text:
In the late 1970s, American cinema changed when the blockbuster movie took shape: Jaws, Star Wars, and—among others—Richard Donner's Superman. The blockbuster was soon identifiable by big budgets, star power, and scope of story and design, with lavish sets, costumes, and photography. Superman inaugurated its own sub-genre of the blockbuster film: the comic-book movie. Sure, there had been comic-book movies before, but they had been, for the most part, unintentionally bad (or intentionally bad, in the case of 1966's Batman). Superman reinvented comic-book movies by taking seriously the source material, at least part of the time, and, of course, making us believe a man could fly.
But Superman's God-child story makes him the remotest (if perhaps the most admirable) of heroes. Among the most popular of "superheroes" in the DC Comics roster is Superman's sometime partner Batman. Like the Superman franchise in the '80s, the '90s Batman franchise began strongly and descended into chintziness and self-mockery. At the turn of the century, adaptations of the output of DC's rival Marvel began to turn the tide from overblown, script-deficient train wrecks to new directions: fresh filmmakers began to strike deeper emotional chords and political echoes in their comic-book films, as in Ang Lee's Hulk and Bryan Singer's X-Men films.
If you accept the premise that comic-book movies have the potential to be the primal, populist tales of our time—the pop operas, as they are sometimes called— you're halfway to understanding why Batman Begins is such a great movie. Director Christopher Nolan weds the best of the blockbuster with the stuff of opera (Nolan quotes Arrigo Boito's Mefistofele for good measure) and Greek tragedy. Admittedly, some will never be able to get past the notion of a man dressing up as a bat, and many will consider the film's pathos to be bathos in its shifts between moody drama and explosive adventure. But it is precisely Nolan's skill at bridging the two genres that makes Batman Begins the ne plus ultra of comic-book films.
Batman is one of the only superheroes whose power is grounded solely in non-mutated, undiluted human potential. In Batman Begins, a mysterious martial maestro named Henri Ducard (Liam Neeson) mentors Bruce Wayne by instructing him that he must become "more than just a man," which eventually leads Wayne to adopt his bestial disguise to strike fear into the hearts of criminals. The film begins with eight-year-old Wayne experiencing terror for the first time, flashes forward to Wayne as a rootless soul practicing rage on the unsuspecting. The intervention of Ducard leads the young man to truly face the tragic loss of his parents, in order to channel his anger, guilt, and fear. Wayne learns fighting disciplines, becomes adept with a variety of exotic weaponry, studies ninja stealth, and learns Ducard's most important lesson: to adopt "theatricality and deception."
Ducard soon reveals an agenda, shared with the sinister Ra's al Ghul (Ken Watanabe). The reborn Wayne faces a choice: die, or join Ra's al Ghul's League of Shadows—an international cabal devoted to decimating wickedness and criminality and replacing it with a new world order. Wayne refuses to meet evil on its own terms, a decision which triggers a dramatic exit that tests his hard-won abilities. Soon, Wayne is winging his way back home to Gotham City after a seven-year absence. Rejoining Alfred (Michael Caine), the Wayne family butler who raised Bruce in his parents' tragic absence, Wayne plots his re-entry into the sprawling and corrupt metropolis that still bears the stamp of his philanthropic family. Alfred and Wayne Enterprises (as run by Rutger Hauer's sleazy CEO) have declared the long-missing Wayne dead, complicating his access to his birthright.
Wayne strikes up a friendship with Lucius Fox (Morgan Freeman), a former Wayne Enterprises board member whose dead-end position in Applied Sciences reflects his resistance to the new company line: greed. Fox piques Wayne's interest with an assortment of discarded military-armament prototypes: body armor, a magnetic grappling gun, and a tank-like behemoth dubbed "the Tumbler." Meanwhile, Wayne and Alfred have begun spelunking into the caverns beneath Wayne Manor, the perfect setting for the burgeoning hero to face his fear and set up shop as a stealthy crime-fighter. All that remains is for Wayne to recruit the two people in a position to help him fight for justice: trusted policeman Jim Gordon (Gary Oldman) and assistant D.A. Rachel Dawes (Katie Holmes, finally coming into her filmic own), who just happens to be Wayne's friend from childhood.
Co-screenwriters David Goyer and Nolan (and crack production designer Nathan Crowley) scrupulously establish the reality of a concept that has so often spun off into absurdity. Every choice has a motivation, and every gadget a logical origin. (In this regard, Batman Begins not only outstrips other comic-book movies, but the lion's share of cinéma fantastique: sorry, Bond, "Q" still has some 'splainin' to do.) With their narrative efforts, Goyer and Nolan pave the path for exploration of the central theme of fear, propelled by exceptional but possible villains like Ghul and the two master criminals plaguing Gotham City: crime lord Carmine Falcone (Tom Wilkinson) and pathological psychiatrist Dr. Jonathan Crane (Cillian Murphy), a.k.a. "Scarecrow." Like the Joker and Two-Face (great Batman villains being eyed for sequels), each of the film's villains—Ghul, Falcone, Scarecrow, and Joe Chill, the mugger who slays Thomas and Martha Wayne (Linus Roache and Sara Stewart)—fulfills a two-sides-of-the same-coin duality with Wayne, thanks to Goyer and Nolan's delicate manipulations.
As a theme, fear proves a skin-crawlingly apt artery to today's all-consuming War on Terror, and Batman Begins allows for ambiguity. One bad guy expels a white-powder fear toxin that resembles anthrax, two wantonly kill individuals who get in their way, and another sees the entire city of Gotham as a lost-cause Sodom scheduled for demolition. As his own self-styled brand of vigilante, Batman struggles with ethical issues (guided by father figures on both sides of the law) that remain largely unresolved by picture's end. Though he does what he thinks is right, he cannot entirely resolve his thirst for vengeance.
As a man, Bruce Wayne must learn to supplant his father and claim his power (Wayne Tower, against which the villains strike, represents that masculine power) as, mythically, every son must. With this growth, Wayne rediscovers the responsibility of wealth, though, tragically, he must mask with playboy antics his true self, to protect loved ones and the integrity of Batman. The film's extended climax includes a birthday party and a symbolic fire that clinch Batman's beginning; a coda with Gordon points Batman toward an uncertain future of criminal escalation that Batman's very existence may propagate.
Though comic-book fans will always find something to grouse about, Batman Begins should give them every reason to be pleased. The few variations on the multiple historic Batman origin stories are imaginative and worthy of the comics. Though Nolan patiently observes key dramatic scenes, action cinema fans can gorge on multiple sequences that capitalize on film's unique difference from comic books: motion. Editor Lee Smith adopts a kinetic style that charges the fight scenes without robbing them of coherence (quick cuts and shadowy lighting also spark the element of fear and preserve the Dark Knight's mystery). A "Batmobile" chase caps a thrilling, furiously paced sequence that derives, in part, from Miller's Batman: Year One scenario of cops versus the baffling vigilante stealing their thunder (some "panic in the streets" moments also allow Nolan to surrealize Batman as an agent of fear, with one shot recalling Arkham Asylum).
Nolan covers as best as he can the script's few flaws, like the hastily-established and abruptly resolved "MacGuffin" of a doomsday device, and the film's most incredible, if mundane, plot device: the insistence that, during the finale, the characters can easily find each other in the panicked streets of Gotham. But never mind the bollocks, and observe the finest ensemble ever assembled for a blockbuster summer movie (mostly British, natch, and ably supported by Oscar-winning costume designer Lindy Hemmings). Let's call it ideally cast, and leave it at that, other than a round of applause for Christian Bale. Bale's delineation of Wayne's seismic shifts of feeling and identity—and his growling transformation into the raging Batman id—is the sort of unique work that has a high degree of difficulty and a potent impact, but usually goes ignored during awards season.
Batman Begins is an appropriately tough movie, busy but efficient, rich and thoughtful, and ornamented with visual appeal and exciting action. At last, the beginnings of this enduring character of American popular fiction get the full treatment on film, and the filmmakers' emphasis on beginnings only primes the pump for the promised sequels. Yes, Mr. Nolan: as a good showman should, you've left us wanting more.
[For Groucho's complete coverage of Batman Begins, including interviews with Christian Bale, Christopher Nolan, Sir Michael Caine, Morgan Freeman, Gary Oldman, Katie Holmes, David S. Goyer, and more, head over to Groucho's ever-expanding Batcomputer!]
Batman Begins on Blu-Ray rolls out the same master used for the HD-DVD release, and it's a good one. It's hard to imagine a contemporary mainstream film more challenging to transfer than Batman Begins, with so much of it taking place in shadowy settings. But this is a sharp and vibrant transfer, getting the colors right and sorting out very clearly the detail amongst the shadows. The Dolby TrueHD 5.1 surround track packs a wallop, bringing the theatrical experience home.
This Blu-Ray special edition preserves in standard definition all of the extras from the initial release, with one exception (the DVD's interactive "Inner Demons Comic," with sound effects and written by Goyer, has disappeared) and two added bonuses: the dazzling "The Dark Knight IMAX Prologue" (6:37) featuring the opening sequence (shot with IMAX technology) of Batman Begins sequel The Dark Knight, and a Picture-in-Picture track that's effectively a video commentary while watching the film. It's a good collection of behind-the-scenes footage and interview segments with many of the film's talents.
The original DVD extras kick off with "Tankman Begins" (5:12), a not terribly funny parody produced for the MTV Movie Awards. Host Jimmy Fallon takes a ride with Batman (the Tumbler chase reedited); Andy Dick and Jon Heder have cameos. "Batman—The Journey Begins" (14:16) covers the outset of the film and its conception with Christopher Nolan, Christian Bale, writer David S. Goyer, production designer Nathan Crowley, producers Charles Roven and Emma Thomas, and fight arranger David Forman.
"Shaping Mind and Body" (12:49) is an in-depth look at the fights scenes, with Bale, Nolan, Jennings, Forman, and Neeson commenting. We also get a ton of stunt rehearsal footage of fight practices (including those of Bale and Neeson) and the initial demonstration of the Keysi fighting method chosen for Batman. "Gotham City Rises" (12:48) covers Gotham (including the Narrows), Wayne Manor, and the Batcave, with Nolan, Bale, Franklin, Crowley, Thomas, visual effects supervisor Janek Sirrs, director of photography Wally Pfister, special effects supervisor Chris Corbould, producer Charles Roven, Cardington supervising art director Steven Lawrence, and producer Larry Franco.
"Cape and Cowl" (8:18) allows Nolan, costume designer Lindy Hemming, costume FX supervisor Graham Churchyard, Bale, Gary Oldman, and Goyer to explain the reasoning behind, creation of, and wearing of the Bat-costume. It includes a bit of initial test footage of Bale "flying" with the cape. "Batman—The Tumbler" (13:40) is, obviously, about the car. Nolan, Bale, Katie Holmes, Goyer, Crowley, Pfister, Corbould, Jennings, special effects workshop supervisor Andrew Smith, stunt performer George Cottle, and stunt drivers George Peters and Dean Bailey comment, as we get glimpses of the prototypes and test footage.
"Path to Discovery" (14:14) details everything you wanted to know about the film's first act. Participants include Nolan, Goyer, Crowley, Neeson, Bale, Pfister, Franco, Thomas, Corbould, art director Susan Whitaker, stunt coordinator Paul Jennings, and stunt performers Buster Reeves and Mark Mottram. "Saving Gotham City" (13:01) is all about the film's climax, with Nolan, Sirrs, Corbould, Holmes, Jennings, Reeves, Pfister, Lawrence, Franklin, miniature unit supervisor Steve Begg, and Double Negative's sequence lead Matthew Tywford pitching in observations.
"Genesis of the Bat" (14:53) discusses the character's comic-book roots with Nolan, Goyer, DC Comics president/publisher Paul Levitz, DC's Batman editor Bob Schreck, Batman writer Denny O'Neil, DC VP/executive editor Dan DiDio, and Batman artist Jim Lee (note the shameless plugging of All-Star Batman & Robin the Boy Wonder).
A Stills Gallery offers U.S. poster art (9 images), international poster art, (14 images), and "Explorations" (40 unused poster designs). "Confidential Files" are organized into three categories: "Hardware" (Utility Belt, Memory Fabric Cape, Prototype Military Suit, The Tumbler), "Enemies" (Scarecrow, Ra's Al Ghul, Carmine Falcone), and "Allies and Mentors" (Detective Sgt. James Gordon, Rachel Dawes, Lucius Fox, Alfred Pennyworth, and Henri Ducard).
The DVD easter eggs are reclassified as Additional Footage: "Reflections on Writing Batman Begins" (1:57) finds Goyer discussing the secretive writing process with Nolan. In "Digital Batman" (1:06), visual effects supervisor Paul Franklin explains the creation of the sparely applied special effect. "Batman Begins Stunts" (2:29), a montage branded as proprietary footage from "Wayne Enterprises Applied Sciences Division Testing Labs," shows tests of the Tumbler, Batsuit, fight choreography, and a fire gag.
Lastly, we get the film's "Theatrical Trailer" (1:13). It would be nice to have a "Play All" option for the documentary footage (and for the "Inner Demons" comic to be included for completeness' sake), but the Blu-Ray delivers a reasonably thorough look at the film's production and background (maybe next time a feature on the music?).
Review gear: |
Panasonic Viera TC-P55VT30 55" Plasma 1080p 3D HDTV
Oppo BDP-93 Universal Network 3D Blu-ray Disc Player
Denon AVR2112CI Integrated Network A/V Surround Receiver
Pioneer SP-BS41-LR Bookshelf Speaker (2)
Pioneer SP-C21 Center Speaker
Pioneer SW-8 Subwoofer


text:
All of a sudden, companies are waking up to the fact that sustainability can drive innovation.
Innovation is one of those evergreen topics forever featured in business school reviews, classrooms, and business magazines. The link to sustainability, however, is new, and is steadily replacing old thinking that saw corporate responsibility mainly as a way to keep a company's reputation out of trouble.
Companies looking to get this right need to think about innovation for sustainability in three ways: products, processes, and business models.
Sometimes the most familiar products offer the most radical opportunities for change. An executive at a large beverage company told me recently that they are thinking about selling packets of soluble powder instead of shipping their drinks around the world in cans and bottles. This would reduce energy and carbon emissions, as well as packaging. In the meantime, we still have bottles and cans. So another company, Coca-Cola, is taking on that issue: The company's new "PlantBottle" is made of recyclable plastic comprised of 30 percent renewable, plant-based material such as sugar cane.
Business models are also changing to meet the challenge. Enter Best Buy, which is asking itself what business it's in, and charting a path that leads from selling DVD players to selling and servicing small electronic vehicles. Kal Patel, the company's executive vice president of emerging business, explained to me that Best Buy sees this as a path of simultaneous continuity and discontinuity. The continuity is in providing quality servicing: sort of a vehicular version of the Geek Squad. The discontinuity is in turning the back of Best Buy's familiar blue buildings into service bays, remaking the company's physical footprint.
Business process is also ripe for an overhaul. Maersk Line, which operates one of the world's largest fleets of container ships, has pioneered the logistics industry's answer to the slow food movement: "super slow steaming." By running ships at speeds as low as 10 percent of top capacity, Maersk saves US$1 million, 3,500 tons of fuel, and 10,000 tons of carbon-dioxide emissions per ship every year. To make this work, of course, Maersk and others have to convince their customers, the world's largest manufacturers and retailers, that speed to market is not the most important value it delivers.
Even Detroit, which has recently earned a well-deserved reputation for poor innovation, shows signs of change. Ford Motor Company Executive Chairman Bill Ford now speaks about a future that relies on a mix of car ownership, public transportation, and car sharing—a far cry from the mass production system his great-grandfather Henry created to establish the model of private vehicles.
One of the keys to innovation for sustainability is opening up the process of product, process, and business model design to a wider community, something that technology and growing comfort with stakeholders makes more possible than ever. I participated in a project at the World Economic Forum with Indian design students who mastered efficient water use much more quickly than their counterparts from the United States and Europe. So part of the solution lies in getting the right people around the table.
While the path here is increasingly clear, there are two cautionary notes to remember.
First, real innovation is disruptive. No one gets very far by sloshing some green paint on our current economy. But by reimagining products, processes, and models, transformation is possible.
Second, innovation and sustainability don't automatically link. As Patrick Whitney, the dean of the Illinois Institute of Technology's Institute of Design, put it to me last spring: "When innovation meets sustainability, it's usually a train wreck, because it just promotes more consumption."
But more and more, leading companies are looking for ways to reduce consumption and increase value. That's the path we need to follow, and innovation has a crucial role in getting us there.
Let's talk about how BSR can help you to transform your business and achieve your sustainability goals.

subset: commoncrawl


text:
I can retrieve the HTTP GET requests from the access_log on my server, and put them into a file. I can then redirect that file into my CGI script on my local Linux box, and it produces the correct output to stdout. I can do the same on the Unix box that runs my server, and it produces the correct output to stdout. In case you are curious, the CGI script looks like this:
# Redirect stdin to get the form parms passed
PARM_PASSED=$(< /dev/stdin)
# Identifies that we are returning HTML (even though what I am sending back is just text).
print "Content-type: text/html\r\n"
# Process the form input
if [[ "$PARM_PASSED" != "" ]]
# Isolate the query type
PARMS=`echo "$PARM_PASSED" | sed "s/^.*cgi?q=//g" | sed "s/&.*$//g"`
# Now loop through the parameters (should only be one per line for this example).
for PARM in $PARMS
# The following if elif provides a case switch for the various parameters that Balihoo is
# sending me.
if [[ $PARM = "Ping" ]]
print -n "OK"
elif [[ $PARM = "Resume" ]]
print -n "http://www.claytoncramer.com/balihoo/RESUME.pdf"
elif [[ $PARM = "Name" ]]
print -n "Clayton E. Cramer"
elif [[ $PARM = "Source" ]]
print -n "http://www.claytoncramer.com/balihoo/balihoo.cgi"
elif [[ $PARM = "Years" ]]
print -n "30"
elif [[ $PARM = "Degree" ]]
print -n "Perhaps not relevant. BA, History (computer science minor); MA, History."
elif [[ $PARM = "Position" ]]
print -n "Senior Software Developer"
elif [[ $PARM = "Email+Address" ]]
print -n "email@example.com"
elif [[ $PARM = "Expression" ]]
# Get the expression that they want evaluated.
EXPRESSION=`echo "$PARM_PASSED" | sed "s/^.*What+is+//g" | sed "s/%3F.*$//g"`
# Remove the + separators between operators and numbers
EXPRESSION=`echo "$EXPRESSION" | sed "s/\+//g"`
# Convert various HTML encodings to the equivalent operators
EXPRESSION=`echo "$EXPRESSION" | sed "s/%2A/\*/g" | sed "s/%2B/\+/g" | sed "s/%2D/-/g" | sed "s&%2F&/&g"`
echo -n $RESULT
But the third party HTTP GET requests claim that it is not working correctly:
Expected Ping to return 'OK', but got ''.
If I create a very simple CGI script to return OK, such as this:
print "Content-type: text/html\r\n"
print -n "OK"
print "Content-type: text/html\r\n"
print -n "OK"
before the attempt to isolate the PARM, it works for the first step--responding to the Ping request.
UPDATE 2: At least for Windows, here's a useful tool that lets you send individual GET operations and see what comes back.


text:
I recently got my application in the google play store, but I have an issue with how the 'Feature Graphic' is being displayed.
Here is the original (@ 72 DPI (Screen RES) - Saved for Web - PNG8):
Here is the Google-Play-resized version:
(The image is linked to my application, for demonstration. Google refers to the big graphic is what they call the 'Feature Graphic').
Here are the design standards they give: http://support.google.com/googleplay/android-developer/bin/answer.py?hl=en&answer=1078870
Why is my 'Feature Graphic' not as sharp as it should be? The original image is perfect!


text:
But this is new territory for Cobra so it's going to start out rough and we'll make it smoother as we go along. This will be our thread for discussion and issues on Cobra+MonoTouch+iPhone.
MonoTouch can work with .NET assemblies, aka DLLs, but only if they are "compiled against the MonoTouch profile". This means referencing the mscorlib.dll and System.dll of MonoTouch rather than the usual ones for .NET/Mono 4.0. Those are the most fundamental libraries in the CLR universe.
My first step in this process was finding how to do this with C# at the command line. I found the info here:
http://stackoverflow.com/questions/9395 ... le-from-th
I then had to enhance Cobra to be able to target a different CLR profile, so I added a new -clr-profile command line option in changeset:2728 which you'll see me use below.
First some basic steps to get the requisite software in place:
-- I'm on Mac OS X 10.6.8
-- Installed latest Mono available today:
My "mono --version" went from:
Mono JIT compiler version 2.10.9 (tarball Tue Mar 20 15:31:37 EDT 2012)
Mono JIT compiler version 2.10.9 (tarball Mon May 7 20:25:51 EDT 2012)
Same version, but newer build date. Makes you wonder.
-- Installed latest MonoDevelop which was 188.8.131.52. I did a fresh install rather than using their updater which I had problems with.
-- Installed the current MonoTouch eval obtained from the Xamarin web site (monotouch-eval.dmg, 7.8MB, version 5.2.12).
-- Then a baby test for MonoTouch:
---- MonoDevelop > File > New Solution > C# > MonoTouch > "MonoTouch Library Project"
------ Build succeeded.
------ Added a C# file with some dummy code. Build succeeded.
-- Check that the MonoTouch C# compiler exists from the command line:
- Code: Select all
$ /Developer/MonoTouch/usr/bin/smcs
error CS2008: No files to compile were specified
-- Tested "regular" compilation of a C# library:
---- Create Foo.cs:
- Code: Select all
using System;
namespace Foo {
public class Bar {
public Bar() : base() { }
---- At the command line:
- Code: Select all
$ dmcs /t:library Foo.cs
$ ls -l Foo.dl
$ rm Foo.dll
-- Test a MonoTouch compilation of that Foo.cs:
- Code: Select all
$ /Developer/MonoTouch/usr/bin/smcs /noconfig "/out:Foo.dll" "/r:/Developer/MonoTouch/usr/lib/mono/2.1/System.dll" "/r:/Developer/MonoTouch/usr/lib/mono/2.1/System.Xml.dll" "/r:/Developer/MonoTouch/usr/lib/mono/2.1/System.Core.dll" "/r:/Developer/MonoTouch/usr/lib/mono/2.1/monotouch.dll" /nologo /warn:4 /debug:+ /debug:full /optimize- /codepage:utf8 "/define:DEBUG" /t:library "Foo.cs"
$ ls -l Foo.dl
$ rm Foo.dll
-- Now try with Cobra:
-- Create Foo.cobra:
namespace Foo
class Bar
cue init
-- If you don't have the latest Cobra, see HowToInstallFromSource. Be sure to install for .NET 4 when prompted.
-- At the command line:
- Code: Select all
$ cobra -about
The Cobra Programming Language svn:2727 (post 0.8) / 2012-06-30
on Mono 2.10.9 CLR v4.0.30319 on Mac OS X 10.6.8
at /usr/local/cobra/Cobra-svn-2727/bin/cobra.exe
-- And now the moment you have been waiting for:
- Code: Select all
cobra -c -t:lib -out:Foo.dll \
-v:1 \
-embed-run-time:yes \
-clr-profile:/Developer/MonoTouch/usr/lib/mono/2.1 \
-native-compiler:/Developer/MonoTouch/usr/bin/smcs \
-native-compiler-args:/noconfig \
-native-compiler-args:/codepage:utf8 \
-native-compiler-args:/warn:4 \
-native-compiler-args:/debug:+ \
-native-compiler-args:/debug:full \
-native-compiler-args:/optimize- \
-native-compiler-args:/codepage:utf8 \
-native-compiler-args:/define:DEBUG \
-ref:/Developer/MonoTouch/usr/lib/mono/2.1/System.dll \
-ref:/Developer/MonoTouch/usr/lib/mono/2.1/System.Xml.dll \
-ref:/Developer/MonoTouch/usr/lib/mono/2.1/System.Core.dll \
-ref:/Developer/MonoTouch/usr/lib/mono/2.1/monotouch.dll \
I would like to put all those -native-compiler-args together, but Mono's own Environment.getCommandLineArgs splits them up even if I quote them.
In any case, once you set up your project, you'll almost certainly put this in a bash script or something similar and not worry about it. In fact, that's what I did.
You'll notice the new -clr-profile option in there.
You can take out the -v:1 if you want less output.
That's as far as I'm taking things for now. I'm on the hook for the core compiler work and other things. Those of you interested in the iPhone can read that stackoverflow article which contains additional info. And/or you can experiment with referencing the Cobra-produced DLL from a MonoTouch project created in MonoDevelop.
Ultimately, I hope others chime in with tips and solutions and carry this further to create a real example. When things are refined and stabilize, an informative wiki page would be nice. I'll tweak and enhance the compiler as needed to eliminate roadblocks.


text:
Gene Baker shows us how to rig up a quick and easy pedalboard
For the past few months, I've been in a bit of a transitional phase when it comes to my rig, so when my band had a gig at one of our favorite local bar and grills, Mongo Music (mongomusic.net), I spent the afternoon leading up to the night tinkering around with my gear and trying to decide what to take – like a woman deciding which shoes or skirt to wear.
Before long, I noticed my effects acting a little strange, and definitely not sounding right. Since it was already nearly 1 p.m., and the gig was starting at 9 p.m., I was not feeling comfortable with my gear. Was it my amp, effects, cable, preamp tube or some other variable? The effects loop in this particular amp can run stomp pedals or rack effects, so to test the source of the problem, I borrowed a BOSS delay pedal from a friend and tossed it into the effects loop of the amp. Immediately the noise problem was gone and I realized that my effects unit was on the fritz and every special effect program for a variety of tunes was now useless to me. I needed to find a way to dial in a worthy tone to get me through the night.
I started sketching out a quick rig and making a list of everything I needed to pull it together, then ran down to the local music store to fill in the missing pieces. My nowdefunct rack unit had everything from a volume pedal, wah, tuner, and boost or drive pedals to all the usual delays, reverbs, and choruses. I needed to get as close as possible to make me feel comfortable on stage.
I hooked up my tuner, Crybaby, stereo chorus and ran chorus A to my Randall RM100C 3-channel combo and hooked chorus B into my Aracom 50-watt. I looped the stomp delay into the effects loop of the Randall, and used the third high gain channel as a "loud" button for solo work, with the other two channels providing either a clean sound or a nice vintage crunch. I added an A/B box between the Aracom's bright channel and dirtier normal channel – the bright channel acts as a really nice, light grit clean channel and the normal channel delivers a great 50-watt Plexi tone. On the way to the normal channel of the Aracom I inserted my Alfonso Hermida Zendrive (hermidaaudio.com), which adds gain and drive without tonal discoloration. Since this was coming together literally at the last minute, I needed a simple way to keep it all together. I went to the place where old pedalboards go to die, and found a piece of wood. My friend, Scott, makes a beautiful diamond plate pedal board with stainless steel boat strap brackets and zip ties wrapped around the pedals to hold them in place. I like this because you don't need Velcro and you don't have to remove any feet from your pedals, yet the zip ties give you plenty of strength to hold the pedals in place. Since this was a last-minute board, I didn't have the luxury of the strap brackets, so I just drilled holes where needed and zipped the pedals down to my piece of wood. I shot a few staples in with a staple gun, and glued down a small strip of wood to create a slight kickstand, and to provide a place to hide or route cables while on stage.
The entire pedal board took me one hour or less from start to finish, and I was surprised how good it felt to strip it down to such a simple, lowtech rig for the night. In the end, it was the best tone I've had in a long time.
Gene Baker
Any questions or comments visit
email me at firstname.lastname@example.com
Fine Tuned Instruments LLC, home of his "b3" instruments.


text:
Danbred North America Adds Abell to its Genetics Team
US - Danbred North America announces the addition of Caitlyn Abell, Ph.D., to its team. Abell completed her doctorate degree with co-majors in animal breeding and genetics and statistics from Iowa State University in July, where she participated in numerous swine research projects, including estimating the total costs associated with incorporating genomic selection into a swine breeding program.In this newly created position, Abell will bring that knowledge and experience to Danbred North America, where she will serve as a research geneticist.
"Caitlyn brings significant modeling and statistical analysis skills to our genetics team, which will benefit Danbred North America's customers as we continue to develop products that meet the needs of a more complex and competitive industry," says Tom Rathje, Ph.D., MBA, chief technical officer for Danbred North America.
"She will work directly with customers to ensure they capture the greatest possible genetic potential out of their multiplication and breeding programs."
With a focus on performance at the commercial production level, Abell will develop and implement genetic improvement programs for the Danbred North America nucleus herd. Among her responsibilities, Abell will manage the company's vast data sets, monitor selection programs and genetic progress, and apply the cutting-edge technology of genomic selection to speed progress in the nucleus lines. Her research expertise will be utilized by designing trials and working with pork industry partners to advance the capture of genetic progress across multiplication and commercial herds.
Originally from Kentucky, Abell received her undergraduate degree from Western Kentucky University in 2009 and then joined the prestigious research program at Iowa State University where she conducted research in sow longevity, productivity and genetic improvement.
In 2011, the National Swine Improvement Federation awarded Abell the Lauren L. Christian Memorial Graduate Student Award for her research on the genetic parameters associated with litters per sow per year and its relationship with other economically important traits.
"This is an exciting time in swine genetics," Abell says. "I am looking forward to working with Danbred North America's customers and helping them maximize their productivity and profitability through genetic improvement."
For more information on Danbred North America, visit danbredna.com.


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Salt Lake City (often shortened to Salt Lake and abbreviated as SLC) is the capital and most populous city of Utah, as well as the seat of Salt Lake County, the most populous county in Utah. With a population of 200,133 in 2020, the city is the core of the Salt Lake City metropolitan area, which had a population of 1,257,936 at the 2020 census. Salt Lake City is further situated within a larger metropolis known as the Salt Lake City–Ogden–Provo Combined Statistical Area, a corridor of contiguous urban and suburban development stretched along a 120-mile (190 km) segment of the Wasatch Front, comprising a population of 2,606,548 (as of 2018 estimates), making it the 22nd largest in the nation. It is also the central core of the larger of only two major urban areas located within the Great Basin (the other being Reno, Nevada). Salt Lake City was founded July 24, 1847, by early pioneer settlers, led by Brigham Young, who were seeking to escape persecution they had experienced while living farther east.
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City Council Meetings are on the 2nd and 4th Monday of every month @ 6:30 p.m.Study Sessions are held on the 1st and 3rd Monday of every month @ 6:30 p.m.
Yes. City Council Meetings are televised live on Cable Comcast Channel 8, WRTV8 Now, and YouTube Live the night of the City Council Meeting. City Council Meetings are taped and are aired the following two weeks according to the Channel 8 schedule
City Council meets on the 2nd and 4th Monday of the month at 7:00 p.m. •Citizens' Right to Speak 1. Citizens, who wish, may speak on any matter not on the Agenda for a maximum of 3 minutes and sign the Public Comment Roster. 2. Citizens who wish to speak on Agenda Items, sign the General Agenda Roster or appropriate Public Hearing Roster before the item is called to be heard.
City Council Agenda Packets are posted on the City Website the Thursday prior to Monday's City Council Meeting
There are three ways to participate in City Council meetings:
Learn more about public meetings, public hearings and how to participate with this short guide.


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Thirteen years after Visible Music College founder Ken Steorts launched a school with a focus on music ministry and production that relocated into Memphis after outgrowing its original Lakeland campus, the school is preparing to launch a satellite campus.
Visible Music College students like Brittany Cole and Wesley Farmer, shown, will soon have counterparts in the Windy City. The Memphis-based school is preparing to open a Chicago-area campus later this year. (Photo: Courtesy of Visible Music College)
Visible's Chicago campus, planned for the Chicago suburb of Lansing, Ill., will offer the same academic programs that are available at its Downtown Memphis facility. It will start with a full staff of educators and a little less than 30 students, and the plan is to open in the fall.
Steorts said the expansion fits with the school's strategic plan, which has always been to build a "small, artist community, intimate college environment." Then, once the first location had topped out at no more than 130 students, the plan called for finding an additional location to help capture some of the growth.
Visible also has what it calls a partner campus in Holden, Germany, called Schal Werk Stadt. And with the planned addition of even more campuses beyond the Lansing location, Steorts stressed that the school's main administration will stay in Memphis, which he said means additional jobs in Downtown Memphis.
Also Downtown, Visible is preparing to finish construction on its glass-enclosed atrium on the ground floor in about three weeks.
"Our plan always was to start finding another location that made sense with who we're attracting to the school and to open another campus rather than to just get to one big one," Steorts said. "We're really trying to make sure with our campus that everybody knows everybody.
"We did research on where our students are applying from. We discovered it was mostly the upper Midwest, and then California and Texas were kind of behind that. Chicago's a great music city, we had some partners there in the Christian church circles, so we started investigating it."
Steorts drew on his experience as a member of the band Skillet to start Visible. Already in its history, the school has embarked on a capital campaign, acquired its current facility, launched a record label and been accredited by the Transnational Association of Christian Colleges and Schools, among other highlights.
From the outset, using the contacts he had from playing Christian music festivals, Steorts recruited students and developed a training program for certification in music ministry and production. A business program was added to help students focus on developing careers in addition to their talents.
The school kicked off a $6 million capital campaign in 2009 called "Into The City." Phase one led to the acquisition of the former C&I bank headquarters at 200 Madison Ave.
The school has used its surroundings effectively in Memphis, with facilities like the iconic Ardent Studios employing several Visible students over the years.
Steorts oversees the school's students and staff while at the same time helping develop the curriculum and programs. He also represents the institution to the local music industry and church leaders in the hopes of creating opportunities for musicians and forging partnerships with groups like the Stax Academy, Ardent and various churches and ministries around the world.
The college moved into its Downtown campus in 2011. That's the same year the school also gave itself a new name – its current moniker – as part of a comprehensive rebranding effort.
The Downtown space includes four floors for performance, practice, classrooms and administrative areas. It has eight classrooms and five practice rooms, and its auditorium has the capacity to seat 180.
Visible's fall enrollment stood at 126. Visible's students and alumni represent 47 states, the top five of which are Tennessee, Pennsylvania, Wisconsin, California and Minnesota.
Of the school's alumni, about 92 percent are currently working in the music field in some capacity, according to the school.


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This week's cover of The Economist. |
I argued earlier that, irrespective of what you think about this, it's going to happen. You just have to extrapolate the present situation: There is a lot of anger among scientists about publishers who charge high subscription fees. And while I know some tenured people who simply don't bother with journal publication any more and just upload their papers to the arXiv, most scientists need the approval stamp that a journal publication presently provides: it shows that peer review has taken place. The easiest way to break this dependence on journals is to offer peer review by other means. This will make the peer review process more to the point and more effective.
The benefit of this change over other, more radical, changes that have been proposed is that it stays very close to the present model in that the procedure of peer review itself need not be changed. It's just the provider that changes.
I am thus really excited that the recent issue of Nature reports that one such service exists now and another one is about to be created:
- Company offers portable peer review
Author-pays service cuts down on redundant reviews.
By Richard Van Noorden
Of course it's difficult to say whether such a change will catch on. Academia has a large inertia, and it depends a lot on whether people will accept independent reviews. But I am confident, so let me make a prediction, just for the fun of it: In 5 years there will be a dozen of such services, some run by publishers. In ten years, most of peer review will take place this way.


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I remember early on in one of my psychology classes we learned that we cry because we are sad, and we can be sad because we cry. I think the same is with happy ... you can smile because you are happy, or you can be happy because you smile.
As a blackbelt technique in the art of leading a happier life, you can use a "ticker" to count your happy thoughts throughout the day. You get more of what you measure, so simply paying attention to your happy thoughts causes them to multiply. By ticker, I simply mean a little hand-held counter that you can click and count your way through the day.


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WINCHESTER civic chiefs have revealed the university wants to develop a sports centre on playing fields on the southern edge of the city.
Council leader Keith Wood, said vice chancellor Joy Carter confirmed she wants to develop land at Bar End currently owned by supermarket giant Tesco.
The news comes as the city council reviews its plans for the River Park Leisure Centre.
Cllr Wood, told cabinet that Prof Carter has written to him to say it "would be in a position to make a significant capital contribution to this scheme and we would welcome the opportunity to discuss further a possible development at Bar End."
But some city councillors are not so sure the supermarket owners will sell the Garrison Ground so easily.
Cllr Chris Pines said: "My personal view is we get all the information first and we do not go into the decision making. The difficulty with a lot of people is making them aware of the different factors behind everything.
"We want to see the best option for the best deal we can get because it's going to be very expensive."
Civic chiefs met to discuss a shortlist of options for the replacement of the River Park Leisure Centre which also included building on the site currently occupied by the leisure centre or building on land currently occupied by the tennis courts, artificial pitch and the 'minimum necessary additional land' next to the courts.
Many residents had been angry that the council's preferred option, a new site at North Walls, involved a loss of green space.
Cllr Keith Wood, chairman of the cabinet, said: "We have listened to the strongly voiced and there's a strong argument for the relocation to provide high quality leisure facilities for the district.
"I will be writing to the chairman of Tesco to see if I can get a clearer answer from them," he added.
"A final decision will be made later in this year and will be made by all 57 councillors and not by the cabinet."
Members of the public raised concerns over the proposed rebuilding at the existing site citing the flooding issues that have troubled the district for the last fortnight but stated that the facilities desperately need updating.
Karen Barratt, a member of the public speaking at the meeting, said: "It would make no sense at all to refurbish the leisure centre where it is if it means increasing the footprint.
"When advice is taken on building on flood areas I don't think it's been taken quite seriously enough. When the weather gets better, if it ever gets better, and the water subsides I don't want to feel this decision will be business as usual."
Another member of public, Emma Back, of Fit for the Future pressure group, said: "It's time for Winchester City Council, Hampshire County Council and the University of Winchester, the key landowners, to do more for the future of sport for this district."
A University of Winchester spokesman said yesterday: "The university already has extensive sports facilities at Bar End. The Winchester Sports Stadium already includes an athleticstrack with supporting facilities for field events, an all-weather pitch, complete with floodlighting, and a large pavilion offering changing rooms, showers and meeting room space.
"The cost of building at Bar End is yet to be determined, as there are a range of potential options to cost. The university recognises that a collaboration with the city council and others would have the potential to deliver an impressive suite of sports facilities, which would be an asset to the whole community."
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Traditional Chinese Medicine (TCM) is highly effective for treating lactation problems and without negative side effects. It is a system of medicine deriving from East Asia that is thousands of years old: it includes acupuncture, Chinese herbal medicine, massage, nutrition, lifestyle guidance and less-known treatment modalities such as cupping and moxibustion. Depending on your specific diagnosis, one or several of these healing modalities will be part of your treatment protocol. Choosing a practitioner who is experienced treating women during pregnancy and post-partum is important if you are facing lactation challenges.
In TCM lactation disorders fall into two distinct categories: low milk supply or milk not flowing. Mastitis makes up a third category that I will explain later. Low milk supply is a diagnosis of insufficient energy (called Chi) and blood supply in the mother. Milk not flowing or problems with let-down are diagnosed as stagnation of energy (chi) preventing milk from moving down the ducts and out of the nipple. It is not unusual for a mother to have a combination of deficiency (lack of energy and blood) and stagnation (unable to let-down or express the milk) at the same time.
In TCM it is understood that a woman's menstrual blood is converted into breast milk once her baby is born. This is the same blood that was going to the placenta prior to birth. Energy (chi) is required to convert her blood into milk, and blood itself is required to become the milk. A predisposition toward anemia or blood loss during delivery can result in a low supply of the mother's blood resulting in poor milk supply. Exhaustion due to labor and sleep deprivation can prevent the mother's body from producing milk because there is not enough energy to generate the milk.
When chi (energy) and blood supply is deficient causing low milk supply, the treatment plan will include acupuncture, possibly an herbal prescription and nutritional guidance. Nutrition is a very important component of the treatment for low milk supply. Any food that is good for the production of blood in the mother will help with milk supply. This includes organic red meats, fish, eggs, and collagen-rich soups made from ham-hocks or chicken with the skin included in the soup stock. When nursing, it is especially important for a mother to eat organic and free-range meats and poultry if possible. If the mother is vegetarian, a protein-rich diet is important. Milk Makers cookies to support milk supply are an excellent daily addition to the diet of a woman with chi and blood deficiency because the cookies include specific ingredients that help increase her chi (energy) and blood production, thereby increasing milk supply. A TCM practitioner who is experienced treating breastfeeding patients will go over additional nutritional advice extensively with you.
Stagnation or blockage of energy (chi) in and around the breasts prevents the milk from flowing and impairs let-down. Stagnation can lead to breast fullness, distension, pain, pressure and engorgement. Stagnation is also a cause of mastitis. In TCM the primary cause of this blockage is emotional: feelings of being stressed-out, anger, resentment, frustration and depression. These emotions cause stagnation of the energy of the liver energy channel. In TCM the liver channel controls the woman's nipple function and also can facilitate or block the flow of energy and by extension milk in the surrounding energy channels and ducts in the breast. Stagnation causing problems with let-down and milk flow is treated most effectively with acupuncture, massage therapy and by keeping the mother away from any sources of emotional stress.
Mastitis is a combination of stagnation of chi, blood and milk in combination with infection. Combining Western medicine with TCM to treat mastitis is more effective than Western medicine by itself. Antibiotics prescribed by your physician will clear up the infection, and a combination of acupuncture, massage, herbs and medicinal compresses for the breast can alleviate the blocked chi and blood and milk in the breast, thereby reducing engorgement and inflammation. Herbal prescriptions can be combined safely with antibiotics as a treatment protocol and are also safe for the breastfeeding infant. In addition to the above mentioned treatments, expressing milk as often as possible either manually, via nursing, or with a pump is very crucial in the successful treatment of mastitis.
Whatever your particular breastfeeding challenge is, consulting with a professional lactation consultant is helpful. I recommend finding a qualified IBCLC.
If you have any questions about Traditional Chinese Medicine and lactation please don't hesitate to contact me online at www.seattleacupuncture.com


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At least 3 killed in Kenya minibus attack
| Nairobi, Kenya
At least three people were killed Saturday after a device exploded inside a passenger van in the capital, Kenyan police said, in what appears to be the first attack inside Nairobi since the deadly terrorist assault on an upscale mall in September.
The explosion happened as the minibus was traveling from Eastleigh neighborhood of Nairobi to the city center, said Benson Kibue, chief of police in Nairobi. Investigators believe an improvised explosive device was used in the Saturday attack that likely killed more people, he said. No more details were immediately available.
Sometimes called Kenya's "Little Mogadishu," Eastleigh is known for its large population of ethnic Somalis. The neighborhood came under fresh scrutiny by investigators following the Sept. 21 attack on Nairobi's Westgate Mall, a bloody four-day siege in which at least 67 people were killed. A Western official familiar with the Westgate attack investigation told The Associated Press last month that all four attackers were ethnic Somalis who had spent time in Eastleigh. The official confirmed that all four gunmen arrived in Kenya in June and attended a gym in the neighborhood.
Kenya has been the scene of multiple attacks since the country sent its military to Somalia in 2011 to fight the extremist Islamic rebels al-Shabab.
Al-Shabab claimed responsibility for the Westgate attack, saying it was in retribution for Kenya's involvement in Somalia. The group, which is linked to al-Qaida, had threatened large-scale attacks for years, and it has said more will be carried out unless Kenya withdraws.
Kenya has been grappling with its large population of Somali refugees since the Westgate attack, with government officials announcing plans to speed up their return home. Nearly 500,000 Somali refugees live in Kenya, most of them in the sprawling Dadaab refugee settlement near the Somali border. In the last several years Somali refugee camps, particularly Dadaab, have been hit by a spate of blasts by grenades and other improvised explosive devices.
Last month Kenya, Somalia and the United Nations refugee agency signed an agreement saying the 475,000 registered Somali refugees inside Kenya will get support when they return to their homeland — if they choose to return.


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While most individuals involved in the rebellion are Syrian, foreign fighters now have a very real presence that should worry both the regime and the opposition.
When the Syrian uprising first began, one of President Bashar al-Assad's justifications for his harsh crackdowns against protesters and, later, armed elements was because he considered them foreign terrorists. At the time, this claim was ludicrous. The overwhelming majority of individuals were Syrians looking to shake off the yoke of Bashar and his father Hafiz's decades-long Baathist dictatorship.
While most individuals involved with the current rebellion are still Syrian, foreign fighters now have a very real presence that should worry not only the Assad regime but also Syrians in the opposition. Most foreign fighters go abroad to defend their fellow Muslim brethren from being slaughtered. Once in the area of battle, though, many come into closer contact with hardline jihadis as well as fighters from other countries and are exposed to new ideas. Therefore, portions of foreign fighters are not fighting to help establish a future state for Syrian nationals. Rather, they hope to annex it to be part of their grander aims of establishing emirates that will eventually lead to a reestablished Caliphate, however fanciful this project might be.
At this point, on-the-ground media coverage in English, French, Arabic, German, and other languages reports between 800-2,000 foreigners currently in Syria, accounting for less than 10% of the fighters. Most have come since the beginning of the year: a large contingent comes from the states surrounding Syria: Lebanon, Iraq, and Jordan, while a smaller North African contingent hails from Libya, Tunisia, and Algeria. The presence of Westerners at this point has been minimal.
These individuals are linking up with not only the Free Syrian Army (FSA) but also jihadi organizations.The Abdullah Azzam Brigades and Fatah al-Islam, both of them Lebanese jihadi organizations, have entered the fray. So, too, have less-established, but growing organizations like Jabhat al-Nusrah, believed to be the strongest jihadi actor in Syria, as well as Ahrar ash-Sham. Another group, Liwa al-Ummah, comprising 90 percent Syrian fighters, is led by the Irish-Libyan Mahdi al-Harati, previously a commander in the Tripoli Brigade that helped topple the Qadhafi regime a year ago in Libya.
What is problematic with all of this is that although jihadis remain a small portion of the resistance, many have past experience fighting in jihads in Iraq, Afghanistan, Yemen, and Libya. Therefore, they have sharper skills as well as connections to networks of funding and weapons, which the FSA has dearly needed in the face of lack of support from the international community. As a consequence, jihadi fighters can be force-multipliers as was seen in Iraq during the height of the insurgency against the United States. FSA fighters, in media interviews, explain that because of jihadi experiences, resources, and technologies they have started to begrudgingly work with them, even if they consider them extreme and do not believe in their end goals.
Online jihadis have also posted videos on their forums showing how some jihadi brigades have coordinated operations with elements of the FSA in places like Aleppo. This, however, can cause cross-pollination in ideology and radicalize factions within the FSA. It could also turn these different groups against one another once the fighting ends against the Assad regime, creating further instability in a country looking to regain normalcy and transitioning to a better future.
Unfortunately, this challenge from the jihadis will not go away any time soon. As can be seen in Iraq, although jihadis there are weak compared to a few years ago, the residue from the fighting lingers, continuing to be a spoiler. Therefore, it is imperative that the international community not only work up a plan for dealing with jihadis in Syria post-Assad, but also work with the opposition to help eject these foreign and poisonous elements, which will do more harm than good for Syria's future.
Aaron Y. Zelin is the Richard Borow fellow in The Washington Institute's Stein Program on Counterterrorism and Intelligence.
Pravda Slovakia


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Why do I always feel like this 5-year old full of excitement and anticipation in any Paris patisserie?
Tuesday, June 22, 2010
Sunday in Paris
Why do I always feel like this 5-year old full of excitement and anticipation in any Paris patisserie?
29 comments:
I am starting to see some birds in your posts :):) Glad to see the week in Paris finishes up on such a delicious note(s)!
Today happens to be my birthday so I am running off to get some macaroons of course! Hope that that only table in the Burlington arcade outside of La Duree is going to be vacant for us :)
Thank you for great idea for self-indulgence :)
Olha- mary8:52 AM
your pictures and paintings-
Love them!
I've never been to Paris,so I vicariously see Paris through you. Its my dream to go to Paris before I am too old!
Silly goose I am .
I gather one is never too old to fall in love with Paris. I enjoy your stories and I think France must have the largest raspberries and reddest strawberries i have ever seen!
THANK YOU I don't think I've ever come across desserts like these in Los Angeles. But they must be SOMETHING like that here right? I must find them and I'll report back to you. But I can't promise any of them will live long enough to be photographed.
Thank you for the inspiration of The Great Dessert Search;)
JI always hate it when I have the urge to shove an eclair up someone's nose! But, day after day, week after week, month after month, you show us pictures of the most delectable food ever to grace our planet. Yet, not once have you offered us a sample of these sweet delights. Is it asking so much for you to send just one desert to each of your faithful readers? We don't want you to gain weight after all. Yes, that's it. We'd be doing you a favor by eating some of those deserts you seem to be constantly buying in France. No? Oh well. I'll keep on dreaming of macarons and eclairs and . . .
ReplyDeleteFinally! I have long wondered about the mysterious "M", who appears regularly in your posts, with nary a hint of his/her (now thanks to the photo, I know M is a her!).
And what do you mean - not one bite of the clafoutis??? Surely PB is made of sterner stuff than that! We rely on, nay, DEMAND that you sacrifice for your art! And our curiousity! Next time you think you can't do a single bite, please think of us, waiting desperately for your report.....and LIE about it! Tell us it was delicious!YammMMMmmYyY Tasty Pastries :) Great Post Loving it all living in Paris... its a delicious post!!! LIVING IN PARIS


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Show All Answers
Inspection requests and results are available by contacting the building department at 954.753.5447. Schedule an inspection through the City of Parkland's Electronic Permitting Site.
A Business Tax Receipt, formerly known as an Occupational License, is required if your commercial or home business is physically located in the City of Parkland. Visit the Commercial Business Tax Receipts page for additional information, printable applications, and contact information.
The Florida Building Code mandates that all components in the Building Envelope must be products which are "approved" for use as shown on your plans. This Schedule is to be completed for all new construction, including remodeling, in which windows, doors, skylights, vents, and other products are to be incorporated into the exterior walls and/or roof of a building. Each product must be an "approved" product as outlined by the Florida Building Code. All products must also be approved for use by your Architect or Engineer of Record, and the Tested Pressure of each product (size-specific) must meet or exceed the Design Pressure specified by the A/E of Record. This addendum to your permit plans, consisting of this Schedule and all referenced product approval documentation, must be submitted early in the construction process, usually before the Tie Beam inspection can be scheduled, and must be approved by our plans examiner prior to the installation of the referenced products.
New pools, and pools which had not received a final inspection until October 1, 2000, are governed by the Pool Safety Act, which has been fine-tuned and is now incorporated within the Florida Building Code.
The Pool Safety Act requirements are as stringent as they are complex. The basic requirement is that any new pool must be built with protection by means of fence, screen enclosure, alarms, baby barrier, or a combination of these components which serves to provide a barrier to entrance to the pool from all directions, for 360 degrees around the pool.
Access the 424.2.17 residential swimming barrier requirement online (a part of the Florida Building Code), then select Florida Building Code 2007, the Building volume, Chapter 4, Section 424.2.17.
Existing Pools Completed After May 22, 1996 But Before September 30, 2000: On May 22, 1996, the City passed a fence ordinance requiring a minimum 4'-high fence, with self-closing, self-locking gate(s), or a screen enclosure, around any pool which had not yet been completed, or for which the final inspection had not yet been approved. However, there is an exception for a property located on a waterway: no fence is required along the plot line(s) bounded by water. And, exempted from these enclosure requirements are pools located in A-1, AE-1, and AE-2 zoning districts, such as Tall Pines, Pinetree Estates, and the Ranches.
City Ordinance 22-88(6) may be found among the ordinances posted at Municode, or visit the City of Parkland website.
Existing Pools Completed Prior To May 22, 1996: There were no code-mandated requirements for a new pool completed prior to May 22, 1996 to have a fence or screen enclosure.
Yes. All construction work which is required to be permitted is the responsibility of the current property owner. Please contact the Building Division at 954.753.5447 to discuss procedures specific to your situation for obtaining a permit and bringing the work into compliance.
Note: a permit, where required, must be applied for and acquired before any such work may commence.


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Cans of pumpkin pie mix, or pumpkin pie filling, line the baking shelves at many grocery stores this time of year. They're usually set right next to the ready-to-use graham cracker pie crusts, so they catch your eye and get you thinking about baking a pie. The filling mix is also usually next to the regular canned pumpkin puree and many bakers have picked up the wrong can accidentally time or two.
Canned pumpkin pie mix is not the same as pumpkin puree. Pumpkin puree is just pumpkin that has been cooked and pureed until it is smooth. A product labeled as pumpkin pie filling, or pumpkin pie mix, contains pumpkin puree that has already been sweetened and flavored. It is really intended to only go into a pumpkin pie – and to make the process of putting a pie together as easy as possible (even though from-scratch pumpkin pie is quite easy, too).
I often get asked if this pre-mixed pumpkin pie filling can be substituted for pumpkin puree in other recipes. In general, canned pumpkin pie filling should not be substituted for plain puree in a recipe that only calls for the puree, such as a recipe for cake, cookies or muffins. The added sugar and spices can throw off a recipe and removing sugar from the recipe to try to compensate can alter the texture of the finished product, so you won't necessarily get the result you were hoping for. The pumpkin pie filling is also too sweet to be used in savory pumpkin dishes, such as pumpkin soup, and can throw off the flavor there. Keep the filling for an easy pie on short notice, and instead stock up on the more versatile pumpkin puree if you are going to do a lot of pumpkin baking.


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Brothers, technology entrepreneurs, satirists and co-founders of the Santa Monica-based JibJab, Evan and Gregg Spiridellis will speak at a USC conference today at 4:30 p.m.
They will deliver the closing keynote address on technology, innovation, and "13 Years in The Dumbest Business in the World, and Still Going!" at the Silicon Beach Conference.
The brothers built a business making millions of people laugh will share the story of their journey on subjects such as building brand, building audience, building a team, and building a business.
The Spiridellis brothers, now dads, will also give their most detailed look yet behind the curtain at what they have coming for their latest venture, StoryBots, a brand they say, "makes learning fun for kids, and makes life easier for parents."
For more information on the conference, visit http://siliconbeachusc.com.


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3218.0 - Regional Population Growth, Australia, 1993-94
ARCHIVED ISSUE Released at 11:30 AM (CANBERRA TIME) 22/12/1995
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Annual; ISSN:1321-179X; Statistical sub-divisions will be ranked according to population growth and placed in the context of population growth in states and population centres with over 20,000 people. The statistical local areas with the fastest growing populations will also be identified. The analysis will include reference to age, sex, and whether growth is occurring through natural increase or migration. Document Selection These documents will be presented in a new window. |


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Pedestrian Tugs Eliminate Roll Cage Accidents At Somerfield Stores
In order to safely transfer roll cages from delivery vehicles to its stores, Somerfield Stores Ltd has invested in more than 50 SmartMover manual and power-operated tugs. As a result, roll cage-related accidents have been reduced to zero and a single employee can now unload a delivery wagon rather than two.
"In our stores that use the SmartMover pedestrian tugs, the number of roll cage topple accidents at the delivery point has been reduced to zero," says David Maloney, Risk Management Advisor at Somerfield Stores Ltd. "In addition, now only one member of staff is needed to unload roll cages from the delivery vehicle. Previously, it took two people to carry out this task. In that sense, our unloading process is now very efficient."
As a Risk Management Advisor across more than 800 Somerfield retail stores in the UK, Maloney is responsible for ensuring that the organisation meets all current Health & Safety-related legislation and regulations. This includes advising the business and individual stores on best practice procedures and ways in which the business can decrease accidents and improve the safety of its employees.
Roll cages are used to transport goods within a factory, or to move goods from a delivery lorry to a warehouse or retail store. However, when loaded with goods a single roll cage can weigh up to 500kg or more and can create certain difficulties when being manouvred outside or on and off delivery vehicles.
Indeed, the Health & Safety Executive (HSE) believes that roll-cage related injuries and accidents are so important that it has issued guidance on how UK businesses can reduce roll cage-related accidents.
HSE provides advice on reducing musculoskeletal and other injuries that frequently occur when workers push or pull cages or racks, particularly up slopes or on uneven ground. According to HSE, some companies that use roll cages have found up to a third of accidents in their workplace are roll cage-related. Roll cage injuries often occur because staff try to prevent a roll cage from overbalancing. Also, repetitive loading and unloading can be a problem, as well as trapping hands or feet. Roll cages falling off a lorry's tail lift is also a common cause of accidents.
"Some of our stores were having problems moving roll cages from delivery vehicles up steep slopes," says Maloney. "We therefore decided to invest in some kind of power-operated tug to improve safety, reduce injuries to staff and to prevent roll cage-related accidents."
At any one Somerfield store, an average of 30 roll cages might be delivered in a single day and so safety of staff is a major factor in deciding which tugs to invest in. "Based on our formal feedback process after purchasing the SmartMover tugs, the investment has certainly paid off and the tugs have performed as we expected them to do. Manual handling risks have been reduced, particularly at those stores that suffer from steep slopes, and the employees expend less effort in moving the roll cages," adds Maloney.
"Before investing in the SmartMover, we trialled the tug in what we deemed to be our 'higher risk' stores. The feedback from users was very good and the SM60 passed with flying colours. The manual version proved particularly popular with our older members of staff, who are perhaps more wary of electric-operated controls," explains Maloney.
In total, Somerfield uses 57 SM60 units, of which 39 are leased and 18 owned. The units are a mix of manual and power-operated versions. The company has a service and maintenance contract with MasterMover for all SM60 units.
The SM60 is a versatile machine designed for moving wheeled loads such as roll cages from vehicle tail lifts and across uneven surfaces and slopes and can turn through 90 degrees. By clamping to the base of the roll cage, the tug ensures that the cage cannot be tipped onto the operator. This reduces serious injury to employees and makes unloading a single-person procedure. Efficiency and safety are further improved by allowing the movement of multiple roll cages using the towing links. Sealed batteries, variable speed and auto braking are also standard.
Where the load is relatively light and where manoeuvrability, safety and control are critical, the SM60 ensures the timely delivery of components to a supermarket warehouse, for example, or it can eliminate the need for time-consuming, manual handling. The SM60 connects to the base of the roll cage via an innovative clamping mechanism, which is operated by using a simple lever located on the neck of the device. Once connected, the machine is secured to the load and the operator can use the 'forward' and 'reverse' controls.
The machine is also very easy-to-use. A simple throttle paddle on the headset enables the user to constantly vary the speed according to the conditions. There is also a twin speed button that enables the operator to place a cap on the speed, which is useful for busy retail environments. Amongst other built-in safety features is an anti-crush button that ensures that the user cannot become trapped between the machine and an immoveable object. The device has an electro-magnetic brake, which is constantly engaged until the operator applies power via the throttle. The unit can be steered on either side, enabling easy turning in tight spaces. When off load, the device travels on the support wheels for maximum operator comfort.
Maloney concludes: "We also liked the SM60 because it's so compact and fits easily into confined spaces in the back storage room or warehouse. However, the unit is also powerful enough to move heavy loads and unload a complete delivery."


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Learners in the dark over nighttime driving as 100,000 miss out on vital lessons
More than 100,000 learner drivers a year are missing out on vital knowledge by sitting their test without ever having practised in the dark.
Figures released by the Driver and Vehicle Standards Agency (DVSA) show that, despite the added challenges presented by driving in the dark, just under a fifth (17.5 per cent) of candidates in 2018-19 had no experience of driving at night before taking their test. A further 22 per cent said they had driven in the dark for less than two hours before taking their test.
Young drivers are the most likely motorists to be involved in an accident and road casualty data shows that more than a third (35 per cent) of all accidents involving young drivers happen at night.
Driving in the dark is not a compulsory part of learning to drive in the UK but the DVSA is urging learners to seek out experience in order to improve their knowledge.
Skill built on experience
DVSA chief driving examiner, Mark Winn, said: "It's essential that all learners gain experience of driving in the dark, whether with their driving instructor or through private practice.
"Spotting hazards in reduced visibility is a skill built on experience. The more time a learner spends practising in different conditions, the better prepared they will be for driving safely on their own."
The biggest challenge of driving in the dark is the reduced visibility. Not being able to see as far ahead of you means hazards can be harder to identify and distances can be harder to judge. Driving at night also requires learners to get to grips with additional skills, including the correct use of full and dipped beam headlights.
DVSA's top tips for driving in the dark:
Watch your speed. You can't see as far ahead when driving at night. Hazards and vulnerable road users may be harder to spotMake sure you can stop well within the distance you can see to be clearOnly overtake if you can see the road will remain clear until you've finished overtakingKeep your windscreen clean and clearUse full beam on unlit roads, but dip your headlights early enough to avoid dazzling oncoming driversDriving when tired greatly increases your risk of collision. Do not begin a journey if you are tired


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Lasers normally emit only one color, or frequency of light. This is true for laser pointers or the laser diodes in a DVD player. [Kevin] caught wind of state-of-the-art research into making variable wavelength lasers using shaken grains of metal and decided to build his own.
When [Kevin] read a NewScientist blog post on building variable frequency lasers built with shaken metallic grains, he knew he had to build on. He dug up the arxiv article and realized the experimental setup was fairly simple and easily achievable with a bit of home engineering.
[Kevin]'s device works by taking thousands of small ball bearings and putting them in a small vial with Rodamine B laser dye. To vibrate the particles in the dye, [Kevin] mounted his container of dye and bearings on an audio speaker and used a frequency generator to shake the ball bearings.
When a small 30mW green laser shines through the vial of ball bearings and dye, the laser changes color to a very bright yellow. By vibrating the vial at 35 to 45 Hz, [Kevin] can change the frequency, or color of the laser.
[Kevin] can only alter the frequency of the laser by about 30 nm, or about the same color change as a reddish-orange and an orangish-yellow. Still, it's pretty amazing that [Kevin] was able to do state-of-the-art physics research at home.
Sadly, we couldn't find any videos of [Kevin]'s variable frequency laser. If you can find one send it in to the tip line and we'll update this post.


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For Home or Small/Youth Groups
synergism (noun): "conditions such that the total effect is greater than the sum of the individual effects" What force is released when talent, creativity, desire, determination, true anointing, abundant favor and humility collide? The answer is quite simple..his name is Jake Lynn. Biography This young man of God lives, writes, speaks and spits with an authority rarely rivaled in the Church today. His desire is to minister the love and truth of Jesus Christ to the youth of this generation in a language, music and culture they can relate to. [bio] Jake Lynn has been in love with rap since the 3rd grade. "I remember poppin' in some Bone Thugs N Harmony, Tupac, and Coolio during reading time!" Jake laughs as he recalls. At the young age of 12 he started writing songs and poetry. However, that wasn't enough for the young music prodigy, he soon started deejaying for his parent's company, KJS Sound & Light Show (kjsdjs.com) "Music has always been my life, I didnt choose music--it chose me!" He was raised in church and baptized at the age of 9, so he knew about God. However, during his early teenage years he headed down the wrong path--he abused drugs and alcohol. His actions did not show that he knew God. During those years he was around a lot of secular local rappers and fell in love with rap even more. He started rapping at 16, nothing serious, but not for Jesus. For the longest time he struggled with suicidal thoughts, he hated the world and himself, and really questioned God. He always knew there was a God but he didn't know Him intimately. The Apostle Paul said in 2 Timothy 1:12, "I know whom I have believed..." Notice he did not say, "I knowabout whom I have believed." Many people say they know about God, but all they really have is head knowledge, they know stuff about God; but you cannot really know God without a face-to-face encounter with Jesus Christ. Jake truly experienced God for the first time when he was 17. He went to a pizza party at a local auditorium, which to his surprise was also a youth revival. He recalls wanting to flee out the back with his friends but the leaders would not let anyone leave. Somehow he experienced God's touch for the first time that night. "Once you truly experience God in His glory, you can't turn away from Him or forget His touch. Sure you may slip up and make a lot of mistakes now and then. But once you feel His touch, you are never the same." Jake says. Jake Lynn is a prophetic voice to the Church and an evangelistic voice to those who have yet to come to Christ. He unapologetically laces Scripture throughout most of his songs, which is a primary source of their power. Yet dont think that Jake is just another Bible-thumper or street preacher yelling at folks as they walk by to Repent or die! No, he's quite the opposite! He is a skilled communicator who has learned in his young age to speak the truth in love - as Jesus did. Jake speaks from both God's Word and personal experiences and skillfully translates them into a language that his generation easily grasps. Whether you listen to his music or attend a performance, you will find Jake Lynn a high-energy, enthusiastic young man with a genuine heart for his audience. Jakes songs range from being challenging, thought-provoking, inspiring, encouraging, worshipful, to being downright fun and silly! Dont be surprised to find people jumping, dancing, nodding their chins and pumping their fists - or even twirling Hoola-Hoops! - at one moment to lifting their hands with tears running down their faces in adoration to the King as they are led into the very presence of God! It is not an exaggeration to say that Jake's performances are life-changing. Jake is a positive role model for the youth of America who stands for being true to yourself and God's Words. He resides in Madisonville, KY with his beautiful wife TaShawnta and son Davin. They attend the Covenant Community Church. Written by Pastor Nar Martinez of The Gathering International. He has graced the stage with a long list of national artists, including: Lecrae, KJ-52, GRITS, Sho-Baraka, John Reuben, Canton Jones, Christopher "Play" Martin, Tonex, Kurtis Blow, Mr. Del, k-Drama, & many more! He has traveled throughout the U.S. ministering at several events such as the Sonshine Fest in Minnesota, Ichthus Fest in Kentucky, 3rd Annual UGA Awards in Houston, TX, the Annual Holy Hip Hop Awards in Atlanta, GA, and the list goes on.
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A fine trumpeter, a terrific arranger and composer, and one of the landmark executives in the history of the music industry. On March 14, 1933, was born Quincy Jones, the bandleader, musician, and producer who scored the 1978 US No.1 single 'Stuff Like That', has a record 79 Grammy Award nominations. Jones was the producer of the three albums by Michael Jackson, Off The Wall, Bad and Thriller, which has now sold more than 100 million copies worldwide.
In a musical career that has spanned six decades, Quincy Jones has earned his reputation as a renaissance man of American music. Jones has distinguished himself as a bandleader, a solo artist, a sideman, a songwriter, a producer, an arranger, a film composer, and a record label executive, and outside of music, he's also written books, produced major motion pictures, and helped create television series. And a quick look at a few of the artists Jones has worked with suggests the remarkable diversity of his career -- Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin. Jones was born in Chicago, Illinois, on March 14, 1933. When he was still a youngster, his family moved to Seattle, WA, and he soon developed an interest in music. In his early teens, Jones began learning the trumpet, and started singing with a local gospel group. By the time he graduated from high school in 1950, Jones had displayed enough promise to win a scholarship to Boston-based music school Schillinger House (which later became known as the Berklee School of Music). After a year at Schillinger, Jones relocated to New York City, where he found work as an arranger, writing charts for Count Basie, Cannonball Adderley, Tommy Dorsey, and Dinah Washington, among others. In 1953, Jones scored his first big break as a performer; he was added to the brass section of Lionel Hampton's orchestra, where he found himself playing alongside jazz legends Art Farmer and Clifford Brown. Three years later, Dizzy Gillespie tapped Jones to play in his band, and later in 1956, when Gillespie was invited to put together a big band of outstanding international musicians, Diz chose Quincy to lead the ensemble. Jones also released his first album under his own name that year, a set for ABC-Paramount appropriately entitled This Is How I Feel About Jazz. In 1957, Jones moved to Paris in order to study with Nadia Boulanger, an expatriate American composer with a stellar track record in educating composers and bandleaders. During his sojourn in France, Jones took a job with the French record label Barclay, where he produced and arranged sessions for Jacques Brel and Charles Aznavour, as well as traveling American artists, including Billy Eckstine and Sarah Vaughan. Jones' work for Barclay impressed the management at Mercury Records, a American label affiliated with the French imprint, and in 1961, he was named a vice president for Mercury, the first time an African-American had been hired as an upper-level executive by a major U.S. recording company. Jones scored one of his first major pop successes when he produced and arranged "It's My Party" for teenage vocalist Lesley Gore, which marked his first significant step away from jazz into the larger world of popular music. (Jones also freelanced for other labels on the side, including arranging a number of memorable Atlantic sides for Ray Charles.) In 1963, Jones began exploring what would become a fruitful medium for him when he composed his first film score for Sidney Lumet's controversial drama The Pawnbroker; he would go on to write music for 33 feature films, including In Cold Blood, In the Heat of the Night, Bob & Carol & Ted & Alice, and The Getaway. In 1964, Jones' work with Count Basie led him to arrange and conduct sessions for Frank Sinatra's album It Might as Well Be Swing, recorded in collaboration with Basie and his orchestra; he also worked with Sinatra and Basie again as an arranger for the award-winning Sinatra at the Sands set, and would produce and arrange one of Sinatra's last albums, L.A. Is My Lady, in 1984. While Jones maintained a busy schedule as a composer, producer, and arranger through the 1960s, he also re-emerged as a recording artist in 1969 with the album Walking in Space, which found Jones recasting his big-band influences within the framework of the budding fusion movement and the influences of contemporary rock, pop, and R&B sounds. The album was a commercial and critical success, and kick started Jones' career as a recording artist. At the same time, he began working more closely with contemporary pop artists, producing sessions for Aretha Franklin and arranging strings for Paul Simon's There Goes Rhymin' Simon, and while Jones continued to work with jazz artists, many hard-and-fast jazz fans began to accuse Jones of turning his back on the genre, though Jones always contended his greatest allegiance was to African-American musical culture rather than any specific style. (Jones did, however, make one major jazz gesture in 1991, when he persuaded Miles Davis to revisit the classic Gil Evans arrangements from Miles Ahead, Sketches of Spain, and Porgy and Bess for that year's Montreux Jazz Festival; Jones coordinated the concert and led the orchestra, and it proved to be one of the last major events for the ailing Davis, who passed on a few months later.) In 1974, Jones suffered a life-threatening brain aneurysm, and while he made a full recovery, he also made a decision to cut back on his schedule to spend more time with his family. While Jones may have had fewer projects on his plate in the late '70s and early '80s, they tended to be higher profile from this point on; he produced major chart hits for the Brothers Johnson and Rufus & Chaka Khan, and his own albums grew into all-star productions in which Jones orchestrated top players and singers in elaborate pop-R&B confections on sets like Body Heat, Sounds...And Stuff Like That!!, and The Dude. Jones' biggest mainstream success, however, came with his work with Michael Jackson; Jones produced his breakout solo album, Off the Wall, in 1979, and in 1982 they teamed up again for Thriller, which went on to become the biggest-selling album of all time. Jones was also on hand for Thriller's follow-up, 1987's Bad, and the celebrated USA for Africa session which produced the benefit single "We Are the World" (written by Jackson and Lionel Richie), and he produced a rare album in which Jackson narrated the story of the film E.T.: The Extra-Terrestrial. Having risen to the heights of the recording industry, in 1985 Jones moved from scoring films to producing them; his first screen project was the screen adaptation of Alice Walker's novel The Color Purple, which was directed by Steven Spielberg and starred Whoopi Goldberg. In 1991 he moved into television production with the situation comedy The Fresh Prince of Bel Air, which gave Will Smith his first starring role. Jones' production company also launched several other successful shows, including In the House and Mad TV. He also produced a massive concert to help commemorate the 1993 inauguration of president Bill Clinton, and at the 1995 Academy Awards won the Jean Hersholt Humanitarian Award, a prize that doubtless found its place beside Quincy's 26 Grammy awards. In 1996 Jones performed at the Montreux Jazz Festival to celebrate his 50th anniversary in the music business. The concert was captured on video and released as a DVD by Eagle Rock. Jones spent the rest of the '90s and first decade of the new century concentrating on his music publishing business and being an "unofficial" cultural ambassador for the United States. In 2004 he helped to launch the We Are the Future (WAF) project, benefiting children in conflict-inhibited situations all over the globe. The program is the result of a strategic partnership between the Glocal Forum, the Quincy Jones Listen Up Foundation, and Hani Masri, with the support of the World Bank, UN agencies, and corporations. Jones personally lobbied President Barack Obama to create a secretary of the arts position in his cabinet. He also spent considerable time in Brazil, and in 2009 announced his plans for a film about Carnival and some of the nation's musicians and producers. In 2010 Jones released Q: Soul Bossa Nostra through his Qwest imprint, his first album in 15 years. The set featured appearances by popular vocalists Amy Winehouse, Usher, Tyrese, Tevin Campbell, and LL Cool J, among others. Ludacris and Naturally 7 reprised Jones' 1962 hit "Soul Bossa Nova"; the album's lead single/video was a cover of "Strawberry Letter 23" with lead vocals from Akon. In 2013, he was inducted into the Rock and Roll Hall of Fame as a recipient of the Ahmet Ertegun Award. "Honor the past, don't just remember it." Dizzie Gillespie https://www.facebook.com/groups/DukeofEarlGroup/ |
El Caobo &


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Sternberg vs. Smithsonian
Some of you may be wondering why none of us Thumbites have commented on David Klinghoffer's op-ed about Richard Sternberg filing a complaint with U.S. Office of Special Counsel claiming discrimination at the Smithsonian. We have discussed it at length, but there is too little information to form an opinion about the complaint.
Is it possible that the Smithsonian over reacted to Sternberg's abuse of his editorial power at PBSW? Sure. It is also possible that they didn't. Although, Klinghoffer makes clear his opinion, he has failed to provide enough information in his op-ed to objectively determine and judge what has happened.
Because of the way the law typically works, it will probably be impossible to get the Smithsonian's side of the story. Sternberg and his supporters can say virtually whatever they want to the media, and Smithsonian will have little ability to set the record straight. (The Discovery Institute's Media Complaints Division will be of little help.)
However, it is interesting to note that Sternberg is a staff scientist for NCBI/NIH and is not employed by the Smithsonian. He is a research associate, which is an unpaid, "formal scholarly affiliation" with the Smithsonian. Since he is not an employee, he might not even be protected by the OSC.
Who can be protected by the OSC from prohibited personnel practices?
General. OSC has jurisdiction over prohibited personnel practices committed against most employees or applicants for employment in Executive Branch agencies and the Government Printing Office.