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Bobcat hoping for perfect 500 family platform at bauma 2013
Caterpillar's new 13tonne excavator suits developing markets
Cat's upgraded backhoes
Increased versatility is offered by the new Doosan wheeled excavators
D-TEC develops demolition grapple line-up
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Montabert launches new medium range breaker
Atlas has revamped its hydraulic breaker range
Atlas is offering improved new wheeled excavators
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Ammann's new AVA 250 add-on compactor for mini-excavators
Case's new mid-excavator marvels unveiled at bauma
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FRD produces Fx Series scaling breakers for tunnel construction
JCB will exhibit two waste transfer machines in the 4CXWM and the JS20MH
JCB adds rollers and plates to compaction line-up
L506C and L508C wheeled loaders join Liebherr's compact line-up
Mecalac launches four-wheel steer telescopic loader range
Mecalac MCR6 fast track excavator joins growing line-up
Manitou will launch three revised MT telehandlers with lift heights of 8-30m
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Manitou introduces updated MRT rotating materials handlers
High performance skid steer loaders offered by LiuGong
HCME's new ZX140W-5 wheeled loader gets bauma platform
Atlas Copco showcases portable energy pillars
Atlas Copco's new generator range for electric pokers
Hyundai's new R25Z-9A fills the mini excavator gap
Upgraded midi excavator offered by Komatsu
New Holland Construction's new skid steer loaders and tracked loaders offer improved performance
New Holland unveils claimed world first Tier 4 Final midi crawler short radius excavators
New Holland Construction's tough approach to new version W170C Recycler
World premiere for REMU's new screening plant
Volvo's new ultra-reach excavators for demolition
Xylem's enhanced Flygt 2600 drainage pump series is being unveiled.
Xylem's Godwin to showcase non-clog pumps with Flygt N-technology
Terex Construction puts new TLB890 backhoe loader on bauma stage
Kubota launches a new 8tonne KX080-4 mini excavator and two new 4tonne compact wheeled loaders
Ramtec adds new high-impact range of BH backhoe hydraulic hammers
Ramtec adds four new ranges of sorting and demolition grabs
Hitachi launches five new mini excavators at bauma 2013
Kobelco offers new generation short tail swing excavator
Kramer keeps track of machines online
AB TRASMISSIONI makes for perfect couplings
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Indeco's innovative demolition technology
Lameter has certified quality
Cat introduces its economic D Series mini excavators
All eyes on Wacker Neuson's new EH 100 demolition breaker
AUSA's rigid telehandler gets traction control and rear-steer axle
Xcentric Ripper unveiling six new hydraulic breaker models at bauma
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Rammer hammers deliver more powerful blow
Redesign brings 35% efficiency uplift for Promove's 100kg hammer
Doosan to launch improved 6tonne midi
Xylem upgrades Flygt 2600 drainage pumps
JCB shows Stage Tier 4-compliant skid steers
MB moves down the weight range
Bobcat previews 8.5tonne midi excavator
Xylem introduces new Flygt Bibo submersible pump
Manitou adds to mast truck range
Manitou renews mid-height range
Three-in-one telescopic materials-handling from Manitou
E series breakers expand Caterpillar line-up
Debut for Godwin's low-head Vac-Prime pump
New small bridge inspection from Moog
Palfinger lifts the bar with 90m work platform
Tesmec's 'Trenchtronic' technology takes trenchers towards full automation
New rammers from Atlas Copco
Enaikoon and AM Bromley announce strategic alliance
VF Venieri claims a first for its multi-functional backhoe loader
Wacker Neuson unveils dual-power minis
Manitou introduces the beast and the king
Atlas Weyhausen's little AR 30 can work the smallest spaces
World's largest hammer makes breakthrough at bauma
Volvo introduces trio of short-swing excavators
Mantovanibenne shows redesigned shear
Volvo adds new buckets and breakers
Manitou's king of skid steers proves popular with US road contractors
Ditch Witch gives sneak peak at new all-terrain drill
Hidromek adds premium backhoe to range
Doosan increases safety articulated dump truck range
Manitou unveils three new telehandlers at bauma
Yanmar's new mini excavator is light and slim but still packs a punch
€15-20million investment shows Magni's telehandler ambition
Mecalac MCR6 combines excavator and loader in one machine
Montabert revives popular 501 breaker name
Utility Equipment and Attachments
15 February 2013
Ramtec adds new high-impact range of BH backhoe hydraulic hammers
First published
Ramtec goes high-impact
Attachments specialist
is adding three new hydraulic hammers to its range at
. The BH32, BH40 and BH52 backhoe hammers will be marketed under the Robi brand and the key features are high oil flows for high impact frequency, greater productivity levels and more penetration effort; constant blow energy to ensure constant strength; and low fuel consumption rates. All of the new backhoe hammers have sound suppression housing as standard, says Ramtec. The Finnish manufacturer will also unveil a new crusher grapple, the CG20R, at the show. The grapple will crush wood, bricks and concrete down to 350mm, says Ramtec, and it will also separate out rebar.
Stand: B3.417
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text:
Barbara Shifflett: My (county) fair lady
There were two well-known Barbara Shiffletts in town. Now there's one.
Event management is the specialty of one of the Barbara Shiffletts, and so apparently it was no big deal to make time for her own wedding in the month before her biggest annual happening, the Albemarle County Fair.
The nuptials also serve to lessen confusion with the Barbara Shifflett who owns Station and Mono Loco restaurants. The county fair boss will henceforth be known as Barbara Lundgren.
She's still on the farm, though. Her new husband is a farmer, and this morning she's back from her honeymoon and a little distracted because a steer has escaped.
After five years of running the deficit-and-weather-plagued Albemarle County Fair– it rained even during a drought year– Lundgren is not likely to be fazed by a loose steer.
Her rural roots go deep. Her father sold farm machinery, and her sons, two of whom graduated from the Ag School at Virginia Tech, enjoyed showing animals at the county fair. The next thing she knew, she was on the Albemarle County Fair board and in early 2003, she officially was hired as the fair's first executive director.
"This is the only event that celebrates our agricultural heritage," says Shifflett– er, Lundgren. And that's important. "How many kids don't know where eggs really come from– or that milk doesn't come from the store?" she asks.
As educational as the fair is, let's face it, kids come for the rides and the food. Even Lundgren admits the food is her favorite part, and this year the fair is breaking new ground in county fair cuisine by adding seafood.
The volunteers compare notes on the offerings, and Lundgren doesn't worry about a steady diet of high-cal funnel cakes, cotton candy, and Italian sausages. After spending three weeks at the fairgrounds without A/C, "We work it off," she says of the lard-laden delights.
And after years of bad weather– culminating in last year's tent collapse during a microburst– Lundgren has tried to turn adversity to advantage with this year's new events: a drag show, the Miss Emergency Pageant, featuring fire and rescue workers, and a raingear fashion show.
But she's still the optimist and believes this is the year the weather will be perfect, and the fair will break even.
"We're not jinxed," she declares. We're with ya, babe.
Age: 48
What brought you here? I'm a native of Charlottesville– one of the few.
Worst about living here? Seeing the farmland disappear
Favorite hangout? On a boat
Most overrated virtue? My organizational skills
What would people be surprised to know about you? That I am a grandma– Hayley's "Grammy," to be exact
If you could change one thing about yourself, what would it be? My patience level– I want everything fixed, but sometimes it just can't be.
What accomplishment are you proudest of? Surviving what life deals, and still smiling (at least most days)
What do people find most annoying about you? Being hyper when I have an event coming up
Whom do you admire? My mentors and encouragers (there are too many to name)
Favorite book? The Little Engine that Could (Captain Kangaroo was my hero)
What subject causes you to rant? Child abuse, neglect, and pornography
What thrills you about life in the 21st century? Arts and entertainment, and the creativity of theater production
What creeps you out about life in the 21st century? Reality shows
What do you drive? Ford Sportrac truck (handy for what I do)
What's in your car CD player right now? Josh Groban– You Raise Me Up
What's your next journey? Back to the Potomac
What's the most trouble you've ever gotten in? Skipping school (please don't tell my kids)
What do you regret? Not staying in touch with old friends
Favorite comfort food? Dark chocolate
What's always in your refrigerator? Olives, sour cream, Slimfast
Must-see TV? ER
Favorite cartoon? Peanuts
Describe a perfect day. 80 degrees and sunny on the water
Walter Mitty fantasy? 80 degrees and sunny at the fair
Who'd play you in the movie? Helen Hunt (they say I look like her)
Most embarrassing moment? Falling in the apple-bobbing tub in the second-grade Halloween Parade
Best advice you ever got? Hang in there– it will get better. So true.
Favorite bumper sticker? Don't talk about farmers with your mouth full.
Barbara Shiflett with a Rolls Royce that's being auctioned off for the Fair.

subset: commoncrawl


text: The health care system in the U.S. is a $2.5 trillion industry and depends heavily on communication and the transfer of information via the Internet. This puts it at ever-increasing risk of a cyberterrorism attack, which could jeopardize lives and threaten patient care and privacy. Cyber threats are on the rise, and U.S. health care organizations must be better prepared to deal with them, according to an article published in Telemedicine and e-Health, a peer-reviewed journal from Mary Ann Liebert, Inc., publishers. In "Cyberterrorism: Is the U.S. Healthcare System Safe?," David Harries, MBA, MPP, Océ North America (Pembroke Pines, FL) and Peter Yellowlees, MBBS, MD, University of California, Davis (Sacramento), explore the risk of a cyber attack on health care targets in the U.S. They predict what a cyber attack might look like, proposing that it would occur in waves over a period of weeks, leaving a hospital's staff untrusting of electronic data and its IT staff "totally demoralized." The article also discusses why health care in general is a target, how the health care system is currently protecting itself from a potential cyber attack, and what it could and should do to protect itself better in the future. "Many years ago, when we first started using the Internet for telemedicine, a colleague expressed his concern to me about our efforts," says Charles R. Doarn, MBA, Co-Editor-in-Chief of the Journal and Research Professor of Family and Community Medicine, University of Cincinnati, Ohio. "He said he had three concerns about telemedicine on the Internet: 'Security, Security, Security.' Nearly 20 years later, the Internet and the Web are integral parts of what we do in medicine, commerce, news, entertainment, etc. We must remain vigilant, and Harries and Yellowlees do an outstanding job of bringing this to our attention."


text:
Republican presidential candidate Donald Trump said Friday that he is "very proud" that the FBI is willing to investigate new emails linked to Hillary Clinton's private email server.
"The news this morning, this is bigger than Watergate," Trump said at a campaign stop in Manchester, New Hampshire. "Hillary deleted 30,000 emails after receiving a congressional subpoena.
U.S. & World
"I have great respect that the FBI now has the courage to right the horrible mistake they made. This was a grave miscarriage of justice that the American people fully understood and everyone's hope is that it is about to be corrected."
He added that "Hillary Clinton's corruption is on a scale we have never seen before. We must not let her take her criminal's scheme into the oval office."
The FBI told Congress Friday it is investigating whether new emails that may contain classified information have emerged in its probe of Clinton's private server, an unexpected announcement that surfaced less than two weeks before the presidential election. The FBI said in July its investigation was finished.
From Manchester, Trump headed to Lisbon, Maine, where he rallied in front of a modest but enthusiastic crowd.
"We hope justice will finally be served," Trump told about 1,300 people in a school gym, speaking of Clinton.
The Republican nominee has held five rallies in Maine this campaign, giving the state an unusual amount of attention. Trump stands to win at least one electoral college vote if the northern half of the state votes Republican.
Maine is one of just two states with a "split" electoral vote, instead of the usual winner-take-all allocation.
"We are going to win Maine, and we're going to win the White House," he said.
Trump is scheduled to speak in Lisbon, Maine, later on Friday as he seeks to win at least one of the state's four electoral votes. Maine is one of two states that split their electoral votes.


text:
Flo Brookes wrote to me in March about her relatives. Check them out at http://www.cumpston.org.uk/#/charles-hartwell-compston/4562108945 :
'I am related to Charles Hartwell Compston, and thereby, his ancestors, Charles Robert Compston – Auctioneer in Lancaster but born in Kendal with his wife, Isabella Brookes, also from Kendal. Charles R's father was John Compston of Kendal (a builder) and mother was Sarah Hartwell. John Compston's family all originate from this area in the records I have fund, but Sarah's family came from Staffordshire – Fisherwick near Lichfield.
Edward, son of CRC, went to live in Canada and there are family there whom my mother used to keep in touch with. Helena, daughter of CRC, had a daughter Muriel who married a John Cairns and moved to Australia.'
Flo wrote again with a 'photo of Charles Robert Compston with his wife Isabella, nee Brookes, with their children – Charles Hartwell, Helena Nary, Royden Martindale, William Sidney and Edward Douglas. I believe Charles Robert died in 1899 but have not found the record of this.
Charles R was an Auctioneer and Valuer, Sheriff's officer and Insurance agent, with a property in Market Street, Lancaster. The business seems to have lasted well beyond the life of Charles, with Royden running it after Charles Hartwell became an Engineer.
John Compston, the father of Charles, was a builder and had an address in Highgate, Kendal, as a joiner, as did Samuel and Thomas Compston with an address of Captain French lane.'
As a result of Flo's information I have been able to put together a new family tree. Many thanks Flo especially for the lovely photos.


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84 HASKINS & SELLS November Some Successes and Failures In Profit Sharing PROFIT-SHARING has been sug-gested as the panacea for ailments growing out of the relations between the capital and labor groups in industry. Would the recent strikes of the printers, expressmen, longshoremen and laundry workers have been prevented had the employers introduced some system of profit-sharing? Would the strike in the steel mills have been averted had the administration of the United States Steel Corporation, instead of giving its employes frequent and liberal increases in wages and the opportunity to buy the common stock of the company at somewhat less than the current market price, instituted some plan whereby the workers would have shared, as such, in the profits? The value of profit-sharing as a remedy may perhaps be better judged after a consideration of its object and history and some of the instances wherein it has either succeeded or failed. Profit-sharing is that plan wherein the worker receives, in addition to his wage, a share, determined in advance, of the profits. It is not specifically related to the wage system, which aims to increase the compensation of the worker as he increases production and thereby reduces cost, or which allows him a share in the saving representing the difference between a standard time and his actual time, when the latter is shorter. It has nothing to do with the Differential Rate Plan used by Taylor or the Individual Effort System originated by Harrington Emerson, which achieved such publicity through its application in the shops of the Santa Fe Railroad that it is frequently referred to as the Santa Fe System. All these schemes are limited to and affected by the labor operations and the relation of production to labor costs and overhead. Profit-sharing takes no specific cognizance of the part which the individual plays in the result. It is assumed, however, that the hope of sharing in a profitable result will serve as the necessary incentive to each individual and spur him on to constant effort to the end that the result may be as large as possible. If the employe receives a gift at Christmas time, or at the end of the year, it is a bonus and not profit-sharing. It is something which results from the generosity of the employer and may depend upon his mood. Under a profit-sharing scheme the share may depend upon the generosity of the employer, but it is fixed in advance, thus constituting a right which is conferred upon the worker, and is something to which he may look forward. It is probable that he might enforce such right at law. The profit to which reference is made is the net profit. Such profit is that which remains after deducting all selling, administrative and financial expenses. In short, it is that profit which is available for distribution after taking out all applicable costs and expenses; that residue which, ordinarily, if it were not distributed as dividends would pass to surplus. This interpretation has been modified in various instances in that interest on investment has in some cases been charged before the determination of the amount subject to distribution among the members of the proprietary group and the manual workers. To trace the history of profit-sharing would be to trace the history of capital and labor in enterprise. Writers usually agree that profit-sharing in a broad sense must have had its origin in remote antiquity. The earliest reference to its existence in concrete form is in the time
Object Description
Some successes and failures in profit sharing
Williams, Aneurin
Profit-sharing -- History
Henry Brigg, Son & Co.
Lever Bros.
Procter & Gamble Co.
N. O. Nelson Manufacturing Co.
|Personal Name
Leclaire, Edm??-Jean
Haskins & Sells Bulletin, Vol. 02, no. 11 (1919 November 15), p. 84-87
Haskins & Sells Bulletin, Vol. 02, no. 12 (1919 December 15), p. 90-94
Haskins & Sells Bulletin, Vol. 03, no. 01 (1920 January 15), p. 02-05
|Originally published by: Haskins & Sells
|Deloitte Digital Collection
|Digital Publisher
|University of Mississippi Libraries. Accounting Collection
|Date-Digitally Created
|HS Bulletin 2-p84


text:
Join us as Kiese Laymon shares his highly-anticipated forthcoming book Heavy: An American Memoir.
It's a searing memoir that explores what the weight of a lifetime of secrets, lies, and deception does to a black body, a black family, and a nation teetering on the brink of moral collapse.
With a commitment to facing hard truths, Heavy charts Laymon's early experiences of sexual violence and toxic masculinity growing up in Jackson, Mississippi; his complex and often painful relationship to his brilliant mother; first-hand experiences with racism in academia; and the physical manifestations of trauma, including obesity, anorexia, and gambling addiction, on his own body.
Kiese Laymon is a black southern writer, born and raised in Jackson, Mississippi. Laymon attended Millsaps College and Jackson State University before graduating from Oberlin College. He earned an MFA in Fiction from Indiana University. Laymon is currently a Professor of English and Creative Writing at the University of Mississippi. He is the author of the award-winning novel, Long Division and a collection of essays, How to Slowly Kill Yourself and Others in America. Laymon has written for numerous publications including New York Times, NPR, Los Angeles Times, Esquire, The Guardian, McSweeneys, Colorlines, The Best American Series, Ebony and many others. He is a contributing editor of Oxford American.


text:
It was five o'clock on a Sunday in May, two hours before showtime, but already thousands of K-pop fans had flooded the concrete playa outside the Honda Center, a large arena in Anaheim, California. Tonight's performers were among the biggest pop groups in South Korea—SHINee, f(x), Super Junior, EXO, TVXQ!, and Girls' Generation. In the United States, Korean pop music exists almost exclusively on YouTube, in videos like "Gangnam Style," by Park Jae-sang, the rapper known as PSY, which recently went viral. The Honda Center show was a rare chance for K-pop fans to see the "idols," as the performers are called, in the flesh.
K-pop is an East-West mash-up. The performers are mostly Korean, and their mesmerizing synchronized dance moves, accompanied by a complex telegraphy of winks and hand gestures, have an Asian flavor, but the music sounds Western: hip-hop verses, Euro-pop choruses, rapping, and dubstep breaks. K-pop has become a fixture of pop charts not only in Korea but throughout Asia, including Japan—the world's second-biggest music market, after the U.S.—and Taiwan, Singapore, the Philippines, Hong Kong, Thailand, Vietnam, and Malaysia. South Korea, a country of less than fifty million, somehow figured out how to make pop hits for more than a billion and a half other Asians, contributing two billion dollars a year to Korea's economy, according to the BBC. K-pop concerts in Hong Kong and on mainland China are already lucrative, and no country is better positioned to sell recorded music in China, a potentially enormous market, should its endemic piracy be stamped out. Yet, despite K-pop's prominence in Asia, until recently few in the United States had heard of it. SMTown World Tour III, named for S.M. Entertainment, the Korean music company that is sponsoring the global tour, is hoping to change things, through a unique system of "cultural technology."
Outside the arena, clusters of fans were enacting dance covers: copies of their favorite idol groups' moves. (PSY's horse-riding dance, from "Gangnam Style," may be the Macarena of the moment.) People carried light sticks and bunches of balloons, whose colors signified allegiance to one or another idol group. The crowd was older than I'd expected, and the ambience felt more like a video-game convention than like a pop concert. About three out of four people were Asian-American, but there were also Caucasians of all ages, and a number of black women.
Standing beside me was Jon Toth, a twenty-nine-year-old white guy, a computer scientist who had driven twelve hours straight from New Mexico. Toth is a fan of Girls' Generation, a nine-member girl group in the process of recording its American début album, with Interscope Records. At the time he stumbled across the Girls, on YouTube, Toth was an alt-rock guy; he loved Weezer. "I was definitely not the kind of guy you'd expect to get into a nine-girl Asian group," he told me. But before long Toth was studying Korean, in order to understand the lyrics and also Korean TV shows. Then he started cooking Korean food. Eventually, he travelled all the way to Seoul, where, for the first time, he was able to see the Girls—Tiffany, Sooyoung, Jessica, Taeyeon, Sunny, Hyoyeon, Yuri, Yoona, and Seohyun—perform live. It was a life-changing experience.
"You think you love them, but then you see Tiffany point directly at you and wink, and everything else that exists in the world just disappears," Toth wrote on Soshified, a Girls' fan site. "You think you love them, but then you see Sooyoung look you dead in the eye and say in English, 'Thank you for coming.' " Toth concluded, "I might not know how much I love these girls."
I had arranged to meet Toth because somewhere between my tenth viewing of the Girls' video "Mr. Taxi" and my twentieth click on "Gee" it occurred to me that I might not know how much I loved these girls, either. "Listen, boy," Tiffany coos at the outset of "Gee." "It's my first love story." And then she tilts her head to the side and flashes her eye smile—the precise crinkle in the outer corner that texts her love straight 2U. Why was watching "Mr. Taxi" such pure audiovisual pleasure? Why did my body feel lighter in the chair? It wasn't the music—bright, candy-cane-sweet sounds, like aural Day-Glo—and, while the dancing was wonderfully precise, the choreography had a schematic quality.
"They look like cheerleaders," my twenty-one-year-old niece hissed over my shoulder one day as I was watching "Gee" again. "Uncle Pervy!"
No, it was nothing like that. For pervy, try the J-pop group AKB48, a Japanese girl ensemble, with scores of members, who, affecting a schoolgirls-in-lingerie look in their video "Heavy Rotation," pillow-fight, kiss, and share heart-shaped cookies mouth to mouth. Girls' Generation is a group of preppy-looking young women in skinny trousers. When they wear hot pants, it's to display the gams, not the glutes.
"They take the love the fans feel for them, and they return it to the fans," Toth told me. "When you see them onstage, it's like they've come to see you."
I must have looked skeptical.
"Just wait," he said. "You'll see."
"H_allyu"_ is the term that Asians use to describe the tsunami of South Korean culture that began flooding their countries at the turn of the twenty-first century. Korean TV dramas and, to a lesser extent, Korean films have, along with Korean pop music, become staples in markets formerly dominated by Japan and Hong Kong. According to the pop-culture scholar Sung Sang-yeon, Korean TV producers established themselves during the Asian economic crisis of the late nineties, offering programming that was cheaper than the shows being made in Japan and Hong Kong and of higher quality than most other Asian countries could produce themselves. While the Korean singers and actors are young and the settings are often contemporary, their themes embody traditional values of family, friendship, and romantic love.
The Korean government has promoted hallyu, using it as a form of "soft power," by making South Korea the Hollywood of Asia. Hallyu has erased South Korea's regional reputation as a brutish emerging industrial nation where everything smelled of garlic and kimchee, and replaced it with images of prosperous, cosmopolitan life. Thanks to mini-series such as "Winter Sonata," a 2002 romantic drama that was a huge hit throughout Asia, middle-aged Japanese women now swoon over Korean men, while complaining about the "grass-eating"—that is, lacking in virility—males of Japan. Korean ancestry used to be a stigma in Japan; now it's trendy. At home, K-drama's success has brought tourists from all over Asia to visit the sites depicted on the screen.
Like K-drama, K-pop is a blend not just of Western and traditional but of new and old. The music features lush soundscapes made with the latest synths and urban beats. The hooks are often sung in English, and sometimes suggest a dance move: steering in "Mr. Taxi"; butt-shaking in "Bubble Pop." The videos feature extravagant sets and big production numbers reminiscent of early Madonna videos, while the music sometimes sounds like New Jack Swing—the late-eighties dance music created by the American producer and songwriter Teddy Riley and popularized by Michael and Janet Jackson, Boyz II Men, and Bobby Brown, among others. The girls' sexy but demure style recalls groups of the early sixties—the Shirelles, the Crystals, and the Ronettes. Neither the boys' nor the girls' lyrics or videos generally refer to sex, drinking, or clubbing—the great themes of Western hit-makers. Indeed, the Ministry of Gender Equality and Family, a state agency, endeavors to keep minors from hearing or seeing K-pop songs and videos that make reference to clubbing. I was in Seoul last spring when Lady Gaga performed at the Olympic Stadium, and kids under the age of eighteen were barred from the show. (Some artists push the envelope. For example, the K-pop idol Rain's song "Rainism" detailed the activities of his "magic stick"; the song was later revised. Many artists censor themselves, in order to reach the broadest possible audience.)
In Seoul, you can feel K-pop all around you. There is the constant presence of the idols on billboards and in display ads. Life-size cutouts of idols greet you at the entrances of the big department stores. On the streets and in the subways you see echoes of the idols' faces. (On one occasion, in a hotel lobby, I strode up to what I thought was a cutout of a K-pop idol, only to find that it was a real woman, who frowned and moved away.) In Gangnam, the ritzy shopping district on the south side of the Han River, the architecture is as showy as the idols themselves.
Three music agencies dominate the K-pop industry. S.M. Entertainment is the largest, followed by J.Y.P. Entertainment and Y.G. Entertainment. (The initials stand for the names of the agencies' founders, all of whom are former musicians or dancers: Lee Soo-man, Park Jin-young, and Yang "Goon" Hyun-suk, respectively.) The agencies act as manager, agent, and promoter, controlling every aspect of an idol's career: record sales, concerts, publishing, endorsements, and TV appearances. S.M. and J.Y.P. are in Gangnam, and there are always groups of young girls, many of them Japanese, in the streets outside, hoping for a glimpse of an idol or two (even though the idols generally move anonymously through the city, in minivans with tinted windows). Both sets of offices are surprisingly shabby inside, with cramped studios and worn-looking décor. Y.G., across the river, has much more lavish facilities, including around a dozen state-of-the-art recording studios and a staff of sixteen in-house producers, among them Teddy Park, who wrote "Fantastic Baby," for BIGBANG, and most of the music for 2NE1, Y.G.'s two most popular groups.
At J.Y.P., I briefly met Park Jin-young, a tall, athletic forty-year-old who was educated in the U.S. He was in the agency's training facility. Dressed in workout clothes, he was in the middle of a session with some of the trainees, and he couldn't stop to talk; he disappeared into a dance studio, outside of which there was a pile of kids' shoes. However, I was able to chat with the five Wonder Girls, the agency's most successful girl group. In their video "Nobody," they wear shimmering dresses and bouffant hairdos—Korea's answer to the Supremes. Out of costume and without makeup, they were almost unrecognizable. They sat at a conference table, with Sohee, who looked very tired, in the middle. We talked a lot about jet lag. Sunye, sitting on Sohee's left, looked at the clock on the wall, which read 5 P.M. "This time of day is the worst!" she declared.
The agencies recruit twelve-to-nineteen-year-olds from around the world, through both open auditions and a network of scouts. Girls' Generation, the dominant girl group in recent years, has two members, Tiffany and Jessica, who were born and reared in California. (Native English- or Chinese-speaking boys and girls, usually of Korean origin, are highly prized.) Tiffany, who was born in San Francisco and grew up in Los Angeles, was recruited at fifteen, while auditioning for a talent show, and brought to Seoul, where she trained in the idol-making system. Jessica, who was born in the same hospital as Tiffany, was discovered in Seoul at twelve. "I didn't really audition," she told me. "I went to Korea to meet my dad's side of the family, and I was shopping, and one of the agents saw me, and picked me and my sister together." Her sister, Krystal, was seven at the time; now she's a member of the group f(x). In Seoul, both Tiffany and Jessica attended an international school by day; after school, they reported to S.M., where they trained until ten, and then they had to do homework. Jessica's training lasted for seven years.
In addition to singing and dancing, the idols study acting and foreign languages—Japanese, Chinese, and English. They also receive media coaching and are readied for the intense scrutiny they will receive on the Internet from the "netizens" of Korea, the most wired country on earth. ("Netizens Love Seohyun's Aegyo Mark" declared a recent headline from the K-pop Web site Soompi, regarding the small beauty dot to the left of the singer's eye.) Unless you're the Jonas Brothers or Taylor Swift, public drunkenness, brawling, and serial misbehavior can often enhance an artist's reputation in the American pop scene; in Korea, a rumored sex tape or a positive test for marijuana can derail a career. On average, only one in ten trainees makes it all the way to a début.
The groups are put together by the heads of the agencies, according to an alchemy of individual and collective qualities. "The members of a group shouldn't be completely alike and indistinguishable," Melody Kim, a community manager at Soompi, told me, "but they should be complementary enough so that together they form a really great, cohesive whole." Groups début on one of the many musical-variety shows that play on Korean TV almost nightly. I went to the taping of one, for the Mnet musical program "M! Countdown," where new and established groups perform their latest songs and the audience votes for its favorites; I was reminded of the days when MTV actually featured music. If idols are successful, they are often expected to churn out a full album every eighteen months or so and a five-song mini album each year. The charts change rapidly, and, because youth and novelty are at such a premium, established groups usually don't last long: five years is the average shelf life of an idol. (Some idols extend their careers by acting in K-dramas.) New groups appear regularly; in 2011, about sixty groups made débuts, an unprecedented number. Only a fraction are likely to last; most will fade away after a couple of songs.
In its early years, the Korean Wave didn't feel as imperialistic to other Asians as a Chinese wave might have. But more recently, in Japan and in some parts of China, there has been a backlash from a loud minority, which may be one reason that the agencies are promoting their groups more assiduously in the West. This year, China passed a law limiting the amount of foreign programming that can be shown on Chinese TV. Hallyu, far from seeming like a benign export from a nonthreatening country, is now commonly described as an "invasion," as though it were a sort of mental Asian carp that is clogging up the minds of the young.
Good looks are a K-pop artist's stock-in-trade. Although some of the idols are musicians, K-pop artists rarely play instruments onstage. Where K-pop stars excel is in sheer physical beauty. Their faces, chiselled, sculpted, and tapering to a sharp point at the chin, Na'vi style, look strikingly different from the flat, round faces of most Koreans. Some were born with this bone structure, no doubt, but many can look this way only with the help of plastic surgery. Korea is by far the world leader in procedures per capita, according to The Economist. Double-fold-eyelid surgery, which makes eyes look more Western, is a popular reward for children who get good marks on school exams. The popularity of the K-pop idols has also brought Chinese, Japanese, and Singaporean "medical tourists" to Seoul to have their faces altered to look more like the Korean stars. Some hotels have partnered with hospitals so that guests can have in-house procedures; the Ritz-Carlton Seoul, for example, offers an eighty-eight-thousand-dollar "anti-aging beauty package." Women come to have their cheekbones shaved down and undergo "double jaw surgery," in which the upper and lower jawbones are cracked apart and repositioned, to give the whole skull a more tapered look.
These Grand Guignol images were on my mind in Anaheim, at the meet-the-idols press briefing before the show, which took place in a long, narrow room on the third floor of the Honda Center. Two idols from each of the six groups who were performing filed in. They sat on high stools on a small raised platform. Each was wearing one of the many different costumes that he or she would sport in the course of the four-hour show. The boys' faces were as pancaked and painted as the girls', and their hair was even more elaborately moussed, gelled, and dyed, in blond and butterscotch hues. Some guys wore high-waisted jackets with loose harem pants or jodhpurs, circus-ringmaster style; others wore white cutaways with high, stiff collars and black ties, like dream prom dates. They were more androgynous than Ziggy Stardust. The girls wore gold hot pants or short skirts, sparkly tops, and lace-up leather boots. Everyone looked very serious.
Once the idols were seated, a woman appeared with a stack of white gym towels. She gave one to each of the female idols, who arranged it atop her exposed thighs, as a makeshift modesty panel. I sat opposite Sooyoung, of Girls' Generation, a willowy brunette. She seemed distant and frosty, like a figurine in a glass case.
S.M. had prepared questions for the idols, and they were read out loud, in English and Korean, by the S.M. company man who ran the proceedings. The first question, for the two members of the Girls, was: "Every time you visit the States it seems like you receive crazy love and support. Can you feel it? Can you explain the wonderful reception your fans have given you?"
The same question was put, in slightly different forms, to all the groups. The two representatives of Super Junior, a twelve-member boy group, were asked, "How do you always manage to have an explosive reaction from your fans worldwide? What's your secret?"
One of the members hazarded a guess. "Maybe it is because of our great good looks?"
Lee Soo-man, S.M.'s founder—people in the company refer to him as Chairman Lee—is K-pop's master architect. Lee retired as the agency's C.E.O. in 2010, but he still takes a hand in forming the trainees into idol groups, including S.M.'s newest one, EXO. The group has twelve boys, six of them Korean speakers who live in Seoul (EXO-K) and six Mandarin speakers, who live in China (EXO-M). The two "subgroups" release songs at the same time in their respective countries and languages, and promote them simultaneously, thereby achieving "perfect localization," as Lee calls it. "It may be a Chinese artist or a Chinese company, but what matters in the end is the fact that it was made by our cultural technology," he has said. "We are preparing for the next biggest market in the world, and the goal is to produce the biggest stars in the world." But, while S.M. gets credit for inventing the factory system, its idol groups are seen by some as being too robotic to make it in the West. Y.G. is significantly smaller than S.M. in terms of revenue, but it has a reputation as an agency that allows artists like PSY a kind of creative freedom they would not enjoy at S.M.
Lee was born in Seoul in 1952, during the Korean War. He grew up listening to his mother play classical piano. At the time, the dominant Korean pop genre was trot (an abbreviation of "foxtrot"), pronounced "teuroteu." Trot borrowed from Western music and from Japanese popular songs, a legacy of the Japanese occupation, from 1910 to 1945. It blended these influences with a distinctively Korean singing style called p'ansori. Lee, however, immersed himself in American folk and Korean rock music, which started on U.S. Army bases and was popularized by the guitarist and singer Shin Joong-hyun, in the sixties. Long before K-pop came along, Korean musicians were masters at combining Western influences with traditional singing and dancing styles.
Lee made his name as a folksinger, and toward the end of the decade formed a short-lived hard-rock band called Lee Soo-man and the 365 Days. He also became a well-known d.j. and the host of televised music and variety shows. Mark Russell, who interviewed Lee for his 2008 book, "Pop Goes Korea," writes that the Korean government cracked down on the music scene, arresting and imprisoning several prominent musicians on pot charges. When a military coup installed Chun Doo-hwan as President, in 1980, Lee's radio and TV shows were cancelled.
Lee moved to the U.S., where he pursued a master's degree in computer engineering at California State University, in Northridge. He became fascinated with the music videos that were a staple of programming on the newly launched MTV. If there is a single video from the eighties that captures many of the elements that later resurfaced in K-pop, it is Bobby Brown's 1988 hit "My Prerogative," with its triplet swing on the sixteenth note, a signature of New Jack Swing. Brown's dance moves—a swagger in the hips, combined with tight spins that are echoed by backing dancers—also found their way into K-pop's DNA.
In 1985, Lee received his degree, and, he told Russell, he returned home determined to "replicate U.S. entertainment in Korea." Increasing prosperity, marked by the arrival of the 1988 Seoul Olympics, helped bring market-oriented democracy to South Korea and a general loosening of restrictions on the media. Around this time, Koreans coming back to Seoul from the U.S. brought the rhythms of rap and hip-hop, sung in Korean. The consonant nature of the language, with its abundance of ka and ta sounds, lent a hard-edged quality to the raps. In 1992, a three-member boy group called Seo Taiji and Boys performed a rap song on a Korean-TV talent competition, to the horror of the judges, who ranked them last, and to the delight of the kids watching at home (one of the Boys was Yang Hyun-suk, the future founder of Y.G. Entertainment). Korean music historians generally cite this performance as the beginning of K-pop.
Lee founded S.M. in 1989. His first success was a Korean singer and hip-hop dancer named Hyun Jin-young, whose album came out in 1990. But, just as Jin-young was on the verge of stardom, he was arrested for drugs. Russell writes that Lee was "devastated" by this misfortune, and that the experience taught him the value of complete control over his artists: "He could not go through the endless promoting and developing a new artist only to have it crash and burn around him."
In effect, Lee combined his ambitions as a music impresario with his training as an engineer to create the blueprint for what became the K-pop idol assembly line. His stars would be made, not born, according to a sophisticated system of artistic development that would make the star factory that Berry Gordy created at Motown look like a mom-and-pop operation. Lee called his system "cultural technology." In a 2011 address at Stanford Business School, he explained, "I coined this term about fourteen years ago, when S.M. decided to launch its artists and cultural content throughout Asia. The age of information technology had dominated most of the nineties, and I predicted that the age of cultural technology would come next." He went on, "S.M. Entertainment and I see culture as a type of technology. But cultural technology is much more exquisite and complex than information technology."
In 1996, S.M. débuted its first idol group: a five-member boy band called H.O.T. (short for High-Five of Teenagers). It was followed by S.M.'s first girl group, S.E.S., after the given names of the three members (Sea, Eugene, and Shoo). Both groups were enormously popular in Korea, and inspired other groups. Soon K-pop was pushing both traditional trot and rock to the commercial margins of the Korean music scene.
In 1998, Lee began expanding into the rest of Asia. The idols sang in Japanese and Chinese, but the sound and style of the music and the videos adhered to the principles that had made them popular in Korea. Lee and his colleagues produced a manual of cultural technology—it's known around S.M. as C.T.—that catalogued the steps necessary to popularize K-pop artists in different Asian countries. The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups).
C.T. seemed to work. By the late nineties, H.O.T. was topping charts in China and Taiwan. Both H.O.T. and S.E.S. disbanded in the early two-thousands, but Lee's follow-up acts proved to be even more popular. BoA, a solo female singer who made her début in 2000, became huge in Japan. Super Junior, the boy group, débuted in 2005, and became bigger throughout Asia than H.O.T. had been. And in 2007 came Girls' Generation, the nine-member group that represented cultural technology in its highest form, designed to conquer not only Asia but the West as well. Nikkei, the Japanese business magazine, put the group on the cover in 2010, suggesting that Girls' Generation was the next Samsung.
Neil Jacobson is a thirty-five-year-old executive in the A. & R. department at Interscope Records, one of Universal Music Group's labels, who is in charge of making Girls' Generation's début American album. When I met him, in his large corner office at Interscope's headquarters, in Santa Monica, he was dressed in jeans and a gray knit hoodie. Jacobson has unusually large eyes, and he has a habit of standing close and training his orbs on you, encouraging you to ponder the mind-boggling import of the point he is making.
Jacobson said that he had met Chairman Lee in Hong Kong, and that they attended a Girls' Generation show together. "It blew my mind how conceptual he is!" Jacobson exclaimed, giving me his wide-eyed look. "Every little thing is thought out. Every song is like a mini epic! And the fans—oh, my God!" He paused, slightly staggered by the memory.
Jacobson's challenge is to put together an album that highlights the Girls' Koreanness—the distinctive sweetness and purity that sets them apart from other pop acts—while making the music urban-sounding enough to get on the radio and be embraced by, say, Nicki Minaj or Rihanna, who could introduce the K-pop sound and style to their fans. The rapper and producer Swizz Beatz has spoken of wanting to pair Chris Brown with Y.G.'s BIGBANG, a five-member boy group, and Nicki Minaj with the agency's other big success, 2NE1, a fashion-forward four-member girl group. "Bridging the gaps with collaborations can be the start of a global phenomenon," he told the music magazine The Fader. But so far only PSY has come close to bridging the East-West pop-culture divide, and it remains to be seen whether his success will be a one-time phenomenon, like that of the other Asian star to reach the top of the U.S. charts singing in his or her native tongue, the Japanese crooner Kyu Sakamoto, whose song "Sukiyaki" topped the Billboard Hot 100 in 1963.
The directive to make a Girls' Generation album for the U.S. market came from on high. Max Hole, an executive at Universal's international division, told me, "I keep close tabs on what's happening in Japan, so of course I was aware that Girls' Generation had become monstrously huge there, and they do these amazing synchronized dances—a very visual act—and I thought the songs were great. So, at one of our meetings which the heads of all the North American divisions attended, I played Girls' Generation for them. And Jimmy Iovine"—Interscope's chairman—"said, 'These are really good records.' And the decision was made that we should try Girls' Generation in America."
Like everyone else in the record industry, Hole wants to do business in China, which one day will be the world's biggest market. The question is when that will be. When I asked Hole, he said, "China is obviously a huge opportunity for us in five to ten years' time." He added, "Right now, the market is so small, but we make money on endorsements and touring." Collaborating with S.M. on a U.S. record for Girls could lead to other collaborations in China, where S.M. is better connected than Universal.
"Granted, it's a small bull's-eye," Hole went on, turning to the Girls' chances in the U.S. "There isn't much of a precedent for non-English-speaking acts in the States. Rammstein"—an industrial-metal band from Germany—"has done O.K., though now it's mainly a touring act. There are some Spanish-speaking solo acts that do well, but there is very little precedent for a group that sings in another language. The Swedish groups like ABBA sang in English, even in Sweden."
"Obviously, there are nine of them," Neil Jacobson said of Girls' Generation. "Getting Americans to accept nine girls isn't going to be easy." Western boy and girl groups rarely number more than five—One Direction, a five-member boy band from the U.K., is the latest group to conquer the U.S.—and marketers are at pains to emphasize the individuality of each member. But Girls' Generation seems larger than the sum of its parts.
Touring, which the label is counting on the Girls to do, could also be a problem. In Korea, record promotion is built almost entirely around television appearances. During a weeklong stay in Seoul, I saw members of Girls' Generation on TV every night. In the U.S., with the exception of awards shows, which are infrequent, there are few prime-time TV formats for promoting pop music; artists must rely on radio and concert tours to build a mass following. "The usual rule for English-speaking acts is that they are ten months touring here and in Europe and one month in Asia," Jacobson said. "But these girls are ten months in Asia." Product endorsements represent a significant portion of their income—the Girls have more than forty endorsement deals in Asia, from cell phones to roast chicken. An extended sojourn in the West would incur significant "opportunity costs," as an agent at Y.G. put it to me, in the form of lost advertising revenue, and, worse still, in being absent from TV. The Wonder Girls, who used to be the biggest girl group in K-pop, spent two years in New York trying, unsuccessfully, to break into the American market, while they were eclipsed at home by Girls' Generation. Several people I met at the agencies cited this as a cautionary tale.
"And I wouldn't want them to just do New York, Chicago, L.A.," Jacobson went on, pacing around his office. "I'd want them to go to Alabama and Missouri and Kansas. We need them to eat, breathe, and sleep this stuff. So that's going to be an interesting negotiation."
Ultimately, Jacobson faces the same conundrum as Lee Soo-man: how do you come up with music that appeals to both the East and the West, without alienating the fans of either? Jacobson said that he was commissioning hundreds of songs from a broad range of songwriters—Asian, American, and European—as more and more Western writers become aware of K-pop's potential. "I don't want to lose the Asian flavor. I want songs that speak to Girls' Generation's brand and also speak to the sound in America right now."
Half an hour before the Anaheim show, I was backstage, on my way to meet Tiffany and Jessica, the two members of Girls' Generation born and brought up in the U.S., who are both in their early twenties. An S.M. man was guiding me through the labyrinth of dressing rooms, where various idols, mainly guys, were having their hair fussed over and their outfits adjusted. There was a lot of nervous bowing. My minder hustled me along, telling me what questions not to ask the Girls. "Was it sad to say goodbye to your friends who didn't make it?" he said. "Do you have a boyfriend?" He paused. "This is all going to Korea, and it's a little different there," he said. "So if we could stay away from the personal questions like boyfriends."
I began by asking the pair about the challenges they had faced in adapting to Korean culture. "I thought I would be able to adjust, because my parents spoke Korean at home," Tiffany said. "But I didn't even imagine how different it would be. American culture is so open compared to Korean culture, which is really conservative. So I would be, like, 'Hi!' and they were, like, 'You don't say "Hi!" You bow!' "
And what were their living circumstances like now? Tiffany said, "Six of us live together, and the other three live like a minute away. So we're always going back and forth to each other's houses."
Do netizens chronicle their movements on the Internet?
"Yeah, that's true," Jessica said. "I'll be at a restaurant and it will be on Twitter in, like, ten minutes."
"What's it like living with that?" I asked.
"I think we've been brought up to be really careful and to take responsibility in our actions, in order to be in this position," Tiffany said. She added, "We always stay at home."
I mentioned a news item I had seen about how the Girls tried to disguise themselves in the streets of Seoul but that their limbs alone—the shape of their arms and legs—gave them away. Was that true?
"It is," Tiffany said, shooting an accusatory glance at her arm. "It's just so . . ." she paused, searching for the right thing to say. "Freakishly cool!"
From out in the arena came a long, low wailing sound—the screams of the fans, dying for the idols to appear.
"O.K., we have to go," the S.M. man said.
But I did have one personal question for Tiffany. "Your eye smile: did you learn that or is it natural?"
"No," Tiffany replied, giggling. "My dad smiles this way." She eye-smiled me from two feet away: a jolt of pure cultural technology.
As I was heading back toward the stage entrance, I came upon a circle of idols tightly bunched around a small man in a dark-blue suit. He was quietly giving some sort of exhortation; occasionally, he paused and the group would send up a shout. Moving a little closer, I recognized Lee Soo-man. I was struck by the rapt attentiveness with which his "family" hung on his every word. He was directing his remarks at EXO, his new Chinese-Korean group; all twelve members were present. With each shout, the twelve EXO boys bowed deeply from the waist.
Not all members of the S.M. family are as close to Chairman Lee. In recent years, several family members have sued the company over abusive treatment and so-called "slave contracts." Perhaps the most notorious case is that of Han Geng, a Chinese-born, Mandarin-speaking dancer. S.M. discovered him in Beijing in 2001, and he débuted as a member of Super Junior in 2005. In 2009, he accused the company of, among other things, forcing him to sign a thirteen-year contract when he was eighteen; paying him only a fraction of the profits earned; fining him when he refused to do things the company asked him to do; and making him work for two years straight without a single day off, which Han claimed caused him to develop gastritis and kidney disease. The Korean courts ruled in Han's favor, but shortly after the ruling he withdrew the suit. He has since left the group.
S.M. initially defended its long-term contracts by pointing to the costs of housing, feeding, and training recruits for five years or more, which can run into the millions of dollars. But the furor over "slave contracts" damaged S.M.'s reputation among netizens, and in recent years its contracts have become more equitable. Girls' Generation's members are rumored to have signed up for seven years each, with salaries of a million dollars a year, which can hardly be called exploitative.
Other agencies employing an S.M.-style factory system may be less progressive. In February, 2011, three members of KARA, a hugely popular girl group with D.S.P., one of the smaller agencies, filed a lawsuit claiming that, even though the group earned the agency hundreds of thousands of dollars, each member was paid only a hundred and forty dollars a month. The agency disputed that figure, and eventually the two sides settled. The onerous restrictions that some agencies place on idols have been widely publicized in Korea. Another small agency, Alpha Entertainment, forbids its female trainees to have boyfriends and bars any food or water after 7 P.M., according to the Straits Times, Singapore's English-language newspaper. They are not allowed to go anywhere without supervision. When the paper asked the mother of Ferlyn, one of the Alpha trainees, how she felt about her daughter's regimen, she replied, "What the girls have gone through so far has been quite reasonable. The company has invested a lot in them, so they need to work hard for the company. I am not worried about Ferlyn. I want her to follow her dreams and make it big."
When an entertainment industry is young, the owners tend to have all the power. In the early days of the movie business, Hollywood studios locked up the talent in long-term contracts. In the record business, making millions off artists, many of whom ended up broke, used to be standard business practice. When you replicate the American entertainment business, and add the Confucian virtue of rigid respect for elders to the traditionally unequal relationship between artists and suits, the consequences can be nasty.
Ironically, for all the money that the agencies invest in idol-making, the success of PSY, the first Korean pop star to break out in the U.S., took place largely outside the factory system. PSY is with the Y.G. agency, but he has never been idol material. His first album, "PSY from the PSYcho World!," was condemned for "inappropriate content," and his second, "Ssa 2," was banned for anyone under nineteen. In 2001, he was arrested and fined for smoking pot, and, during his mandatory military service, he neglected his duties and had to serve again. He's a Korean pop star, but he's not K-pop, and by satirizing standard K-pop tropes in "Gangnam Style," PSY may have subverted K-pop's chances of making it big in the West. At the very least, that a pudgy guy with a goofy dance can succeed where the most brilliantly engineered idol groups have not suggests that cultural technology can get you only so far.
The first group to take the stage in Anaheim was SHINee, a boy band. The boys were fun to watch—heavily made-up and moussed male androgynes doing strenuous rhythmic dances. But I'm going to go out on a limb and say that there is no way that a K-pop boy group will make it big in the States. The degree of artistic styling is much more Lady Gaga than Justin Bieber. Perhaps there is an audience of ten-to-twelve-year-old girls who could relate to these guys, but there's a yawning cultural divide between One Direction, say, and SHINee.
Still, the fans loved SHINee, especially when the boys distributed themselves around catwalks set up above the aisles and began greeting audience members with winks and waves. Then the crowd sound turned from a baying into a sort of keening—I had never heard that exact tone at a show before.
I was watching the show from beside the stage when the nine members of Girls' Generation came out, in bluejeans and white T-shirts, to perform "Gee." The whole place shouted the hook: "Geegeegeegeebabybaby." Whenever a song ended, the Girls deployed around the stage. At one point, Sooyoung came to where I was standing and began frantically winking and waving her way through the crowd, wearing a blissful smile and shaking her glossy hair. She was no longer the cold idol I had encountered in the press room but a super cheerleader. It was just as Jon Toth had said it would be: the Girls had come to see us.
But after the Girls left the stage the concert flagged a bit, and I found myself wondering why overproduced, derivative pop music, performed by second-tier singers, would appeal to a mass American audience, who can hear better performers doing more original material right here at home? The Girls' strenuous efforts notwithstanding, the mythical mélange of East and West remained elusive.
I headed up to the arena's Premium level, where Interscope had reserved a box. The woman running the elevator told me that she couldn't remember hearing screaming this loud at a show. She had put in earplugs.
The box held Interscope people from the marketing and A. & R. departments. There were drinks and food—anything you want, Jacobson said, putting an arm around my shoulders and guiding me down to a seat in the front row of the box.
"Now, I am here purely as an observer," he said, settling into the seat beside mine. "I just want to open my eyes and take all this in."
Jacobson gestured around the arena. "O.K., notice no one is sitting down. No one. Even up in the rafters. So, obviously, there's a connection there." Connection, he explained, was the essence of pop music, according to his boss, Jimmy Iovine. "Jimmy always says it's all about the connection between the artist and the fans," he said. "This whole business, it's just about that connection. And, clearly, people feel that connection with the Girls."
There were some covers: Jessica and her sister Krystal did Katy Perry's "California Gurls," and Amber, the tomboy from f(x), Kris, from EXO-M, and Key, from SHINee, covered Far East Movement's "Like a G6"—the only Asian precedent so far for the kind of pop-group success that Jacobson would like the Girls to have in America (even though all the members of Far East Movement were born in L.A. and grew up there). Acts came on and went off, changed costumes and came back on again. In between, we were treated to messages from the S.M. family. At one point, the crowd watched a slightly creepy video with cartoonish illustrations about the love that the S.M. family members feel for each other. Occasionally, the concert seemed like a giant pep rally. But at its best it elicited primal pop emotions that only a few of the greatest pop artists—the Beach Boys, the early Beatles, Phil Spector's girl groups—can evoke: the feeling of pure love.
When the Girls came out again, Jacobson watched them closely. "O.K., it's all about humility," he said. "Look how they bow to their fans. That's a big part of it." He started ticking off the Girls' qualities on his fingers. "First, beauty. Second, graciousness and humility. Third, dancing. And fourth, vocal. Also, brevity. Nothing lasts more than three and a half minutes. Let's time it." ♦


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Director-General Koïchiro Matsuura awarded diplomas and medals to colleagues who had completed 25 and 30 years of service to UNESCO at a June 14 ceremony at UNESCO Headquarters in Paris, France.
29 individuals joined UNESCO or the UN in 1975, including Mrs Marielle Richon and Mrs Silvia Simmonds of the World Heritage Centre.
62 individuals joined UNESCO or the UN in 1980, including Mrs Margarita Gonzalez Lombardo and Mrs Elizabeth Wangari.
From left to right: Mrs Gonzalez Lombardo, Mrs Wangari and Mrs Richon. Not pictured: Mrs Silvia Simmonds.


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Creator: Gourieroux, Christian, 1949-, Renault, Eric, and Touzi, Nizar Series: Simulation-based inference in econometrics Abstract:
This paper is interested in the small sample properties of the indirect inference procedure which has been previously studied only from an asymptotic point of view. First, we highlight the fact that the Andrews (1993) median-bias correction procedure for the autoregressive parameter of an AR(1) process is closely related to indirect inference; we prove that the counterpart of the median-bias correction for indirect inference estimator is an exact bias correction in the sense of a generalized mean. Next, assuming that the auxiliary estimator admits an Edgeworth expansion, we prove that indirect inference operates automatically a second order bias correction. The latter is a well known property of the Bootstrap estimator; we therefore provide a precise comparison between these two simulation based estimators.
Palavra-chave: Bias correction, Simulation, Economic models, Edgeworth correction, Indirect inference, Bootstrap, and Econometrics Sujeito: C15 - Econometric and statistical methods : General - Simulation methods, C22 - Single equation models ; Single variables - Time-series models ; Dynamic quantile regressions, C32 - Multiple or simultaneous equation models - Time-series models ; Dynamic quantile regressions, and C13 - Econometric and statistical methods : General - Estimation


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Holiness II -- Bishop Spong and The OT
So why do I reference all of this? Well, this to me epitomizes the view to which many on the outskirts of Christianity hold. In addressing the question Tavis Smiley posed regarding our need for God's discipline, Spong simply replied that he did not want to view God in this way and preferred to see God's main purpose in helping us to become "more human." He quoted Jesus in John 10:10 ("I came that they may have life, and have it abundantly"), though he prefaced it by saying that he had no clue whether Jesus actually said it or whether it was made up. He said his point of bringing up this text was to say that this is how he prefers to see God -- as being there to bring us to self-actualization.
The view that I think this sets forth is what I will call the "Cafeteria-Style Jesus." All of us have at some point gone through a cafeteria line like Piccadilly (my favorite), Morrison's or Luby's (the place you go to die -- inside joke -- you can ask me about it later). Unfortuantely, it is too expensive to choose everything in the line, so you have to pick and choose what you want the most. A meat here. A veggie there. This kind of bread. And of course, that piece of pie. In the end you get a custom made meal for you, all within your budget. That's how I have seen Jesus portrayed as of late. Some will say, "You know I like that loving Jesus, but that wrathful one who says He came to divide household against household and mother against father -- I'm not so sure about Him." One girl on a discussion board I read referred to Jesus's words regarding hell and concluded with, "What's up with that Jesus?", as though He was a schizophrenic. I guess today the real Jesus is much like taking everything in the Cafeteria line -- too heavy to handle, too much to swallow, and too expensive to buy.
So what does this have to do with holiness? Well, in the Old Testament, before Jesus was revealed, God was seen as holy. He was to be feared and to be revered. The word "holy" in the OT is derived from the stem qds. Hence, words such as qodes, qados, and qiddes all refer back to this same root. According to scholars, the word gets it origin from ancient languages such as Akadian and Ugaritic. In all of these cases the word carries with it a view of "separateness" and invokes the image of something that is all together different and set apart, something to be feared and venerated. In fact, as we examine the OT, it seems that the word "holy" was often used to bring about fear in the hearts of God's people. God tells Moses to take off his shoes for he is on holy ground. The people are told continuously to abstain from certain things or actions for they profane the name of God who is holy. And in all of this, there is a certain draw of the people toward God. They participate in all the prescribed rituals just to draw near to this God whom they fear.
But in today's society, drawing near to God means making Him in our own image. Churches today spend millions of dollars to get people to see Jesus as your "homeboy" or as the gentle lamb who just wants to be your friend. They encourage people to seek a God who is all about them, who just wants what is best for them. I am sorry, but this is not the God of the OT, the Father of Jesus Christ, the Author of the Universe. It is a watered-down, "Cafeteria-Style" deity who is user-friendly.
The message of Jesus Christ means nothing if the God of the Old Testament and Jesus Himself are not One in the same. The doctrine of the Trinity, though believed by many, should be scrapped if indeed the two testaments are mutually exclusive. If Jesus Christ is the same yesterday, today, and forever, then how is it that the Father changes so much? It just doesn't make sense. And revisionists who say that we must view the OT as narrative and as God working within the culture of the people, not really wanting the Israelites to destroy the tribes of the land they would eventually take, how do they explain this sudden change in God's character that now because of Christ He would indeed change the culture instead of catering to it? Was He not strong enough in the OT times to harness the culture and to change it? Certainly, the Roman era was not any less brutal.
So I think I have boiled it all down to this -- people like Bishop John Shelby Spong don't want to revere God. The fear of God is far from their hearts and what they really long for is comfort -- comfort for their sins, comfort for their lifestyles, and comfort for their guilty hearts. They don't want a Jesus who declares that violent men take the kingdom by force and in whose mouth proceeds a double edged sword by which He will slay the wicked.
So here's the choice -- will you follow the God of the OT and the NT and His Son Jesus Christ or will you ignore the parts of the Bible (both Old and New) that you don't like and instead say, "I'll take a slice of that Jesus and a side of this teaching. Oh, and of course, give me some of that comforting pie!"? According to Vodie Bachaum, the choice is not just about personal preference, it's a choice to follow Christ or a false gospel that has no power to save.
Until Christ is Formed in All of Us,


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"When In Doubt, Let It Be"
You hear the crack off the bat and instantly see the ball in the air as it spins and orbits towards you. Everything else suddenly fades away as you are stuck mesmerized watching that white sphere as it heads straight to you. It is almost like you are transpose into another surreal realm where it is just you and that little white orb doing it's little dance as it nears your hands/glove. You go into an astute form of concentration where any surrounding noise vacates your mind, even the screams and pleas of fans around you can not beckon you back to reality in time.
Just as you are about to reap the rewards and bring that sphere into your grasp you are suddenly snapped back into the present possibly by the deafening sound of footsteps as one of the field players also yearns for your prize. You think you are in the right, but without regret you reach for the ball and it slips through both your grasps, falling to the ground, skipping away from you as you look into the player's eyes and instantly regret and shame come crashing down upon you even before the showers of boos and catcalls.
You have interfered with a ball near the field of play effectively knocking it from his projected path and bringing the total focus of the action towards you as you realize the error of your ways. You instantly become entangled and bewildered by the loud chorus of boos making your actions even more deplorable as the seconds tick away. Even the act of trying to apologize, rationalize the previous moments falls on deaf ears around you, for you have committed a baseball mortal sin. You have interfered with a ball in the air that could of produced an out for your home team.
It is one of the horrific things that can happen as you sit in those expensive seats between the dugouts and the Bullpen seating areas. You see the ball in the air as it rambles towards your seat, think for a moment you have a right to it then pounce, but instead you take a clears chance at ending an inning early with your actions. More and more we are seeing fan interference at Tampa Bay Rays games. It is human nature to want to catch a foul ball, thrust it into the air like a Roman Gladiator the hand it like a treasured jewel to your child. Instead you become an instant scapegoat, a pariah for wanting that white sphere for your own.
I would like to think some of most of this flashed through the mind of ex-NBA player and true Rays fan Matt Geiger as he came down the steps towards his seats on Sunday watching the ball spin towards his seating area with all intentions of being out of the reach of anyone, even Rays First Baseman Carlos Pena. But Geiger forgot the cardinal rule at that moment like so many of us would of if the situation were reversed.
And it is true, you do kind of get lost in the rotation of the ball, possibly forgetting that Rays First Baseman Carlos Pena also see the same prize within his grasp and wants it as much as you. We all know how the story ended, with Geiger putting his hands to his face is disbelief not for missing the ball, but for becoming the latest fan scapegoat within Tropicana Field.
I know Tampa Bay Talk Radio trashed this incident involving Geiger to death on Monday, but I refrained from getting into the shark frenzy. Unlike two of the Home Run controversies during the Rays and New York Yankee series, Geiger did not reach over and pluck the ball out of the air or in front of that mysterious painted yellow line to rob the Rays of potential runs. Geiger did cost the Rays a clear out, but it came with minimal damage, and a few extra pitches.
Geiger got caught up in the moment, of wanting a actual game used ball for his young son but instead got the wrath and attention for doing something really uncharacteristic for him. He projected himself into the game. The ridicule and harsh comments bellowed towards him as he was escorted from his expensive seat as Geiger's interaction within the game was being reviewed and it was concluded he did not reach into the field of play, his big mitts just were in the wrong place at the wrong time.
This just goes to show you, anyone can get caught up in the moment, even someone as experienced as Geiger. This incident just goes to show you the consequences of your actions when you sit down close, next to the rail or lean over for a ball can dictate and turn the momentum of a game, plus you might get an early exit from the ballpark.
I guess it is best to go by this simple rule: If you are sitting in a region that a ball can be deemed interfered with, when in doubt, let it be. Simple words until you hear the crack of the bat and see that spinning white sphere coming towards you.
Cap tilt to Rays Index/Corky Gaines for the fine in-game freeze frame images.


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I am rather new to iPhone. I have iPhone 3gs updated to iOS 5.0. It's jailbroken, I have Cydia, etc.
I tried to find a solution to video record my screen (video of my iphone's screen). I need to show to my friend how a certain app looks like on iphone. However, I was unable to find a tool.
Which tool do you recommend to record iphone's screen? I'd prefer it be free :).


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A single pothole in California damaged more than two dozen cars in one day during a recent storm.
"It's not safe for drivers out there. Everyone is getting into accidents," Nisha Jethi, one of 25 drivers who had their car damaged by the crater on Highway 4 near Pittsburg, in the Bay Area.
The massive crater on the road left her with a flat tire, two busted headlights, and a day of lost wages.
Jethi said she intends to add her name to a list of roughly 1,500 local drivers who file damage claims with the state each year.
Despite the high cost to the state, it can take several months before Caltrans, the agency responsible for highway maintenance, is able to repair a pothole after it has been reported, according to an investigation by NBC Bay Area.
Caltrans estimates that it should take 10 days on average for maintenance crews to fill a pothole identified by drivers through a service request. But when NBC Bay Area filed its own request, Caltrans took more than six weeks to fill the potholes identified on Highway 101 in San Francisco.
Other drivers are experiencing even longer delays.
'A waste'
Caltrans records show that the agency has paid more than a million dollars to Bay Area drivers filing claims since 2009.
"Those are dollars that could be used for new roads and making sure the right kind of infrastructure is in place for safety," said Contra Costa County Supervisor Federal Glover. "When you are paying out those types of claims, it is a waste."
Although Caltrans denied NBC Bay Area's requests to speak with a maintenance manager, the agency reiterated the importance of safety in a statement: "Safety is our number one concern as we repair guardrail, median barriers, and potholes on California's busy highways."
Records show that there had been several requests for service along Highway 4 in Pittsburg earlier this year. That was before Jethi's car was damaged from a pothole, which was made worse by heavy rain the day the 25 cars were taken out.
"It's their problem. If something is messed up in your house, it's your responsibility to fix it," Jethi said.
The pothole that damaged Jethi's car has since been filled. She says she'll be sending the bill for her damages to Sacramento.


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Full Description
The five senses of mortal man cannot percieve the Devourer, for it is not a part of the reality of Man. The Devourer lives in the bizzare realm-that-is-not on the other side of the weft of space and time, a place that Man cannot go, nor percieve, nor even imagine. However, it is not without its effects on this side of reality, for wherever it passes, gravity changes strangely, as it presses back against the nothingness that births it.
Additional Information
Excerpted from the Journals of Ralthok the Shaper :
"Ye gods of Darknesse… what have I wrought? E'en in the grip of the visions from the Desert Bloom's elixer, such a simple thing should not have gone so awry. To call a minor thing such as a succubi, and create this… the gods of Blackness must have chosen to shape this. Surely it cannot be my fault. The hunger of the elixer cannot possibly be sufficient to warp my casting, not so much that my laboratory itself is swallowed, along with my cohorts!
My grimoire without it, I can do nothing. I must flee, and hope another can stop this… thing."
Hallucinating and hungering from the effects of a semi-magical drug, Ralthok's summoning ritual was, indeed, warped, his own wild set of mind combining with the unnaturally awakened thoughts of his friends to weave the Devourer.
A creature of indeterminate shape, the Devourer lurks on the outside of the universe, and when it hungers, it eats the only thing available for it to feed upon - reality itself. Whatever exists where it chews upon is lost to the Devourer, and a ragged hole is torn in the naturally folded fabric of reality. Abhorring this, reality swiftly, but not instantly, seals against itself, two places becoming, for a time, one, and the sated Devourer is shunted aside, to another place. When one steps across the line where the Bite of the Devourer begins, one is seamlessly transported to wherever reality has sealed against itself, for there is no space between it. In time, however, this 'scar' upon reality heals, the bitten space peeling back away from the merged place, though now, the space between the marks of the bite is gone, as if it never was at all. Any matter at the site of the bite also winds up on the 'underside' of reality, where it may or may not be able to continue to exist. It is most likely it will evaporate into nothing, upon a pyre of inverted physics.
To effect the Devourer with conventional magics or most technology is entirely impossible - to reach the Devourer, the effect must be able to strike through the space time itself. This limits to dimension-effecting spells, gravity effects, etc.
The Devourer has no intelligence. It is simply occasionally hungry. It's 'bite' may be variable, from man-sized, to city sized, depending on the needs of the plot.


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In addition to the annual Pioneer Day celebrations, the community will host the annual Blue Mountain Fastpitch Softball Tournament and the Hideout Amateur Golf Tournament.
A list of events is including on page 14 of this issue of the San Juan Record. Application forms and additional information can be found at the Monticello Chamber of Commerce website at http://monticelloutahcoc.com.
New events this year include a Farmers Market and an "Infected Zombie" game on July 25.
A series of family reunions and Monticello High School class reunions are also scheduled to take place.
The celebration culminates in a fireworks show on July 27.


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Mishnayos maseches Kinim can be reduced to a few rules. I think they're as follows (though it's been a while, so I may be messing some of these up).
- A bird ola is brought on the top of the mizbeach, and chatas on the bottom. Do either one wrong, and it's invalid.
- A chova is one chatas and one ola; a neder or n'dava is two olos. If you bring more olos or chataos than that from a ken, the excess are invalid.
- Both birds of a ken are b'ne yona, or both torim. If a mixed ken was brought, only the chatas is valid; ben Azay says only the first brought is.
- If a bird may have been designated as a chatas, it cannot be brought as an ola; and vice versa.
- If a bird can't be brought or was brought but is invalid, bring a new one in its stead, and its former mate is fine.
Why, then, does the maseches go on and on with examples instead of simply stating the rules? Mishnayos, from what I understand, are usually written to be easy to memorize. Surely Kinim as we have it is harder to memorize than the above.


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Not on Exhibit
Animal Facts
Scientific Name
Osedax spp
Animal Type
nutrients supplied by symbiotic* bacteria breaking down oil and fats in whale bone
1- 2.5 inches (2.5-6.3 cm) depending on the species
vent tube worms; Phylum: Annelida; Class: Polychaeta
Natural History
Scientists working at the Monterey Bay Aquarium Research Institute (MBARI) in 2004 discovered two new species of unique tubeworms that feed on the bones of dead whales. The worms are in a new genus called "Osedax," which is Latin for "bone devourer."
The worms' bodies and feeding strategies are very different from most animals. They have no eyes, legs, mouths or stomachs, but they do have colorful feathery plumes and green "roots." The reddish plumes extend into the water and act as gills. They connect to a muscular trunk, which can be withdrawn into a transparent tube when the worms are disturbed. At the other end of the trunk, hidden inside the whale bone, the body widens to form a large egg sac. The green roots, branching off from the egg sac, grow into the whale bone similar to the way garden plant roots spread into the ground. They are filled with symbiotic bacteria that break down the fats and oils inside the bone, providing food for the worms.
Whale carcasses—or whale falls, as they are called—represent a massive input of food into the generally food-limited environment of the deep sea. One whale fall can provide as much organic material as thousands of years of marine snow, the organic debris that drifts down from surface waters to sustain life in the deep.
Commercial whaling which began in the 1800s may have driven some whale worm species to extinction. Many whale populations are estimated to be only ten to 25% of their historical levels despite the 1982 International Whaling Commission's moratorium on commercial whaling. Fewer whales means fewer whale falls and less habitat for whale-fall species such as whale worms.
Cool Facts
Whale skeletons support so much life because they contain an enormous amount of oil. Large whale bones can be more than 60 percent oil by weight, for example a 90 ton whale is estimated to have 5 tons of oil in its bones, a veritable feast for oil-eating bacteria.
Scientists who discovered these tube worms were puzzled by the lack of male tube worms until a close-up examination of female worms revealed microscopic males living within their bodies. They looked as if they had never developed past their larval stage but they contained copious amounts of sperm. As many as 50-100 males may reside in one female. MBARI scientist Robert Vrijenhoek said "These worms appear to be the ecological equivalent of dandelions—a weedy species that grows rapidly, makes lots of eggs, and disperses far and wide."
After a whale skeleton has been consumed, all the worms at that site will die off. Before this happens, they must release enough eggs or larvae so that some tiny proportion will be transported by the ocean currents and survive until they can find and colonize another whale carcass.


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I've known for a while that come the end of the growing season I'd be handing over my gardening belt and heading back to Zimbabwe. Yet despite the time I've had to get used to the idea, it's no easier to say good-bye, both to the sites I've been working these last five years and the rather amazing group of people I've worked with.
When I started in 2007, there was the grower, two of us apprentices, and a fairly flexible programme for volunteers. Now as I leave my post as grower, the volunteer programme is still going strong but as well as the grower there's also an assistant, five Patchwork Farmers and four newly graduated apprentices. In addition to growing a serious amount of food, we've really managed to grow a fine team of growers!
With our Clissold site becoming more and more productive (we turned the butterfly tunnel into a polytunnel last year) and the Patchwork Farmers running four microsites as part of the Patchwork Farm, it's become quite an operation. One which saw us harvesting and then packing over 80kg of mixed salad leaves at the height of the growing season: getting a bag of salad out to every member of the box scheme plus onto the plates of many more people through local restaurants – and we kept this up for 6 weeks running. It's been hard work to say the least, with the rather large dose of logistics that comes with growing at multiple sites. But the level of cheer and dedication from my fellow growers plus the honest appreciation for the delicious organic leaves we are growing right here in London has been more than enough to buoy me along. It's been so great to work with an organisation that is pushing up the amount of food grown and eaten locally, making small but important steps towards an alternative food system.
I wish Paul well as he takes up the reins: may your secateurs be sharp, the compost rich, the robin friendly, the slug scarce and let the salad growing continue on.
Here's me at our Springfield site, about to make one of my final voyages with the trailer, well loaded with salad after the harvest. Thanks to Amy Scaife for the picture – one of only a few of me on the sites in all my time at Growing Communities.


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Du Chatenet, C. and Latché, Alain and Olmos, Enrique and Ranty, Benoît and Charpenteau, M. and Ranjeva, Raoul and Pech, Jean-Claude and Graziana, A.. Spatial-resolved analysis of histological and biochemical alterations induced by water-soaking in melon fruit. (2000) Physiologia Plantarum, 1 (2). 248-255. ISSN 0031-9317


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(1) Takarada K, Kimizuka R, Takahashi N, Honma K, Okuda K, Kato T. A comparison of the antibacterial efficacies of essential oils against oral pathogens. Department of Microbiology, Tokyo Dental College, 1-2-2 Masago, Mihama-ku, Chiba 261-8502, Japan. Oral Microbiol Oral Microbiol Immunol. 2004 Feb;19(1):61-4
(2) Shapiro S, Meier A, Guggenheim B. The antimicrobial activity of essential oils and essential oil components towards oral bacteria. University of Zurich, Switzerland. Oral Microbiol Immunol. 1994 Aug;9(4):202-8.
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