).
My pictures are way worse yet i have 5 stars on them so im starting to think someones messing with your ratings, sigh the economy these days were all just retardes ruling what we think is a countrey.
oh my god!
Award: So much effort. Liked: it is sooo awesome. Tips: no its too good for any tips
thank you!
wow really magical and pretty!!
glorious, dark, and surreal. 5/5, favorites, and added to Mysterious Dreamscapes collection.


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Please call us for pricing: 818-597-7800
This unique accent table is like a functional piece of art with its chic, brass-plated base and inset top of Carrera marble veneer. The table is perfectly sized to function as a chairside table or lamp stand.
The TAKE FIVE Interlude Accent Table with Carrera Marble Veneer Top and Brass-Plated Tripod Base by Lexington at Reeds Furniture in the Los Angeles, Thousand Oaks, Simi Valley, Agoura Hills, Oxnard, Calabassas, Malibu, California area. Product availability may vary. Contact us for the most current availability on this product.
If you think that retro means tacky and kitsch, you're missing out on the definitive, fresh looks of Mid Century Modern. Far from being a blast from the past, Mid Cenury Modern designs still resonate today with their chic simplicity yet iconic and expressive edge. The Take Five collection enhances the quintessential Mid Century Modern lines with luxurious touches of gold leaf, hand-applied gold striping, and Carrera marble veneers for an unforgettable take on sophisticated home decor. Adding depth and high end elegance to this collection is a rich combination of meticulously chosen wood veneers, featuring cathedral rosewood tabletops and quartered Zebrano paneling. Brass hardware and bejeweled brass table bases add further depth and elegance to this contemporary look. You can see the quality in every facet of the Take Five group, from self-closing door and drawer mechanisms to the hand-applied gold stripe motif, making this a group that you can love just as much after the first year as the first day you take it home. Signature pieces in the Take Five collection include an upholstered headboard in ivory, top-grain leather, multiple choices of dining table and modern upholstered chairs, and two, super-mod cocktail ottomans including the sheepskin bench ottoman.
The TAKE FIVE collection is a great option if you are looking for Mid-Century Modern
Contemporary furniture in the Los Angeles, Thousand Oaks, Simi Valley, Agoura Hills, Oxnard, Calabassas, Malibu, California area.
These images are representative of this group as a whole and may differ from this item.
Browse other items in the TAKE FIVE collection from Reeds Furniture in the Los Angeles, Thousand Oaks, Simi Valley, Agoura Hills, Oxnard, Calabassas, Malibu, California area.
This item has been tagged as: Living Room Furniture, Accent Furniture, Occasional Furniture, Cabinet, Cabinet Tables, Storage Tables, Small Storage Cabinet, Chairside Cabinet, Short Cabinet, Accent Cabinet, Commode, Cocktail Tables, Lift – Top Cocktail Table, Storage Table, Cocktail Coffee Table, Cocktail Table with Storage, Coffee Table, Lift – Top Coffee Table, Coffee Table with Storage, Couch Table, Magazine Storage, Sitting Room Tables, End Table, Chairside Table, Coffee and End Tables, Furniture End Tables, Accent Table, Lamp Table, Pedestal Table, Hall Tree, Storage Hall Tree, Hall Tree with Storage, Coat Rack, Hall Tree Coat Rack, Entry Hall Tree, Hat Rack, Hall Trees with Benches, Bench and Hall Tree, Clothes Tree, Hall Tree Furniture, Entry Furniture, Foyer Furniture, Sofa Table, Furniture Sofa Table, Console Table, Sofa Console Tables, Sofa End Table, Secretary Desk, Table Desk, Wine Rack, Wine Glass Rack, Wine Storage, Wine Bottle Storage, Wine Storage Rack, Wine Bottle Rack, Cabinet Wine Rack, Wine Glass Storage, Wine Storage Cabinet, Larder, Kitchen Storage, Dining Room Storage, Occasional Tables
Nothing on this page may be copied or reproduced without explicit permission.


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|Start date
|Full time
|1 year
|Day and evening
|September 2020
|Part time
|2 years
|Day and evening
|September 2020
If you have a broad range of musical interests and would prefer not to specialise your studies, this course is ideal. It aims to develop a range of musical and critical skills and knowledge; encourage initiative, creativity, critical evaluation and independence of thought; develop a systematic understanding of relevant musical knowledge and a critical awareness of contemporary issues; and provide knowledge of research practices, enabling you to undertake a substantial individual dissertation or composition project.
Find out more about our postgraduate music courses:
Through choosing from an extensive list of modules, you will develop broad musical knowledge and practical skills to equip you for a wide range of careers.
The core modules concentrate on research methods and colloquia, and will introduce you to a broad range of issues in music. Subjects are based in music education, performance, composing for media, and music production.
The major project offers you the opportunity to focus on an area of your own choice and specialise through written work or composition. You can choose from a wide range of possible topics relating to your own interests. In addition, you can join any of the variety of University ensembles or form your own ensemble.
Coursework, essays, compositions, or dissertation.
Please note that this is an indicative list of modules and is not intended as a definitive list.
This module supports the development of a major piece of research, or creative work, or performance which is focused on the subject of the student's programme of study. Therefore the nature of the project is chosen from the following: a dissertation; a folio of produced popular music compositions/covers; a folio of sonic arts work; a folio of compositions to moving image; a folio of compositions; or a performance. In the case of the creative work, students will also undertake related research which culminates in a paper or critical commentary to complement and support their creative work. The module is taught through a mixture of seminars and individual tutorials.
Researching Music is designed to prepare students for their research and writing on the Music Masters' programmes. The teaching covers academic referencing, creating a bibliography, library skills, use of research on-line indices such as RILM, writing skills, and approaches to research. Later in the module research seminars will be given by Kingston and visiting researchers/composers/performers which provide opportunities for student discussion on a variety of issues in current music research. The module is assessed through a folio of written work including an extended annotated bibliography, an extended research paper and an on-line forum.
This gives you a deep and thorough understanding of the processes and techniques involved in recording and producing popular music. It will look at a range of recording techniques and provide you with the opportunity to gain fluency in operating a recording studio. The role of the producer in creating, developing, managing and presenting a recording project will be studied, and students will be equipped with the faculties to produce work that demonstrates creativity and is of a professional standard.
Topics covered will include microphone techniques, digital recording and editing techniques, advanced sequencing, mixing and mastering techniques, creating arrangements and communicating with artists and session musicians, investigating genre-specific production techniques, and analysing contemporary and historical recordings. You will also look at the relationship between the producer and the recording and media business. You will be trained to critically evaluate your own work and position it in the context of the wider music and media business environment. You will use these techniques and skills to create a portfolio of short recordings, accompanied by a commentary detailing the techniques employed, and to develop and present a recording project, with supporting documentation.
The module is designed to give you a deep and thorough understanding of the processes and techniques involved in popular music composition, and to equip you with the faculties to produce work of a professional standard. You will learn compositional techniques applicable to a range of popular music genres and will employ these to enhance your own personal style and create a portfolio of compositions. The nature of the creative process, how collaborators (co-writers, band members) communicate with each other and with other artists, and how popular music terminology and notation is utilised will be discussed. The position of the songwriter and popular music composer within contemporary society and the wider music and media business will also be examined.
This module will also explore strategies behind the manufacture, marketing, distribution and sale of popular music from a global perspective. You will examine music industry models in an historical context, exploring how practices are evolving through the advent of digital technology. You will explore the factors driving this change with critical appraisal of methods used. Topics covered will include the structure of major and independent record labels, management strategies, identifying a target audience, publicity and marketing within different territories, financing, choice of formats, music video, new media, the live industry, going it alone and the value of popular music as a commodity. You will be assessed on a portfolio of work including a project that demonstrates the marketing and promotion of one of their popular music compositions.
This module examines the diversity of practice associated with school-based music provision in the UK maintained sector and associated research. Current positions concerning universal entitlement to the subject will be explored and traced back to influential antecedents. You will formulate a critical response to course themes by designing a short investigation exploring the complex transactional character of pedagogy which typifies music lessons across the UK. It will be located in a school if possible, supported by CRB checking (and if necessary, ethics clearance), or alternatively, will be based on student peer teaching. Outcomes will be interrogated with the aid of tools commonly applied to intersubjective contexts, such as activity system modelling, identity profiling or documentation of transactional process.
This module is core for MMus Performance and is offered as an option for other MA and MMus programmes. The module will address the development of critical and aesthetic insights into both the substance of music and the varied practices of performance required to deliver high quality musical experiences across a range of genres. It considers performance roles, values and practices including issues of meaning in music and emotional responses to music. It will trace the development of aesthetic attitude theories and post-structuralist approaches to understanding and performing a wide range of musical repertoires. Themes explored will include: issues of authenticity, value judgements, virtuosity and the role of the performer. Themed lectures will introduce topics, followed by seminars which will provide opportunities for students to reflect and discuss issues raised in lectures, which are then consolidated in debates that relate ideas to specific texts, repertoires and personal performances. Assessment will be through prepared debates, on topics suggested by the tutor, a critical reflection of a filmed performance and an essay on a related topic selected from a choice provided by the tutor.
The module is core for MA Music Education and is offered as an option for the MA Music and other MMus programmes. The module will consider the psychological processes that underpin musical understanding; interpersonal communication; the social construction of meaning and how such processes contribute to the educational philosophies of world cultures. There will be opportunities to investigate the philosophies and practices in music education in a variety of cultural and international contexts including the UK and those of the students themselves. The issues surrounding the teaching of musical will be explored and in particular the views and research associated with composing and how/why it is not explored in many different cultural contexts.
This module will explore the analysis of instrumental music, from a range of genres. Students will develop their creative work, by applying their analytical understanding of a chosen style to creating new arrangements and orchestrations. They will develop skills in arranging a melody, formulating a harmonic support, structural layout, in a manner which is appropriate for the chosen style. They will also develop skills in orchestration with reference to a chosen genre.
This module deals in depth with the subject of composition for film and television. Students explore, through lectures and seminars, the essential technology and techniques that composers for Film and Television need to master. Subjects covered include the use of Main Themes, underscoring and the harmonic languages of soundtracks, in both big and small screen contexts. Coursework consists of several compositions to image, chosen to encourage musical diversity and exploration of compositional styles, together with a written commentary.
Through this module you will gain an awareness of music education in the UK and have an opportunity to engage with some current issues and practical challenges. It will examine a variety of topical and sometimes contentious issues and practical challenges concerning, for example, music in the National Curriculum; the curriculum in the primary and secondary school; extra-curricular music such as instrumental teaching, composing, arranging and conducting. Psychological perspectives on learning, teaching and creativity will also be addressed. In the first semester the module will be delivered through keynote lectures, seminars and workshops, with student participation in discussions, mini-presentations and group practical tasks. Further workshops and tutorials dedicated to your chosen project will be arranged as necessary in the second semester. The assessment for the module will be in the form of a project focusing on a chosen area of interest in music education in the form of either a small educational investigation, devising a series of lessons for children of a chosen age, or addressing a practical challenge such as arranging for and conducting a school orchestra.
Jazz harmony, rhythm and improvisation skills will be taught in this year-long optional module, along with their practical application in performance. The module will enable students to recognise features of a range of jazz styles within a historical context and put them into practice.
This module focuses on the collaborative development of a group performance project, and explores the technical skills necessary to stage a professional performance event. As well as performing in a group, students undertake both practical and theoretical work in live sound management and event production. The performances may be multimedia-based (which could involve dance and/or moving image), or might centre on live electronics, hybrid art-forms or the role of music technology in live performance. Individual groups may decide to focus on traditional acoustic or amplified electronic instrumentation; the specific agenda of each performance, and the technical parameters necessary, are negotiated with module tutors. The wording of the module title is intended to promote as broad, inclusive, and overlapping a definition of composition/performance/improvisation as is possible; students may utilise all relevant forms of repertoire, but significant emphasis is placed on creative interpretation. Summative assessment is through performance, critical reflection and peer assessment.
The module will address the practical issues of preparing and delivering a musical performance. Individual lessons will provide expert tuition on the students' instrument. Practical workshops will provide feedback on a range of technical, interpretational and presentational issues and lectures will prepare students for the written elements. Assessment will be through a recital of 20 minutes duration, a portfolio of promotional and presentational materials for the recital and a critical self evaluation of the performance itself.
This optional module will consider music from a psychological standpoint, with emphasis on experimental psychology. It considers the diverse levels of engagement we have with music by examining our experience of music including: learning music, memorising music, composing, performing and improvising. Students will be exposed to current theories of music psychology. Themed lectures will introduce key topics, followed by student-led discussion workshops which will provide the opportunity for students to reflect and discuss issues. Assessment will be through an applied project which involves collecting empirical data in a chosen field via observation and/or questionnaires and submitting a critical assessment of the data (30%), and, an essay on a related topic selected from a choice provided by the tutor (70%).
This module is a level 6 optional module for both Music and Music Technology students. It calls upon the knowledge and skills which students have developed at levels 4 and 5 of their programme and provides an opportunity for them to work to a high academic and professional standard. Students will learn how to plan, develop and produce group studio recording projects and how to position them in terms of genre, audiences, marketing and the music business. The final outcomes are group master recordings, supported by individual research and documentation. Presentations and seminar sessions will provide the opportunity for formative feedback on the projects. In the lectures and seminars, the historical and contemporary roles of producers, recording engineers, composers/arrangers, session musicians, marketing and the music business will be analysed and evaluated, as well as the influence of technology on music creation and dissemination of work. Lectures and seminars will include group discussion, and students will be encouraged week by week to participate by bringing in audio and audio and visual materials that illustrate lecture topics. Lecture materials will be provided on Canvas.
You will have the opportunity to study a foreign language, free of charge, during your time at the University as part of the Kingston Language Scheme. Options currently include: Arabic, French, German, Italian, Japanese, Mandarin, Portuguese, Russian and Spanish.
We aim to ensure that all courses and modules advertised are delivered. However in some cases courses and modules may not be offered. For more information about why, and when you can expect to be notified, read our Changes to Academic Provision.
Regulations governing this course are available here
Details of term dates for this course can be found here
020 3308 9930*
*Calls cost 7p per minute from a UK landline plus your phone company's access charge. Calls to this number from mobiles are normally deductible from your inclusive minutes.
This course is taught at Kingston Hill
The music department holds postgraduate information days.
Find out more.
020 3308 9930*
*Calls cost 7p per minute from a UK landline plus your phone company's access charge. Calls to this number from mobiles are normally deductible from your inclusive minutes.
This course is taught at Kingston Hill


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The following interview with military historian Lewis Sorely focuses on his newest book, "Westmoreland: The General Who Lost Vietnam." Sorley, a West Point graduate, served in armor units in South Vietnam and West Germany before teaching at the U.S. Army War College. He later worked for the CIA and with several global-security think tanks, also earning a doctorate in philosophy from Johns Hopkins University.
Sorley's 1999 book, "A Better War: The Unexamined Victories and Final Tragedy of America's Last Years in Vietnam," earned a Pulitzer Prize nomination and was read by military policymakers in both the George W. Bush and Barack Obama administrations.
Conducting the interview was Paul Akers, opinion editor of The Free Lance-Star, a daily newspaper in Fredericksburg, Va.
Paul Akers: You first came to my attention when I picked up "A Better War." Then I saw the book's subtitle, "The Unexamined Victories and Final Tragedy of America's Last Years in Vietnam," and I thought, at last! Somebody's got the real story of Vietnam.
The book centered on Gen. Creighton Abrams and his command of the U.S. forces in Vietnam, which was, you argued convincingly, superior to that of his predecessor, Gen. William Westmoreland. So the Westmoreland book ("Westmoreland: The General Who Lost Vietnam," Mariner Books, 2012, 432 pp.) is almost a prequel to "A Better War."
Lewis Sorley: The title, "A Better War," requires a little explanation. I got it from a quotation by Robert Shaplen, who covered the war for The New Yorker. He had said, "It's too bad, you know, Abrams is very good. He deserves a better war." My contention in the book was not only did Abrams deserve one, he created one.
You asked me to describe what Westmoreland did in the earlier years. Some have contended that Westmoreland was a product of his times and the Army of his times, and how could you expect him to have done other than what he did?
So I want to lay down this marker. Westmoreland commanded U.S. forces in Vietnam from June 1964 to June 1968, and his successor, Abrams, commanded another four years, from June 1968 to June 1972. So they had similar tenures there.
Westmoreland was there a half year before his command tenure as a deputy. Abrams was there a year before his four years in command as deputy to Westmoreland. Westmoreland graduated from West Point in the Class of 1936 and went into the field artillery and served in World War II and in Korea and then became the commander in Vietnam. Abrams graduated from West Point in the Class of 1936. He went into the calvary, later the armor, served in World War II and Korea, and then went to Vietnam.
They had very similar backgrounds. You cannot lay the blame for Westmoreland's approach to the conduct of the war on institutional or environmental factors. He and Abrams were subjected to much the same experiences in the exact same period. They are West Point classmates. Yet one understood the war and one did not, and that was a factor of their individual intellects and insights.
Akers: So where did Westmoreland go wrong?
Sorley: Westmoreland's idea was that he would conduct a war of attrition.
It is very important to know he had almost total freedom of action to determine how he was going to conduct the war within South Vietnam. We've heard these stories about President Lyndon Johnson with his senior advisers, mostly civilians, micro-managing the war, even picking individual bombing targets. All true. But they were managing the war outside South Vietnam. Inside South Vietnam, the commander had almost total freedom.
So Westmoreland decides to conduct a war of attrition using "search and destroy" tactics. "War of attrition" means your objective is to kill as many of the enemy as you can, and the measure of merit in such a war is body count, which became an infamous aspect of the war.
Westmoreland's premise was that if he killed enough enemy, they would cease their aggression against South Vietnam and go back home. The search-and-destroy tactics he used to try to impose these casualties involved large formations - multi-battalion, sometimes even multi-division - typically out in the deep jungle along the western borders of South Vietnam with Laos and Cambodia.
Those borders were sacrosanct in terms of our ability to go after the enemy if he withdrew into Laos or Cambodia. We said, "No, those are neutral countries." When the enemy got tired of fighting or had taken enough casualties, he just withdrew into the sanctuaries.
Even given that and the difficulties of finding and fixing the enemy, Westmoreland did succeed in inflicting enormous casualties on the enemy. However, his premise - that if he inflicted a lot of casualties on the enemy he would lose heart - did not play out. In fact, he accomplished very little. Perhaps nothing.
He would go out there and he would kill all those enemy, and they would just send replacements down. Pretty soon, he has got the same outfits back again, refitted, retrained, re-equipped, and he has got to through the whole drill again.
A senator from his home state of South Carolina, Fritz Hollings, goes to Vietnam and Westmoreland describes to him, with some pride, that we are killing the enemy at a ratio of 10:1. And Hollings looks him in the eye and says, "Westy, the American people don't care about the 10, they care about the one." Westmoreland never grasped the significance of that.
And Westmoreland is also almost totally ignoring two other important responsibilities. His command was called the United States Military Assistance Command Vietnam, and whom are we supposed to assist? The South Vietnamese. Westmoreland is ignoring the South Vietnamese armed forces instead of training them, equipping them, and preparing them to take over more and more of the security of their own country.
The South Vietnamese are pathetically armed with castoff World War II American equipment, while the enemy they are fighting is getting the very best modern infantry equipment from their sponsors, the Soviet Union and China, to include the great AK-47.
Akers: Even the Viet Cong?
Sorley: Even the Viet Cong over time. So for all the Westmoreland years, the South Vietnamese are outgunned, they are being ignored, and so he is failing in that responsibility.
And there is another one. He is ignoring pacification, the necessity to get into the hamlets and villages of rural South Vietnam and root out the covert enemy infrastructure, which is keeping the people under enemy domination through terror and coercion.
Those two things languished during the entirety of his tenure. So that is the story of his approach to the conduct of the war.
Akers: And Abrams does what when he takes command?
Sorley: The contrast could not be more dramatic. Under Abrams, the South Vietnamese are taking on more and more of the conduct of the war. It is now going to be a war, not of attrition, but of population security. The emphasis now is protecting as many of the populaces of South Vietnam from the enemy as you can.
You don't go out and thrash around in the deep jungle anymore. You position yourself where the people are. Abrams wanted hundreds and thousands of patrols and ambushes set day and night, because in the earlier period the enemy had dominated in the night. Now, the war is going to be day and night, and if the enemy wants to get at the people, he has to come through you.
Equally important is that the South Vietnamese are now getting attention. They are starting to get very good weaponry of the kind they had been denied in the Westmoreland years, and they are increasing in size.
Instead of search and destroy, Abrams' approach was clear and hold. Clear it and hold it, and don't let the enemy come back in. And the "hold" came from increases in South Vietnam's armed forces, primarily in Regional Forces and Popular Forces. These guys stay and fight where they live and, more important, where their families live, where their crops live, where their livestock live. They are highly motivated.
Akers: Westmoreland seemed to have a career-long disdain for the Marines, which reached a peak in Vietnam, where the Marines were in charge of the northern military region called I Corps.
The Marines did things differently than the Army. The Marines took the Abrams approach, as much as they could, to protect the population. In fact, they even inserted platoons of Marines called CAPs (Combined Action Platoons) who lived in the village and went on patrols with the Popular and Regional Forces.
Is there evidence that during the four Westmoreland years the Marine approach in I Corps paid dividends not seen elsewhere?
Sorley: The Marines were in the five provinces that made up the northern portion of South Vietnam. They were not autonomous, however; they were under Westmoreland's command. But it was an uneasy relationship, and they tried to thwart him because they didn't believe in his approach. The Marines were always trying to do things much like what Abrams instituted countrywide when he came in.
The chief of staff of the Army during the same four years Westmoreland commanded in Vietnam was Gen. Harold K. Johnson, and General Johnson from the beginning was distraught about the way Westmoreland was fighting the war. He tried to persuade him that spewing all this ammunition out into the jungle was disadvantageous. You might hit the people you are trying to protect and keep the good will of. Westmoreland was impervious to that logic.
General Johnson commissioned a study called PROVN - the Pacification and Long-Term Development of Vietnam.
It was published in spring 1966 - with still a couple of years to go in Westmoreland's tenure. PROVN said the way Westmoreland was conducting this war could not work, because it was ignoring hamlets and villages where the enemy was keeping the populace under domination.
Westmoreland rejected the study out of hand. But the vice chief of staff of the Army when Gen. Johnson was having this study conducted is Abrams. So Johnson gives up Abrams to go out to be the four-star deputy to Westmoreland, and it is planned that he will take over. But that doesn't happen for 13 months. So Abrams waits. As soon as he gets his chance, he implements PROVN, which emphasizes protection of the population.
Akers: At some point, I think, Westmoreland said about pacification, if I had all the troops I wanted, I could do pacification and search and destroy. But I can't have large units of NVA running all over the country because it wouldn't matter what we did in the villages, they would just come and run roughshod over everything.
What effect would calling up the reserves have had? With the extra troops, would Westmoreland have given due attention to the "other war" in the villages and the population centers?
Sorley: The enemy was not going to be running roughshod over the population if you repositioned your forces to protect the population, as Abrams did. Then the battles took place on terrain and in positions favorable to the friendly side.
Akers: You talk in your book about a destructive decision during Vietnamization (the gradual hand over of the war to the South Vietnamese), when U.S. troops are being withdrawn. Westmoreland is now at the Pentagon doing what?
Sorley: He is chief of staff of the Army.
Akers: And so, when U.S. troops are being withdrawn, rather than pulling troops a unit at a time, we take individuals out of units, which has what effect?
Sorley: A devastating effect. Here's why: Abrams is pushing hard for taking out units as they are constituted at the time. Westmoreland says "no": Equity demands that those soldiers who had been there longest come home first.
Think about that. Every unit has a mix of people who have been there a long time and those who arrived fairly recently. Say we are going to take out the Ninth Infantry Division. We have to transfer out of that unit all the people who have been there a relatively short time and transfer into it the longest-serving people from other units around. We make up this amalgamation of long-serving people from wherever they come from and we send that home as the "Ninth Division."
Meanwhile, all these guys that we took out of the Ninth Division because they didn't have as much service have to be plugged into other units, meaning they have to get to know the people they are with again. Any cohesion that existed, any teamwork, has to be reinstituted.
But remember, there are 14 of these increments, so every time you do that, you are reconfiguring all the remaining units. I think it was Gen. Donn Starry (commander, 11th Armored Cavalry Rgt.) who told me, because he was a redeployment planner for Abrams, "You had a self-created situation in which young leaders stood in front of men they did not know and who did not know them, and those leaders tried to take them into combat."
Akers: Not to be a chauvinistic jarhead, but my recollection is - I was in Vietnam from '69-'70 in the Marines - that the Marines did it differently, that they withdrew "true" units all at one time. Am I wrong?
Sorley: I think that since Westmoreland made that decision as the Army chief of staff, it pertained only to Army personnel. So I think it entirely possible that the Marines could have had a different policy. If so, that is to their great credit.
Akers: There was a basic divide during the Vietnam War among Americans. One opinion was that the Vietnam War was immoral. We shouldn't have been there. It was unwinnable. We never had a chance. The other one was that it was a good cause and we did have a chance to win had we done the right things from the start.
What is your take on this idea that Vietnam was "unwinnable"?
Sorley: I say in "A Better War" that there came a time at which the war was won. If it was won, then it's a winnable war. I go on to say the fighting hadn't ended, but the war was won, and the reason it was won was that the South Vietnamese had acquired, with our help, the capacity to defend themselves and maintain their independence so long as - this is the crucial conditio - we kept the commitments we made to them.
Those commitments were three in number. First, we induced the South Vietnamese to go along with the Paris Accord signed in January 1973 that theoretically ended the war by telling them that if the North Vietnamese violated the accord and resumed their aggression against the South, we would intervene militarily to punish them. Ware talking about B-52s now, not more ground forces.
Second, we said if there was renewed fighting, we would replace any major combat-systems losses by the South Vietnamese. We're talking about things like tanks, aircraft, artillery pieces, on a one-for-one basis.
Third, we said, we would continue robust financial support for the indefinite future. Some people have put a figure of a billion dollars a year on that -- not much compared to what we had been spending at the peak of our involvement.
In the event, we defaulted on all three of those commitments to the South Vietnamese, and as a consequence, the war that was won was no longer won.
By his unavailing conduct of the war, Westmoreland squandered four years of support for the war by the American people, the Congress, and much of the media. And so, even with General Abrams and even with the South Vietnamese getting better and better, Congress had tired of keeping our commitments even though, at that point, it was only money.
Akers: Yes. My tour of duty in Vietnam ended in June 1970. I started college the next year, and I was pretty optimistic about Vietnam. What a lot of people don't remember is that the North Vietnamese launched a massive conventional offensive against South Vietnam around Easter 1972. And at that point, we were keeping our promises.
Sorley: Yes.
Akers: We had no ground troops involved except some advisers, but the South Vietnamese did enjoy our air and naval assets. It was a close call, but they held.
Sorley: Correct.
Akers: We might talk about Ripley at the Bridge.
Sorley: That's a great story.
Akers: But our time ends. Thank you, Dr. Sorley.
Sorley: Thank you.


text:
Like the Willow Tree
Latest in the popular "Dear America" series, Like the Willow Tree is the diary of eleven-year-old Lydia Amelia Pierce of Portland, Maine. Orphaned by the devastating 1918 epidemic of Spanish Influenza, Lydia and her older brother Daniel are taken to be raised by the Shakers in their small community at Sabbathday Lake, Maine. Mourning the loss of her parents and sister, and desperately worried by her brother's sullen anger, Lydia struggles to make sense of her changed life. As the seasons change, she gradually learns to know and love the devout Shaker sisters who become her new family.


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What makes your home yours?
It's the things you choose to put on your shelves, tables and walls. The things you love to see every day. Add tranquility. Add culture to your home. Make it yours!
About us
We are committed to providing you with an effortless shopping experience, from the comfort of your home. Shop online at www.TheGiftSshop.co.uk.
Your independent gift store for any occasion: Birthdays, Mother & Fathers Day, Valentines Day, Wedding Day, Anniversaries and Christmas Gifts.
City Airport Taxis


text: Purchasing a laptops involves two main things which one to buy and from where to buy. At Gadgets 360, we have an answer to both the questions. With new models of laptops, notebooks being launched almost every day and new companies and brands coming in, the decision to buy laptops is becoming tougher. NDTV Gadgets 360 is Indias biggest technology news website and we have the latest news and updates on laptops, our expert reviews and ratings, detailed information on product specs and features will help you in zeroing down on the laptop which is best for you to buy. And now with the launch of Gadgets 360 online shop, you know where to go when you want to buy a laptop. NDTV Gadgets 360 carries forward the legacy and brings with trust and expertise to provide you an ultimate laptop shopping experience online. You can buy the latest and popular laptops from Dell, Toshiba, Lenovo at the lowest price available on best offers, deals and cashback offers. Payment Options Buy laptops easily, choose from various options available from EMI, COD (Cash on Delivery), Net Banking. Payment can also be made through Debit and Credit Cards.


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As if I needed more proof, the following quote from an emergency room doctor at Hadassah hospital summed it up:
רופא אחר, העובד בחדר המיון בהדסה עין כרם, סיפר: "אני עובד 20 שנה במיון ולא ראיתי דבר כזה בחיי. מחבלים משכם מוציאים עם פחות אלימות ממה שראיתי היום. ראיתי נערים בני 14 ו-15 חבולים קשה, זה נס שאף אחד מהאנשים שאני טיפלתי בהם לא נפצע באופן יותר רציני"
"I have worked for over 20 years in the emergency room, and have never seen anything like this in my life. Terrorists from Shechem are brought in here with less trauma than what I saw today. I saw teenagers, between 14-15 years old, brought in with serious trauma, and its a miracle none of the people I treated were hurt even worse."
This morning I gave a lift to a bunch of hitchhikers to Jerusalem, including some teenagers from my yishuv who were in Amona yesterday.
In fact, dozens and dozens of our teenagers were present in Amona. These teenagers come from the finest of Israel's families, some of whom even made the ideological decision to move to Israel, and build their homes in the Shomron. Their parents are doctors, nurses, university professors, businessmen, homemakers -- honest and hard working families whose commitment to the settlement of the land of Israel is equally matched by their commitment to help Am Yisrael. Be it helping the needy, the sick, the elderly, or the disabled -- volunteering in Magen David Adom as EMTs, going to reserve duty in the IDF, volunteering in the Auxiliary Police, you will find these people on Israel's front lines, 24 x 7, every day of the year.
And who are these teenagers? Are these the wild "hilltop youth" we routinely see maligned by the press?
I can tell you that one of my hitchhikers today is a quiet, modest, religious teenager. She was there yesterday not out of hatred of Olmert. Not because she hates Arabs. Not because she hates the police. I didn't detect any hatred in her voice whatsoever.
All she had was a deep connection, a real passion for Eretz Yisrael, a love for our reclaimed land -- and a desire to continue settling it. I can't imagine she was throwing rocks...but I can see her crying her eyes out, as the horses and soldiers and policemen brutally beat her friends who were trying to hold on to the land.
Her brother was hit over the head by a baton, kicked in the stomach by a horse. Our neighbor's daughter needed stitches on her head. She went on and on telling me how the protestors were beaten, taken to a large tent, and treated by MDA medics before transport to Israel's hospitals.
It was surrealistic to see the police, soldiers and protestors all lugging each other on stretchers to the triage point...while 10 seconds earlier they were on opposite sides of the fence.
Today's Yediot Acharanot daily newspaper's front page was an aerial view of the confrontation in Amona. The headlines screamed out "Maachaz Ha'Sin'a" -- "The Outpost of Hatred"
Ehud Olmert (via his advisors) jumped into the fray as well, saying that "The Radical Right Wing is the Jewish Hamas"
The problem from yesterday is that Israel's government and media are intentionally marginalizing the Right Wing; The Right Wing is the source of hatred (Yediot) and The Right is a Jewish Hamas (Olmert).
If the government and media think that Israel can afford another Altelena incident to further political agendas, they are gravely mistaken.
So where do we go from here? What are the answers? What does the rightwing need to do on their part?
Wherever I am, my blog turns towards Eretz Yisrael


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Candida Diet - SECRET Dietary Treatment Revealed
Candida Diet - SECRET Dietary Treatment Revealed
Adhering to a well outlined fungus diet is that the 1st move for addressing yeast infections. Recent analysis indicates that the proper diet set up could also be extremely effective in preventing bound health issues and chronic diseases, as well as fungus infections. Before discussing the association between fungus diet and its impact on yeast infection, weâll take a fast inspect what fungus infection is and discuss the particular conditions that bring it on.
Candida is that the scientific name for single cell microbes to be found in little amounts within the most areas of the human body: the intestines, the sex organ, the mouth etc. though within the body that's healthy these microbes ar unbroken in restraint by helpful microorganism ANd an operational system, a mixture of bound conditions will wreck this healthy balance. fungus will grow out of management and defy a root-like structure to wreck the mucose membranes of the gut, offensive the blood and inflicting the renowned symptoms associated with yeast infection. As these microbes ar mobile and may reach totally different components of
the body, general likewise as native yeast infection will occur.
There ar several factors that create yeast infection. a number of these factors ar connected closely to food. perceptive diet plans that may forestall yeast infection from spreading is that the 1st and one in all the essential moves in and create to holistic fungus medical aid. Adhering to the subsequent diet rules, together with alternative nutrition and modus vivendi principles, will bring positive results to your general health and notably to your yeast infection problem:
1. Stop intake a sugar and carbohydrates. sugar (which includes straightforward carbohydrates like syrup and honey) and alternative refined carbohydrates (such as white flour, white rice, any sort of cereals etc.) are all
food for fungus. intense such foods will create fungus breed. to forestall fungus overgrowth, use Stevia rather than sugar and use whole grain non-gluten merchandise (such as rice, buck wheat bread) to interchange refined
2. Foods that contain yeast or mildew (like white vinegar, mushrooms, calm, dried fruits, canned vegetables and a few condiments) may encourage fungus and may not be devoured.
3. To fight fungus your system must be sturdy. victimization antibiotics will weaken your system and exterminate friendly microorganism. Therefore, several nutritionists suggest that their patients stop victimization antibiotics and cut back intake of farm merchandise that will additionally contain antibiotics. Since strengthening the system is AN integral a part of preventing yeast infections, daily consumption of garlic will reduce the probability of perennial yeast infections.
4. farm merchandise and cowâs milk merchandise specially, ought to be avoided to as a result of they'll result in hypersensitive reactions produce excessive secretion and take longer to digest. a number of the most east infection factors will embody allergies and biological process issues. higher alternatives to farm merchandise of Cowâs milk ar organic goat and sheepâs milk merchandise.
5. to prevent fungus overgrowth, it's necessary to keep up the proper acid-alkaline balance. which means the proper "PH" level in your blood. hydrogen ion concentration is measured on a scale that goes from zero to 14 wherever fourteen is that the most alkalescent, seven is
neutral and 0 is that the most acid. Your body functions best within the vary of hydrogen ion concentration seven.35 and 7.45 for acidity within the blood. Any further acidity makes for a context wherever fungus multiplies. AN alkalescent food set up, that is predicated on consumption of
alkaline forming foods (foods with metal, cesium, magnesium, potassium, sodium, almonds, inexperienced juices, and most recent vegetables etc.) with moderate consumption of foods that kind acids (most meats, fish, farm and grain products) will assist you regain your alkalescent quotient to raised management fungus growth.
6. A study by Einstein faculty of drugs of yeshivah University in big apple disclosed that intake foods made in betacarotene (a natural substance that is born-again into fat-soluble vitamin within the body) may provide some protection against yeast infections.
Remember that fungus diets will be excellent for halting all types of yeast infections, however that they're solely the primary a part of a full holistic medical aid.


text:
February 10, 2012
I'm not new to the site, thought I registered long ago, even get emails from the site, but apparently I've never registered.
So how are the forums here? I never read through them. I do remember seeing this site in the 1999, 2000 timeframe,
remember seeing the site founder on I believe it was Sightings or some similar tv show in the 90s. Nice site, I'll try to
take a look more often. I'm looking for a new forum as the one I visit from time to time tends to be full, full of every
wrong end of every spectrum you can imagine.
--- razimus
September 4, 2009
May 11, 2009
April 9, 2009
1 Guest(s)


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Who do I sue?
As previously mentioned, occasionally some wacky marketing stunt I dreamed up for one of my novels comes true. Films as advertisements, logo tattoos, naming people after corporations; no matter how outrageous I try to be, real-world marketers are scampering along right behind.
But this is something else. First, a few lines from Chapter 1 of Jennifer Government:
The Johns smiled. "We started selling [Nike] Mercurys six months ago. You know how many pairs we've shifted since then?"
Hack shook his head. They cost thousands of dollars a pair, but that wouldn't stop people from buying them. They were the hottest sneakers in the world. "A million?"
"Two hundred."
"Two hundred million?"
"No. Two hundred pairs."
"John here," the other John said, "pioneered the concept of marketing by refusing to sell any products. It drives the market insane."
This green thing is an invitation to the launch of a new range of Nike shoes that has gotten coolhunters drooling down their buttoned silk shirts. And what's that down the bottom?
700 pairs worldwide, 140 in the US only
The next step, in Jennifer Government, is to throw open the warehouse doors and try to shift as many pairs as possible before the aura of exclusivity wears off. Also to shoot a few customers to make it look as if demand for the shoes is so hot that people are killing each other for them. If that turns out to be Nike's plan in real life, too, I'm putting in a call for commission.


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- Why Vonage
- Plans
- Features
- Offers
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Vonage has prepared this Reasonable Use Policy ("Policy") as a guide for its customers to understand the intended and permissible uses of our service, and to prevent exploitation, fraud, and abuse of its unlimited calling plans and features. This Policy is based upon the relevant provisions in our Terms of Service and is applicable to all our services. Our Terms of Service are located at www.vonage.com/tos for our residential and small business services and at www.vonagemobile.com/tos for our mobile services.
Normal, Reasonable Residential Use
Vonage's service is a single (and not extended or multi-) family residential voice service. It is engineered to process and deliver traffic profiles and utilization levels of our typical residential customers' calling patterns (hereafter also referred to as "normal" residential use). "Unlimited" refers to that type and level of usage. "Typical" refers to the calling patterns of at least 95% of our customers on a particular calling plan. Normal residential traffic profiles and utilization do not include business line or trunk class of service levels that may arise from business, multiple or extended family, community or fraudulent use. "Unlimited" does not refer to those types and levels of usage. Telephone utilization that is indicative of, or arising from, impermissible business, multiple family, community or fraudulent use, as outlined herein, on a residential class of service line may create network congestion that will manifest itself in increased busy signals for themselves and others.
Vonage's residential unlimited service plans and features are only for single (and not extended or multi-) family residential (or personal, non-commercial) or co-branded use only. Co-branded use is defined as Vonage service that is provided by a third party partner under that third party partner's marketing brand, with or without reference to Vonage. This means that only the account holder, residential family members, and those Extensions® registered with Vonage by the account holder may use Vonage's residential unlimited service plans. Residential family members include your immediate family who reside in your personal residence - e.g., spouse, domestic partner, parents and/or children. If your residential service plan allows you to extend the service or feature(s) to another residential or mobile number, all use under that service plan is aggregated and must conform to single (and not extended or multi-) family residential (or personal, non-commercial) or co-branded use.
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Vonage's mobile unlimited service plans and features are for normal personal, non-commercial use and are device specific. Vonage's unlimited small and home business service plans and features are for normal small or home business use. Normal, reasonable use on Vonage's unlimited mobile and business plans must be in accordance with this Reasonable Use Policy, our Terms of Service and consistent with the types and levels of usage by typical customers on the same mobile or small or home business calling plan. Unauthorized or excessive use beyond that normally experienced by typical mobile, small or home business customers may create network congestion that will manifest itself in increased busy signals for themselves and others, and may result in service termination.
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Each of the following is impermissible under Vonage's residential unlimited plans and considered outside of normal single (and not extended or multi-) family residential (or personal, non-commercial) or co-branded use:
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LAMS Integration with Sakai
Demo Server
If you want to try the LAMS - Sakai integration, we have set up a Sakai server where you can experience the integration for yourself without having to install it.
Follow the animation to self-register into the Sakai server and you are ready to go!
Getting the LAMS-Sakai Module
You can download the LAMS module for Sakai from our Downloads or you can download the source straight from our CVS server
Source Installation
1. Follow the instructions in the Install Guide for Sakai 2.4. If you wish to use Sakai 2.5, please follow the instructions in the Development Environment Setup Walkthrough
2. Checkout the lams project from the Sakai subversion repository at https://source.sakaiproject.org/contrib/lams
For help using subversion, please see here
You will need to place the project under the sakai-src folder. This is required since the project references the master/project.xml file.
3. From the lams directory, run the command
Sakai 2.4 or earlier: maven bld dpl
Sakai 2.5 or later: mvn clean install sakai:deploy
4. Add the following lines in the sakai.properties file. This is located in the CATALINA_HOME/sakai directory.
lamstwo.serverId = <server id>
lamstwo.serverKey = <server key>
lamstwo.serverAddr = <lams server address>
lamstwo.requestSrc = <request source>
Substitute <server id>, <server key>, <lams server address> and <request source> with appropriate values
6. Start Tomcat and check for any start up errors.
Setting LAMS Up
Once you have installed the LAMS-Sakai Module in Sakai, now you need to set up LAMS:
1. login in LAMS as a sysadmin (the user that you created at installation time)
2. Select the "Sys Admin" link.
3. Select "Maintain Integrated Servers".
4. Setup the fields as appropriate.
- Id: this is the server identification string that we will use to individually identify the LMS server that will be "talking" to LAMS.
- Key: this is the secret key that both systems will be used to encrypt the hash when doing authentication. Make sure you keep your server key private
- Name: the server name
- Description: a meaningful server description
- Prefix: the prefix that the usernames will have in LAMS. (usually just one or two letters will do)
- Organisation: Either use an existing Group within LAMS (from the Group Adminstration screens) or create a new Group.
- User Information URL: This is the callback userinfo URLthat is used by LAMS to retrieve personal information about the user from the LMS.
- Timeout URL: A webpage that should be displayed if the LAMS/Sakai timeout trying to talk to each other.
- User Information URL: If you run sakai using "http://<sakai server>/portal/" then the URL is
http://<sakai server>/sakai-lamstwo-tool/servlet/UserDataServlet?username=%username%×tamp=%timestamp%&hash=%hash%
Once you set this up, you are done!
Having problems?
Need troubleshooting
Post a message in the Tech Forums in the LAMS Community.


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About Austin, +Robert Scoble said last night, it's best to "drop your digital devices, live life, and meet people." True and to that point, I periodically shot SXSW only with my iPhone and edited the photos using iOS. I did that just to capture a few moments to share with you and for my own memoirs.
Of those moments, this experience was remarkable. I was hanging out with +Brian Rose in the HBO tent next to the SXCycles bike share and we heard Judd Apatow was going to show up for a meet and greet. "When?" We wondered.
There were three burly security guys with cords in their ears and then these shoes signaled his arrival with a small entourage of similarly attired women.
Dramatic shoes hit the pavement
She was like 8-ft tall with a perfect, bouffant updo. While there, Judd tried a bike
Judd with a Tern folding bike
and struck a pose with me.
Judd is a Bro
Photo: Brian Rose…
My daily shooter is Sony a9 II with a vertical grip and various Sigma lenses attached like the 14mm 1.4 Art. Find more recommendations on our store page. As an Amazon Associate I earn from qualifying purchases.


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This 3 bedroom house with private pool is located in Hors Agglomeration and sleeps 6 people. It has WiFi, a garden and barbeque facilities. The house is near a beach.
A large cottage with panaramic lake views and a south faceing private garden with BBQ and garden furniture, Shareing a fenced heated swimming pool.
The cottage is self catering detatched converted barn and is equipped to a very high standard. With panaramic views over the adjoining lake and the country side.
Relax in peace in this amazing 16th century self-catering cottage with its own private garden and heated pools in the stunning communal gardens. Perfect for families and large groups. FREE Bicycle, Golf club and tennis racket use. FREE WiFi.
Fuchsia holiday cottage with heated pools sleeps 6 people in 3 spacious bedrooms. This delightful country retreat has its own private garden leading onto substantial shared gardens with heated swimming pools and plenty of facilities.
We offer you two cottages, each sleeping 6, in a secluded off road location, which can be rented separately or together. With the benefit of a large heated pool and well equipped games room, barbecues and garden furniture, perfect for all the family
Two stunning holiday cottages in Brittany with pools sleeping 16 people in 7 bedrooms. Substantial gardens with heated swimming pools, stunning views and plenty of facilities and space to spread out in. Catering provided for an additional cost.
A former 17th century watermill, set in 3 acres of landscaped gardens nestled within the heart of the Blavet Valley, famous for it's walks, wildlife, rivers with excellent fishing, golf courses and quaint country character villages.
Kerhotten is situated right in the heart of rural Brittany within 3 acres of land on the edge of the picturesque lake "LAC DU DORDU". A 300 year old commune of 4 superb detached self catering holiday cottages for rent comprising of 2, 3 and 4 bedrooms set at the end of a leafy country lane with no passing traffic.
This lovely cottage is semi detatched to the English owners house and commands fantastic views over stunning countryside. It is a lovely bright and well cared for cottage with use of the heated splash pool and the hot tub
Be the first property to be listed on this page - instant online activation.Click here to register >
Ken Smith, Property 12069
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Christophergwalsh needed a new web page design and created a contest on 99designs.
A winner was selected from 106 designs submitted by 25 freelance designers.
christopher walsh
I am an artist originally from an extremely small town that now lives in NYC. While I was trained in a more classical style of painting, in the last 4 years I have totally thrown away all my prior stylistic guidelines and now I work with a much freer style, encompassing mixing my own acrylics, airbrush and graffiti work and finally the largest componet of my work human topography. While the short version of my work is that I cover people in paint and stick them on a canvas, it's actually much more complex than that. My goal is in this technological age where everyone is used to seeing digital representations of themselve, I want to show the mark that their physical body leaves on the world. It's funky, abstract and a new way of seeing our interactions and movements.
I want to use this website to expand my audience, but also appeal to galleries, curators, fans..all potential customers. It must be visually appealing, professional, stylistically clean and fun at the same time
My desire is to have a page that showcases my work, perhaps have one large image of my work be the background..this should be something that is able to be changed. Then I would need a few links to my artist statement, resume and galleries of my work. I think there should be multiple galleries as my work is constantly changing and I also work in color or theme related series.I could be convinced otherwise..you're a professional, have some fun with this. Many artist sites I see have flash, slideshows etc. I do not necessarily need those things, but I could be convinced. I do have a composer friend making a short clip that could play so that should be designed in to be added when completed, and or changed, it does not have to be automatically played when the page is opened, but it could be. Ease of use is big for me. I paint on a regular basis so I am always in need of updating the site. I may be adding a video of my process as well. As I said before, it must be visually appealing, professional, stylistically clean and fun at the same time. Have fun with this!
Homepage/content page. With links to Gallery, Artist Statement, Resume/Shows, and Contact. I have a facebook page and a twitter link so those could be in the contact as well. The titles, Gallery, etc could be played with and changed.
Free site, not very exciting at all. I have included as attached the bio that is on this site written by a crazy friend of mine, I may use a different statement on the site but it gives you an idea that this page should be serious about showcasing my work, but not stick in the mud serious.
http://www.charlesforsberg.com/ This is overly complex! however I like the visual appeal of the work once it finally loads..I would like larger images though
http://www.alvaroalcaide.com/ and this is too simplistic (and no crazy looking pics of me on the homepage!) and not all that visually appealing, however it is about the images and is simple.
Shoot for something in between. Visually striking but not cluttered and unnecessarily complex.


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In late July, the Weinstein Company announced it would be releasing The Master, Paul Thomas Anderson's new movie, on September 14, which is early for an Oscar candidate. Most Best Picture nominees come out no sooner than October so that they're as fresh as possible in voters' minds. Nonetheless, the Weinstein decision prompted one of the dumber headlines in recent years: "Is the Best Picture Race Over Already?" Obviously, that's dopey hyperbole—"Sorry, Lincoln, there's no point in coming out now"—but The Master does carry with it a mountain of Oscar expectations, even though it's not one of those middlebrow, feel-good choices like The King's Speech or The Artist.
Movies like The Master tend not to actually snag Best Picture, but people assume it will be part of the Oscar conversation, sight unseen, simply because it would serve as the coronation for America's most exciting, vital young filmmaker. Folks don't want The Master to win as much as they want Paul Thomas Anderson to finally get his due.
There are plenty of reasons why Anderson, 42, is the most significant under-50 American filmmaker, despite the impressive competition. Unlike David Fincher and Spike Jonze, he writes all his own movies. Unlike the great Christopher Nolan, he's worked on nothing but personal projects. Unlike Wes Anderson, he makes films that have a bold, expansive quality to them; they feel epic, even when they're about Adam Sandler trying to court Emily Watson. Unlike Steven Soderbergh, he's very deliberate—making only three films in the last 10 years—which gives each of his movies the momentousness of a major event. And unlike Quentin Tarantino, he eschews the spotlight, which lends him an air of mystery. Of junior auteurs, Anderson alone has a full house of cool credentials.
And that's not even discussing the movies, which are major in their own way. At first I thought he was all hype. Coming off the indie success of 1996's Hard Eight, Anderson became a sensation thanks to Boogie Nights, with the media touting him as the Next Big Thing. In a Los Angeles Times interview from the time, he famously declared that you could learn more about filmmaking from listening to the commentary track to Bad Day at Black Rock than you could by going to film school, which is the sort of punk-ass comment that you'd better back up by making great movies.
Boogie Nights was an ambitious film, but also a derivative one, the product of a life seemingly devoted to watching Scorsese and Altman movies and The Godfather over and over again. No doubt Anderson had talent to burn, but for a guy who spent his younger years making parodies and homages—including a mockumentary about his eventual Boogie Nights antihero, Dirk Diggler—he didn't yet seem free of his influences. (By the way, here's that mockumentary...)
Anderson's next film was Magnolia, which further illustrated his devotion to Altman, specifically the director's grand ensemble works like Nashville and Short Cuts. And like those films, Magnolia concludes with an incredible, traumatic event that affects all the disparate characters. Even more bold than Boogie Nights, Magnolia managed to make Tom Cruise cool again while exuding the giddy, youthful exuberance of a director filled with a "check out what I can do" cockiness.
He came across that way in interviews, too, especially in an piece in The Guardian where he talked about going to film school at New York University for two days before dropping out. "I had a feeling that I didn't want to go there anyway," he said. "The first day I took some pages from a David Mamet script and handed them in as my own—and it got a C-plus. I thought they should go fuck themselves because Mamet—you know, Pulitzer prizewinner, great playwright—he deserved a little better than a C-plus." As far as he was concerned, if you wanted to be a filmmaker, you just needed to study the classics: "I met all these people who said 'I'm gonna go learn about movies at film school.' And I would say, 'You're what? Watch your fucking TV! That's what it's for!"' Anderson's childhood friends have commented that he had been mouthy as a kid, and that hadn't gone away once he became a filmmaker.
By this point, Anderson was a critical darling and had earned Oscar nominations for his Boogie Nights and Magnolia screenplays. The Guardian spoke with him right before the 2000 Oscars, where Magnolia had been nominated for three Academy Awards. This is how the article ended:
The real surprise came when I asked him who he'd like to work with. "Somebody I'd really like to use is Adam Sandler. I just cry with laughter in his movies." As far as I can determine he's not being facetious. He also admires Daniel Day-Lewis. "He's just a powerhouse. All of his films are really solid." And of his own future? "Images, thoughts, ideas, preliminary stuff. But I'm determined it'll be 90 minutes. I'm gonna show the whole world..."
In a few sentences, Anderson predicted the next decade of his career with alarming accuracy. In 2002, he released Punch-Drunk Love, one of the best love stories of recent times and the main reason a lot of Sandler apologists insist that the comic star is more than just Little Nicky or Grown Ups. Though some critics didn't know what to make of it at the time, in retrospect Punch-Drunk Love really did lay the groundwork for There Will Be Blood.
In both movies, you have a driven, peculiar, probably deranged loner who sets out on a singular mission, no matter the obstacles. And in both films, an unconventional score mimics the hero's obsessive, unsteady mindset. But its most striking element—even more than Sandler's performance—is the fact that it wasn't clearly inspired by another director's style. Punch-Drunk Love is a character drama that stumbles into a romantic comedy before it gets kidnapped by a thriller. You don't ever quite know where it's going, which adds to the tension of being led around by a character who's capable of snapping at any moment. Anderson's best movie to that point, Punch-Drunk Love was the moment in which this filmmaker entered his exciting, unpredictable period. And after two films that were both over two-and-a-half-hours long, Punch-Drunk Love was around 90 minutes—just like he had promised The Guardian.
Then came There Will Be Blood. Because it's generally considered a landmark now, it's easy to forget that when the film came out in 2007, Anderson's standing was hardly secure. Despite having Sandler in it, Punch-Drunk Love made less money than Magnolia or Boogie Nights, and it received no Oscar nominations. But if Punch-Drunk Love represented a break from familiar genre types, There Will Be Blood was a departure from anything he'd done before: moving away from the San Fernando Valley for the first time since Hard Eight; doing his first adaptation (of Upton Sinclair's Oil!); and doing his first period piece. (Unless you count Boogie Nights.)
What nobody forgets is what an incredible achievement it is. There Will Be Blood is all bold themes—capitalism, empire, religion, family, greed—told in the sparest way possible. With a career-best performance from Daniel Day-Lewis, There Will Be Blood is the sort of sweeping, world-beating movies that you expect from directors who say things like "Boogie Nights and Magnolia are both fuck-you celebrations of the Valley." It's audacious, and from the moment you see it, you know it's going to be discussed long after you're dead. And just about none of his contemporaries have made a movie that has come close.
Anderson has handled the buildup to The Master's release beautifully, hosting a surprise screening in Los Angeles in early August at a revival theater that was showing The Shining. (He did something similar a few weeks later in New York.) Oscar season is all about endless hype, but the imminent arrival of The Master feels different: like a major artistic event, not another piece of award-hungry product, despite all the "Is The Master about Scientology?" gossip surrounding the film. In that 2000 interview, he promised that he was "gonna show the whole world." In the span of just five films, he's done that. As I get ready to see The Master, my question is: What else can he show us?
Grierson & Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.