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Diptheria and Tetanus
FDA to Speed Development of Zika Virus Vaccines »
"A new mouse model developed by scientists at the U.S. Food and Drug Administration may help in exploring the potential activity of Zika viru vaccines and therapeutics. Published today in PLoS Pathogens, is the description of a neonatal mou"...
Read the FDA to Speed Development of Zika Virus Vaccines article »
Diphtheria and Tetanus
Adverse reactions may be local and include redness, warmth, edema, induration, with or without tenderness, as well as urticaria, and rash. Malaise, transient fever, pain, hypotension, nausea and arthralgia may develop in some patients after the injection. Arthus-type hypersensitivity reactions, characterized by severe local reactions (generally starting 2 to 8 hours after an injection) may occur, particularly in persons who have received multiple prior boosters.2
Rarely, an anaphylactic reaction (i.e., hives, swelling of the mouth, difficulty breathing, hypotension, or shock) and death have been reported after receiving preparations containing diphtheria and tetanus antigens.2
The vaccine was well tolerated clinically. No local or systemic reactions were observed in approximately half of the infants and only mild or moderate reactions were observed in the remainder of the study group (Table 3).3
Category of Reactions | ||||
None | Mild* | Moderate** | Severe | |
Post Dose 1 | 9/20 (45%) | 11 (55%) | 0 | 0 |
Post Dose 2 | 11/20 (55%) | 7 (35%) | 2/20 (10%) | 0 |
Post Dose 3 | 11/20 (55%) | 9 (45%) | 0 | 0 |
* A small local reaction and/or temperature elevation to < 39°C (< 102.2°F).
** Temperature elevation to ≥39°C (≥102.2°F) and/or a significant area of redness, swelling, and induration associated with tenderness.
Deaths due to causes other than SIDS, including deaths from serious infections, have been reported in temporal association with the administration of diphtheria and tetanus (diphtheria and tetanus (diphtheria and tetanus toxoids) toxoids) toxoids containing vaccines. On rare occasion, anaphylaxis has been reported following administration of products containing diphtheria and tetanus (diphtheria and tetanus (diphtheria and tetanus toxoids) toxoids) toxoids. Upon review, a report by the Institute of Medicine (IOM) concluded the evidence established a causal relationship between diphtheria and tetanus (diphtheria and tetanus (diphtheria and tetanus toxoids) toxoids) toxoids and anaphylaxis.9
The following neurologic illnesses have been reported as temporally associated with vaccine containing tetanus toxoid: neurological complications14 including cochlear lesion,15 brachial plexus neuropathies,15,16 paralysis of the radial nerve,17 paralysis of the recurrent nerve,15 accommodation paresis, Guillain-Barré syndrome (GBS),and EEG disturbances with encephalopathy.18 The IOM following review of the reports of neurologic events following vaccination with tetanus toxoid, Td or DT, concluded the evidence favored acceptance of a causal relationship between tetanus toxoid and brachial neuritis and GBS.9,19
Reporting of Adverse Events
The National Vaccine Injury Compensation Program, established by the National Childhood Vaccine Injury Act of 1986, requires physicians and other health-care providers who administer vaccines to maintain permanent vaccination records and to report occurrences of certain adverse events to the US Department of Health and Human Services. Reportable events include those listed in the Act for each vaccine and events specified in the package insert as contraindications to further doses of the vaccine.12,13
Reporting by parents or guardians of all adverse events after vaccine administration should be encouraged. Adverse events following immunization with vaccine should be reported by health-care providers to the US Department of Health and Human Services (DHHS) Vaccine Adverse Event Reporting System (VAERS).Reporting forms and information about reporting requirements or completion of the form can be obtained from VAERS through a toll-free number 1-800-822-7967.11,12,13
Health-care providers also should report these events to the Pharmacovigilance Department, Aventis Pasteur Inc., Discovery Drive, Swiftwater, PA 18370,or call 1-800-822-2463.
Read the Diphtheria and Tetanus (diphtheria and tetanus toxoids) Side Effects Center for a complete guide to possible side effects
If passive immunization for tetanus is needed, TIG (Human) is the product of choice for tetanus.It provides longer protection than antitoxin of animal origin and causes few adverse reactions. The currently recommended prophylactic dose of TIG (Human) for wounds of average severity is 250 units intramuscularly. When tetanus toxoid and TIG (Human) are given concurrently, separate syringes and separate sites should be used. The ACIP recommends the use of only adsorbed toxoid in this situation.2
Diphtheria Antitoxin (equine) is available for treatment of the acute phases of diphtheria. When DT and Diphtheria Antitoxin are used together, they must be given at different sites using separate needles and syringes.
As with other intramuscular injections, use with caution in patients on anticoagulant therapy.
Immunosuppressive therapies may reduce the response to vaccines (see PRECAUTIONS GENERAL section).
2. Recommendations of the Advisory Committee on Immunization Practices (ACIP). Diphtheria, Tetanus, and Pertussis: Recommendations for vaccine use and other preventive measures. MMWR 40:No.RR-10,1991
3. Pichichero ME, et al. Pediatric diphtheria and tetanus (diphtheria and tetanus (diphtheria and tetanus toxoids) toxoids) toxoids-adsorbed vaccine: Immune response to the first booster following the diphtheria and tetanus (diphtheria and tetanus (diphtheria and tetanus toxoids) toxoids) toxoids vaccine primary series. Pediatr Infec Dis 5:428-430,1986
9. Stratton KR, et al. Adverse events associated with childhood vaccines. Evidence Bearing on Causality. National Academy Press, Washington,DC,1994
11.CDC.Vaccine Adverse Event Reporting System United States. MMWR 39:730-733,1990
12.CDC. National Childhood Vaccine Injury Act: requirements for permanent vaccination records and for reporting of selected events after vaccination. MMWR 37:197-200,1988
13.Food and Drug Administration. New reporting requirements for vaccine adverse events. FDA Drug Bull 18 (2),16-18,1988
14.Rutledge SL, et al .Neurological complications of immunizations. J Pediatr 109:917-924,1986
15.Wilson GS. The Hazards of Immunization. Allergic manifestations: Post-vaccinal neuritis. pp 153-156,1967
16.Tsairis P, et al. Natural history of brachial plexus neuropathy.Arch Neurol 27:109-117,1972
17.Blumstein GI, et al. Peripheral neuropathy following Tetanus toxoid administration. JAMA 198:1030-1031,1966
18.Cody CL, et al. Nature and rates of adverse reactions associated with DTP and DT immunizations in infants and children. Pediatr 68:650-660,1981
19.Pollard JD, et al. Relapsing neuropathy due to tetanus toxoid: report of a case. J Neurol Sci 37:112-125,1978
This monograph has been modified to include the generic and brand name in many instances.Last reviewed on RxList: 6/8/2006
Diphtheria and Tetanus FDA Prescribing Information
Additional Diphtheria and Tetanus Information
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
Women's Health
Find out what women really need.


text: Wah Kee Chinese Seafood Cuisine Restaurant Review: Wah Kee, Chinese with a seafood slant, built its rep on the likes of scary stuff like spicy jellyfish, but the menu offers other exotica such as shrimp in buttermilk sauce and several salt-toasted shellfish with fragrant Szechuan peppercorns. And if spicy beef tripe is to be had, leap on it: bathed in soy, sesame oil, scallions and red pepper flakes, the crunchy ribbons are remarkable. (Beef tripe with pickle vegetable is a suitable substitute.) The fish tank that once dominated the rear of the pastel-toned and wood-trimmed restaurant appears to have gone on strike, but the whole steamed fish with scallion and ginger may still be worth consideration. In season, we suggest the sautéed snow pea leaves with garlic as an accessory to just about anything. |

subset: commoncrawl


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He didn't/doesn't care....
Mr. Printy noted he didn't care (and he also wrote that at our Facebook page about the matter.).
So, if he doesn't give a damn, why should we?
The next time you feel the urge to look at UFO Updates . . . . "just say NO".
Why actively seek out something that always seems to piss you off? Life's too short and precious for that.
Just sayin' . . .
...care about what...?
Our friend Lance had this comment at the deleted post, which I think deserves a hearing, so I, like Jesus resurrecting Lazarus, input it here (in part):
"Rudiak made a grave tactical error recently when he revealed a bit too much of his nutty worldview. For Rudiak, absolutely EVERYTHING relates back to Roswell. But even Kevin Randle had to recoil when Rudiak suggested that the government sent Jesse Marcel, Jr. to Iraq (in the 1990's) in retaliation for his Marcel Jr.'s revelations about Roswell!
As I think you know, Rich, we sort of punked Rudiak last summer during a test that Tim created to see just how long neoprene would last in the sun (Rudiak and other Roswell faithful had made all sorts of unfounded claims about this matter). I asked Tim to withhold the fact that we were testing in New Mexico (as well as my home and Tim's on the east coast).
I knew that Rudiak would bite.
Sure enough, he wrote ream after ream of nonsense about how our test was wrong because we hadn't tested in New Mexico. Blah blah blah!
Except we had tested in NM and the results were the same no matter where we did it.
I can send you the many many paragraphs Rudiak constructed, all of it out of thin air and all of it wrong. Rudiak (in the true paranoid style) never apologized or admitted his mistake.
When he dreamed up the bullshit about Marcel, he wrote (again as though fact) all sorts of stuff about military matters. Kevin had to step in to call bullshit on that as well.
If Rudiak says something, you can be sure that it is colored by his nutty conspiracy worldview, where everything in every way relates back to Roswell..."
So, is Printy supposed to care about the expected blow back from the UpDates crowd due to his Roswell piece?
Respectfully, I know its your blog and you can do what ever you please...which you do, but why delete the original post?
As I noted on my blog site, commenting to James Carlson, Printy will be either ignored or pissed on. It seems "pissed on" won the day.
I like Tim P. and his style. Lance's comments sums it up quite nicely. Tim is not the type to throw a temper tantrum because Roswell ET proponents find his views anathema to their long held position...that juvenile characteristic was expected...and we were not disappointed.
I have been chastened by some of my guys for getting worked up about the Printy affair when he, Printy, couldn't care less.
That's all.
There is good material countering a lot of pro-UFO stuff. Critics give you an opportunity to tighten up your argument. Of course, not every criticism has value. There's also a lot of soft skepticism out there that gets greedily lapped up by the anti-UFO folks just because it sounds somewhat plausible, no matter how lightweight it in fact is. I like David, he's a believer/staunch advocate. There's a place in the UFO business for guys like him.
Decades of investigation and we still have people from either side of the controversy arguing over how long neoprene might take to decay in the desert.
By Ross, at Saturday, September 07, 2013
It's nuts, right Ross?
Rudiak barks and the other dogs bring him some bones.
...I still don't understand how ANYONE could think that adding Rudiak to 'The Dream Team' was a great idea....
...I still don't understand how ANYONE could think that adding Rudiak to 'The Dream Team' was a great idea....
KP, I'm assuming that there is a need for someone to do the typing...


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So I thought I would dedicate Tuesdays to tidbits! It might be something you already know, something you're seeing for the first time, something you knew but forgot you knew, perhaps even something you think is too basic to mention. Whatever it is, I hope what small morsel of insight I have to offer will benefit SOMEONE. (At least one? Pease--just one? ANY one?) Even if it doesn't, just tell me it does- make me feel all good about myself.
(admittedly, I had to recreate this icky-pooky mess and a real one probably looks WORSE)
When you only have the exact amount needed for your pattern, this icky-pooky mess can sometimes create an icky-pooky catastrophe!
Worry not! I am going to teach you to overcome the icky-pooky mess dilemma.
Do you have some of this? Oh come on, you know you do. SCRAPS! I mean- the kind you would normally throw away rather than save for your next appliqué project. SAVE them, cherish them, love them, go get them out of the trash can.
Next, fold them and cut them up in little pieces. Often, these types of scraps are already folded because they are the remaining bits of something you have just cut. It's best to have a double layer though. They can be little or big- I usually go for .75-1 inch square.
Now- from here on out, take one of those little squares and sew it right in there after your last piece of fabric when you are ready to quit the sewing session. Leave the little square in your sewing machine and walk away. Just make sure you have some stitches already into the square. I typically sew almost to the end of the square.
Fast forward and hour, a day, a week, a month or a year....... there is that little square. Perhaps covered in dust, but he's still there. Start sewing your next piece right after him. Since you aren't starting a new and the threads have already been "bound off".............
look Ma- no icky-pooky mess! Stitches are nice and even, no holes or bunches or birds nests. Perfect-a-mundo!
Have a tidbit to share? Let us know! Have an issue you need to solve? Let us know and we'll research it!
Hope this helps some one, happy quilting!


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Squeezing the Juice
Most trials don't have the sort of high theatrics that TV and movie courtroom dramas do. Even the criminal trial of O.J. Simpson, for all its bizarre spectacle, was never rocked by any testimony from the defendant. But attorney Daniel M. Petrocelli is coming to the Valley to talk about one of the few trials that could put TV to shame: the other Simpson trial, the wrongful-death civil suit.
The highlight of that trial, says Petrocelli, by phone from his L.A. office, was "the two days I cross-examined Simpson on the stand. He was forced to testify in civil--if you refuse to testify there, a default judgment is entered against you."
Under those circumstances, O.J. didn't prove a tough nut to crack on the stand. "It was like taking candy from a baby--it was like when your kid comes up to you with chocolate all over his face, and you say, 'Johnny, did you eat the chocolate?,' and he says 'no.'"
In the ensuing judgment against Simpson, says Petrocelli, "We were able to seize some of the luxury items from his house, like artwork and furniture and the Heisman. Eventually, it will be sold at auction, and the proceeds will go to the victims' families. What we don't have the right to take is his private pension. The law says that can't be levied by creditors. That law wasn't designed to protect double murderers, but the law is the law until it's changed."
Upcoming Events
Hypnotic Brass Ensemble
TicketsFri., Mar. 24, 7:30pm
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Los Angeles Angels vs. Arizona Diamondbacks
TicketsSat., Mar. 25, 1:10pm
Does this mean that Orenthal J. will always live high on the hog? "Not according to the lifestyle he's accustomed to," says Petrocelli. "My own view is that his big payday, once the statute of limitations on perjury runs out, could be in the form of a pay-per-view confession. His main reason for not doing it would be that we'd get most of the money.
"Of course, Mr. Goldman has said he'd rip up the judgment in return for a confession, so if Simpson approached us to make that deal, Goldman would probably say yes."
--M. V. Moorhead
Daniel M. Petrocelli, author of Triumph of Justice: The Final Judgment on the Simpson Saga (Random House), is scheduled as the luncheon speaker at 11:30 a.m. Saturday, September 5, at the Wigwam Resort, 300 East Wigwam Boulevard in Litchfield Park, in connection with the resort's Visiting Authors program. The price is $100 per person; proceeds benefit Faith House's Prospect Park Capital Campaign for victims of domestic abuse. For reservations call 935-3811.
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Tax-Favorable Real Estate Transactions
- Course Delivery: On Demand
- Credit Hours: 4
- Credit Type: General Real Estate
Chat Live | Contact Us | Toll Free: (888) 360-8764
The objective of this course is to teach real estate professionals how they can help their clients with the process of buying and selling property on a tax-favorable basis.
The first two lessons describe a method of real estate purchase using pre-tax dollars and of growing the estate within a qualified product. We will discuss the current tax advantages of using both qualified and non-qualified tax products such as IRAs, SEP IRAs, 401(k)s, Roth IRAs, and Charitable Gift Annuities. The use of these applications provides the real estate professional with an opportunity to create a long-standing and profitable relationship with his or her clients, as well as attracting a more sophisticated investor wishing to find an alternative to 1031 exchanges.
Lessons 3 and 4 of this course will explain the many important aspects of Internal Revenue Code Section 1031. The course will focus on the benefits of the 1031 exchange for the investor, the licensee, and the other parties involved in the transaction. The student will learn which properties qualify under Section 1031 and how to use the various types of 1031 exchanges to enhance the client's position in the investment real estate market.
The concluding lesson presents real-world dilemmas and concrete applications of the information presented in the rest of the course. As the student completes this course, he or she should try to develop a broad picture of tax-favorable real estate transactions and how they fit into the larger practice of real estate. The last lesson will help with this project by presenting comprehensive content questions, practice problems, and case studies.
Regulatory Information
Tax-Favorable Real Estate Transactions - Arizona Department of Real Estate
- Name:
- Arizona Department of Real Estate
- Phone:
- 602-771-7720
- Fax:
- 602-957-0658
- Website URL:
- http://www.azre.gov
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- [email protected]
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- 85018
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- Learn on your own schedule


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Although the AMX has never quite become as famous or as common as Camaros and Mustangs of the period, they are increasingly sought after. The good news is that this rare 1968 AMC AMX is available for a bargain price, bringing a 390 cubic inch V8, a slick 2-seater body, and plenty of performance.
Maybe the world just wasn't quite ready for a 2-seat muscle car in 1968, but the AMX pulls it off. Obviously born with Javelin DNA in its veins, it is shorter, muscular, and definitely more aggressive-looking, and the proportions are exactly right. The long hood and fastback profile combined with the bright Matador Red paint and white stripes certainly gives the AMX a high-performance look that's more than just for show. It sports just over 80K original miles, but it's seen restoration, so it's sorted, and the vivid paint shows a showroom fresh gloss. It wears a stock hood with aggressive risers that were meant to allow for heat to escape from the headers. The simple horizontal grille with tiny AMX badge, the ribbed rocker panel moldings, and the slim taillights that hug the rear bumper all look great, and the chrome really is quite nice all around.
AMC really nailed the muscle car look inside, with pleated bucket seats flanking an automatic shifter and a racy twin-cockpit dash. The seats are in very good condition, and the red on red color combination is a great look for this sporty car. Red carpet covers the package area behind the seats, and the door panels are in very good shape with wood inserts and aftermarket speakers installed. The center stack and console bring more red to the cabin, and the gauges have cool silver centers with black perimeters that were decades ahead of their time. An AM/FM/cassette stereo fits neatly in the center of the dash, just ahead of the shifter, and an AutoMeter oil pressure gauge resides below the dash.
A 343 4-barrel was original to the car, but the 390 cubic inch V8 was one of AMC's more potent powerplants in 1968, and is what powers this lightweight. With 315 horsepower from the factory, it's a very strong runner that puts the light curb weight of the AMX to good use. The engine bay is finished with clean red fenders and a firewall that is accented nicely with a chrome air cleaner and valve covers on the 390. An MSD ignition provides sparks to the combustion chamber, while the cylinders breath out a dual exhaust that pops with a throaty V8 sound, leaving no question about the performance potential of this 2-seater. The 3-speed automatic transmission sends power to a 12-bolt rear end. And for fans of '60s performance, the Magnum 500 wheels are a welcomed touch, wrapped in 215/70/14 white-lettered radials.
The good news is that you can have a bright red V8-powered 2-seater for pennies on the dollar with this rare AMX. Only 6,700 of these cars were built in 1968, and prices have been quickly on the rise for specimens like this. Presenting a like-new appearance and a lot of fun for the buck, you don't want to miss this opportunity. Call today!
This vehicle is not currently in one of our showrooms. Please set up an appointment to view this car in person.
- Engine Type
- Gasoline
- Engine Size
- Transmission Type
- Automatic
- Rear End
- 12 Bolt
- Body Or Basic Color
- Red
- Body Style
- Coupe
- Doors
- 2
- Year
- 1968
- Make
- Model
- Miles
- 80,103 (Actual)
- Interior Or Basic Color
- Red
- Seating Type
- Bucket
- Seat Material
- Vinyl Cloth
- Shifter Type
- Floor
- Center Console
- No


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The Bramble is all about comfort. It's perfect for those days out in the park, trips in town - to the local shops, or a summers ride with family and friends. It comes with shiny chrome mudguards, a sprung saddle, cork grips and a matching carrier rack for all your luggage needs. The flat handlebars also gives you more control and a nimble feel with the 6 gears controlled by a single shifter, making it easy to navigate hillier areas. Another great feature is the full length/full coverage chainguard. This keeps the chain completely separate and away from your clothing and with the mudguards and water/mud off you back. The wheels are strong and sturdy and feature Kenda 26 tyres. These give good grip and plenty of puncture protection also. Finally, the Bramble features a heavy duty kickstand so when off the bike kick the stand down and park the bike. No more placing it down on the ground only to lift it back up again. Each bike is fully built, tested and tuned by Wiggle's team of qualified bike mechanics to ensure you're bike arrives in perfect condition. To find out which size fits you use the size chart below.
Check stock and price


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Ford Motor Co., with a more than 200 percent increase in net income for 2011, reported its strongest year in a decade as American automakers continue to recover from the tailspin of 2008 and 2009.
Only last week, General Motors Co. reported that its global sales for last year led the industry again, after the automaker had fallen out of first place during the recession. Both GM and Chrysler Group also are expected to report profitable 2011 financial results in the coming weeks.
Domestic manufacturers are in the middle of a slow but solid recovery, said Peter Nesvold, a Jefferies & Co. analyst.
Americans are still buying historically low numbers of vehicles — less than 13 million last year — yet the industry is profitable and GM's operating earnings are also expected to be in the billions, Nesvold said.
"Those facts alone aren't necessarily reasons to run out and buy the stocks, but from a fundamental standpoint, it is very encouraging to see a profitable auto industry at these levels," he said.
Although much of Ford's big gain came from a special tax allowance, it still posted an annual pre-tax operating profit of $8.8 billion, almost 6 percent above the prior year, and the best since 1999. It now has recorded 10 consecutive quarters of operating profits.
Nonetheless, the automaker's results were dragged down by losses in Europe and Asia and rising commodity prices, and it reported a percentage drop in fourth-quarter operating profit compared with the same period of 2010.
Ford's annual net income reached $20.2 billion, helped by the special one-time, non-cash gain, and was the best since 1998. The company had piled up various tax-loss credits but was unable to use them until it became consistently profitable. Now it is starting to move the credits onto its balance sheet.
This year, Ford expects "to continue improving our business and delivering solid profits," said Alan Mulally, the company's chief executive.
But Ford's fourth-quarter operating profit fell almost 15 percent, to $1.1 billion, or 20 cents per share, from $1.3 billion, or 30 cents a share, in the fourth quarter of 2010. Analysts were expecting earnings per share of 25 cents. Its fourth-quarter revenue rose 6 percent to $34.6 billion.
"You can't sugar-coat the quarter. They came up short. But you have to be encouraged by the outlook," Nesvold said.
Ford's shares fell 53 cents, or 4 percent, to $12.21.
As in prior quarters, Ford continues to do best in North America, its core market. The automaker reported an operating profit of $889 million for the region, compared with a profit of $670 million a year earlier.
Ford sold 2.1 million vehicles in the U.S. market last year, an 11 percent increase. It was the No. 2 seller, capturing a 16.8 percent share of the market and trailing only General Motors.
The automaker's U.S. sales growth is a result of a product lineup that is "fuel-efficient, aggressively styled and more than competitive with traditional class-leading offerings from Toyota and Honda," said Alec Gutierrez, an analyst at Kelley Blue Book, the auto information company.
But Ford continued to struggle in Europe, losing $190 million, almost four times what it lost in the same quarter a year earlier. The European debt crisis is damaging the region's economy and will make it hard for Ford and its rival automakers to make money there this year, Gutierrez said.
Ford's profit in South America was $108 million, down from $281 million in the prior year. It also posted a loss of $83 million in Asia — in part because of the floods in Thailand — compared with a profit of $23 million during the same period a year earlier.
Ford Has Its Strongest Year Since 1998
Monday, January 30, 2012
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18671 COLLINS AV # 1902 Sunny Isles Beach, Florida 33160
*****3 bedrooms plus den and 3.5 bathrooms oceanfront oasis!! Marble floor, Large living area for entertaining, eat in kitchen , wraparound 2 balconies, all with endless ocean views. Nicely decorated. Boutique building-only 112 units, great amenities, te nnis courts, elevator opens directly into the apartment. A must see!!!*****
EWM is not responsible for the accuracy of the information listed above. The data relating to real estate for sale on this web site comes in part from the Internet Data Exchange Program and the South East Florida Regional MLS and is provided here for consumers personal, non-commercial use, It may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. Real Estate listings held by brokerage firms other than the office owning this web site are marked with the IDX logo. Data provided is deemed reliable but not guaranteed.


text:
Slang for people who drop LSD in their eye. It doesn't really change the trip I hear. I know people who have done it, but it just sounds kind of crazy to me. It is supposed to be done with liquid, I don't think they mean putting a geltab or a piece of paper on your eyeball.
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Profile® Racks
Profile® Squat Rack with Pull-Up Bar
The patented wall-mounted folding Profile® Squat Rack with Pull-Up bar is the sleekest and sturdiest space saving rack on the market today. You can have the garage or home gym you've always wanted, but didn't think you had the space!
Easily transform any garage, home or small commercial space into a multi-functioning gym while sacrificing just 4" of wall space when not in use. All hardware for installation is included, which means no unexpected trips to the hardware store!
No disassembly required when folding away. Made in the USA!
Perfect for cross-functional fitness athletes, Olympic Weights, MMA, and anyone looking to Lift BIG in Small Spaces and stay fit.
- 2x3 11 gauge steel uprights (7'6")
- 42" single pull-up bar
- 2x3 J-Cups (Pair)
- Plastic foot plates to protect your floor
- (4) 100lb gas shocks
- Wall Brackets (racks are 52" wide on the outside dimension)
- Mounting Hardware
- Color Black
- Weight Capacity: 1000+ lbs
- Patented
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- Rack folds out to stand 24" from wall when down and ready to use
- Pull up bar height: 7'5" (bar may be moved to lower position if needed)
- 90" Racks: Require 8'11" (108") ceilings
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I am currently a graduate student attending Rowan University in NJ. I am writing a thesis on Cyberbullying and the parents of children with special needs. If you can take a moment to take my quiz I appreciate your time. Please ask others if you do not mind. Research from the parents perspective is limited.
My survey Link is:
Just copy and paste.
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Category: bushnell, Optics-Riflescopes-&-Sights-Riflescopes
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text: Emma Thompson Gets Wild 12.24.13 :: Filed Under: LOL :: Comments The distinguished actress played a game with Ellen in which she had to impersonate as many animals as she could before time ran out... and even a little after! Check out how she did! Related Posts Rebel Wilson Plays an Accent Game Rob Lowe's Impressive Impressions Martin Short Attempts a Few Impressions Comments


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Much was made earlier in the season of the number of "Chuck"s there were out there:
Charlotte "Chuck" Charles - 'Pushing Daisies'
Chuck Darling - 'Back To You'
Chuck Bass - 'Gossip Girl'
and of course,
Chuck Bartowski - 'Chuck'
And I watched 'Odyssey 5' back in December as part of my strike contingency. The main character is Chuck Taggart.
But I've noticed that there are a lot of "Sarah"s flitting about Toobworld lately.....
Sarah Walker - 'Chuck'
Sarah Whedon - 'Brothers & Sisters'
(who was Sarah Walker before she got married)
plus two variations
Sara Sidle - 'CSI'
Dr. Sara Tancredi - 'Prison Break'
and of course,
Sarah Connor - 'Terminator - The Sarah Connor Chronicles'
If 'Knight Rider' goes to series, we'll have yet another Sarah in Toobworld. Deanna Russo played Sarah Graiman, a Stanford instructor and the daughter of KITT's inventor.
Toby OB
Tuesday, February 19, 2008
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BEEF AND CABBAGE CASSEROLEThis recipe came from an estate sale. I obtained it when I purchased the family collection from the Williams Estate in Tyler,...
cabbage, ground beef, rice, onions, +soup, +tomato soup
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Cabbage Roll Casserole Variation 1
A variation on my original Cabbage Roll Casserole! This version doesn't have sauerkraut and has a different taste. May be more appealing to some. This...
cabbage, tomato, garlic, ground beef, rice, onions, sour cream, +butter, +black pepper, +salt, +water
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Beef And Cabbage Stew Recipe
I love making soups and stews and this is one of my many favourites. You can also use lamb instead of beef. Now, you don't really need dumplings with this...
garlic, bay leaf, cabbage, onions, tomato, +black pepper, +hot sauce, +carrot, +flour, +beef, +potato, +salt, +vegetable oil, +lemon juice, +paprika, +sugar, +worcestershire sauce, +water
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This dish is great for dinner or to send to a potluck. My Aunt made is a few years ago for a family picnic and I bugged her for the recipe. Reminds me...
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Here's another from the Woman's Day Encyclopedia of Cooking, circa 1968.I always disliked cabbage rolls because every dish I saw was loaded with tomoto...
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text:
My tiny back yard has recently undergone a massive makeover this spring. I'm still finishing up a few details before I share it with all of you. But, I wanted to make a point about Focal Points and Focal Point Trees in particular. A small or large-scale tree placed strategically in the landscape for its shape, texture, color can add an immeasurable amount of artistic flair and drama with very little effort.
This brand new Larix pendula, 'Weeping Larch' does just that here at the end of my path as it opens into the main yard. In fall when the needles turn a warm gold and drop, then I will have that incredible weeping structure to look at all winter. WIN WIN!
Frequently, I have customers and clients who are SO bloom focused for the few weeks of a flowering tree or shrubs blooms in the year that they forget the rest of the season. I'm all for flowers, but don't forget that a focal point plant of any type needs to bring more to the party than a pretty hat. 🙂
3 thoughts on "Focal Point Trees"
I have a field I'm turning into a woodland. I've planted an amphitheater of evergreens, mostly western red cedar. Then, a circle of eight Himalayan white birch in the center. I'm hoping it will look like a sylvan temple. Nothing is more than four feet tall yet, but a girl can dream.


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In honor of National Athletic Training Month the Sports Medicine Department is holding a fundraiser at... read more »
On Saturday, March 18, the Office of Admissions will host Experience Meredith! for approximately 300 high school seniors... read more »
On April 26th, from 4:30-7:45, the Department of Education will be sponsoring a Multicultural Children's... read more »
You and your grandparents are cordially invited to a Grandparents' Luncheon. Friday, April 7, 2017 11:30 a... read more »
Weekend Events: March 17th—March 19th (See Websites for Price Information)
Meredith... read more »
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Ready, Set, Camp! A Getaway to Wisconsin's Road America
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text:
The Q112 Mixer provides common mixing functions needed in all systems. A total of four inputs can be mixed. Three of the inputs have attenuators.
A mixer is basically an electrical adder.
All the signal inputs are added together and presented at the output.
Three of the inputs have attenuators and one does not.
You can use a Q125 Signal Processor to attenuate
signals before applying them to the unattenuated inputs.
Since the signals are added, it's possible to create large signals
that may clip which may or may not be desired.
Making New Waveforms
You can create new waveforms by mixing two or more from a single oscillator.
The signals will be in phase and create a new stable, unbeating waveform.
This can create interesting harmonics that can then be filtered.
Mixing Control Signals
The mixer has DC inputs and outputs which means it can mix slow-moving control signals.
This can be helpful when you need to mix an envelope generator output and
an oscillator output for use by the filter or other modules that have limited
input connectors.
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text:
The Lost World (1925)
Among the most beloved films of the first one hundred years of motion pictures is King Kong (1933). Among the many people who worked on that film, the one person most responsible for its enduring success was master animator Willis O'Brien. The Lost World (1925) represented O'Brien's artistic coming of age as a stop-motion animator.
In this modern day when stop-action animation has been surpassed by computer-developed special effects, we may want to take a historical look back at the road motion picture special effects have taken. One milepost on that road is this adaptation of Sir Arthur Conan Doyle's story of live dinosaurs surviving in a remote South American jungle.
Any viewing of this film requires a brief historical explanation of the incomplete state in which The Lost World has survived. Early in 1925, The Lost World was released in its original ten-reel road show version. Contemporary accounts have listed the original running time at between 104 and 108 minutes (depending on the speed of the theater's projector, of course) and at a length of more than 9200 feet. In 1929, the widow of the film's producer (who held the motion picture rights to the story) entered into an agreement with the film's distributor to withdraw The Lost World from circulation. At that time, to satisfy the terms of the agreement, all known positive prints and the alternate 'foreign export' negative were destroyed. (Some theories maintain that the way was being cleared for the production of King Kong, which has a moderately similar story line to The Lost World.)
At the same time, the film's distributor, First National, authorized Kodascope Libraries Inc. to issue a five-reel abridgement of The Lost World in 16mm reduction prints that were intended for distribution to schools, churches, institutions, etc. The edited 35mm duplicate negative utilized to create subsequent 16mm Kodascope negatives survived the years and eventually ended up at the George Eastman Museum in the 1950s. Other than the original trailer, some 365 feet of 35mm exerpts held at the Library of Congress, other surviving fragments in two private collections and eight minutes of 35mm positive print O'Brien animation outtakes, the abridged George Eastman Museum dupe negative represented the finest and most complete (with 40 percent of its original length lost) 35mm print of The Lost World.
Entire sections of the narrative, whole characters and locations, and much of the character development had been excised from the Kodascope edition of the film. And while we are deprived of the development of the characters that remain, we are left with the majority of the action sequences. Much of O'Brien's work remains for us to enjoy.
The story of The Lost World doesn't end with its surviving Kodascope version, however. In 1992, a nearly complete 35mm print of The Lost World (probably struck from the alternate foreign negative) was revealed to the world as being held at the Filmovy Archiv in Prague, Czechoslovakia. A reconstruction project was initiated by George Eastman Museum, headed by GEM's Ed Stratmann, and more than $80,000 was collected from benefactors to defray the expenses of the effort. In 1997, George Eastman Museum debuted the almost wholly reconstructed Lost World, which now totalled more than 8000 of its original 9200 feet. Of the missing footage, most of it remains lost in the form of minor print break splices, damaged reel ends and shortened running times on intertitles (which ran long for slower-reading contemporary audiences). Among of the still-missing footage is the cannibal attack sequence in the Amazon jungle.
In 2000, we viewed a print of the GEM reconstruction edition of The Lost World and were generally pleased with the results. A number of missing sections were implied by production photographs and expositional intertitles. The image quality was excellent but it was clear that the Kodascope negative was still the primary source for the GEM reconstruction.
As of this writing, there are no plans to release the GEM reconstruction of The Lost World on home video, however, the new edition is available for public performances from George Eastman Museum. — Carl Bennett
The Lost World (1925), color-toned black & white, 93 minutes, not rated.
The film is presented with a pleasant small-orchestra music score compiled from contemporary theatrical sheet music by Rodney Sauer and performed by the Mont Alto Motion Picture Orchestra.
Film Preservation Associates, distributed by Image Entertainment, ID0319DSDVD, UPC 0-14381-03192-8. Full-frame 4:3 NTSC, one single-sided, dual-layered DVD disc (reissued on DVD-R disc), Region 1, 5.5 Mbps average video bit rate, 448 and 224 kbps audio bit rates, Dolby Digital 5.1 surround sound and Dolby Digital 2.0 stereo sound, English language intertitles, no foreign language subtitles, 18 chapter stops, standard DVD keepcase, $24.95. Release date: 3 April 2001 (reissued 15 May 2012). Country of origin: USA
At hand is the DVD home video edition from Image Entertainment, produced by Film Preservation Associates' David Shepard and Lobster Films' Serge Bromberg. This edition has been prepared from a combination of eight surviving prints of The Lost World held in private collections and world film archives, including the Czech print mentioned at left. On its first viewing we were impressed to see footage that was not included (one would assume it remained lost forever) in the George Eastman Museum reconstruction. On closer inspection it became clear that this edition originated from a print struck from an alternate negative. If the Kodascope version of the film was cut down from the 'domestic' version of The Lost World, then the Czech print was struck from the destroyed 'foreign export' negative.
When comparing this footage to the GEM footage, one notes that the prints utilized for this edition tend to come from the right-hand position camera. In the 1920s, to reduce the wear of striking many hundreds of prints for domestic and worldwide distribution, two film negatives were made. One camera was placed in the prime position, the second slightly to one side. Cameras were set-up side by side to simultaneously shoot the film's action. One camera's product was blessed as the 'domestic' negative, the other was the 'foreign' negative. In the case of The Lost World, it appears that the foreign negative originated from the right position camera.
Several scenes are now expanded in length or appear on home video for the first time. The well-known shot of the dinosaur poking its head into a building window to disrupt a poker game is here. The encounter between Malone and the ape man in the tree above the camp is now generally complete. Much of the footage plays out smoothly, only broken by occasional splices. Without resorting the bridging expositional intertitles, the story is now more complete and is relatively easy to follow. Fewer story gaps remain, however, one of the most important is unaddressed here. After the jungle outpost scenes, many of the carriers seen in the river travel shots mysteriously disappear leaving a rescue party of seven. The shots of the attack of the Nhambiquara cannibals and the subsequent revolt of the carriers have not survived and those scenes are ignored here. Other minor sections of the film are still missing, but are far less important to the story: the set-up footage that explains why Challenger, in the cab, suddenly reaches for his head — for a hat that he has left behind; or the footage of Challenger chasing Malone over the dinosaur skeleton in the museum.
Of particular note is footage that is glaringly missing from this edition that exists in the Lumivision edition: the shot of the dinosaur's tail sweeping to the side and knocking several Londoner men off their feet.
The video transfer for this Image edition is excellent, utilizing 35mm prints that range from very-good to predominantly excellent. Much of the footage is marked with long vertical scratches to the print's base layer, but these are rarely distracting. Some footage is softer in image detail than others (obviously taken from one of the eight prints), but it will not be distracting to anyone but the most hypercritical viewer. We are certain that Shepard and Bromberg have done what they could to clean up the transfer. The results here show obvious care. Even the famous final shot of the dinosaur traveling out to sea, surviving only in one battered and worn print, looks better here than in previously-published frame enlargements. The Lumivision/GEM footage is sometimes very speckled and occasionally scarred by beginning print decomposition, but here the footage is reasonably clean. The image framing is generous and open. The greyscale ranges are broad and seem to accurately represent the original prints well.
All of the intertitles have been digitally reset for this edition. Obviously, some of the intertitles have not survived in existing prints and have been reconstructed from contemporary documentation, and some have only survived in foreign language translations. For consistency, all of the intertitles have been reset. But we do have a minor bone to pick, and that is to take even greater care to reset intertitles in carefully-designed typography, without the occasional examples of badly-spaced and badly-justified paragraphs, and the carelessly misaligned last lines. Also, use contemporary-looking quotation marks that don't stand out in the intertitles like bird droppings.
One should note that the intertitles have fallen victim to politically-correct censorship in this edition. All of the intertitles attributed to Zambo, the 'black' man with his arm in a sling, have been rewritten to alleviate the racist 'uncle tom' speech patterns that were commonly attached to black characters in Hollywood films of the silent and golden eras. Cockney English intertitles have also been softened in this edition.
The footage of Arthur Conan Doyle at the beginning of the film is not the original 1925 footage but is, instead, lifted from an excellent 35mm print of a 1929 Fox Movietone sound short, in which Doyle discussed his character Sherlock Holmes and his metaphysical beliefs. Stills from the original Doyle introduction are in the supplemental section of Lumivision's DVD edition of The Lost World.
We applaud the inclusion of two completely different musical accompaniments on this disc. We are certain it was an expensive decision but also one that will please nearly every viewer. Robert Israel has provided another fine music score performed by an ensemble with piano, in much the fashion of theater orchestras of the silent era. As always, Israel's work is entertaining and satisfying. The score is presented in Dolby Digital stereo sound. Also included is a modern score composed and performed by The Alloy Orchestra, purveyors of the musically unusual. Themes and percussion that implies the depths of the Amazonian jungle dominates this music score that is presented in Dolby Digital 5.1 surround sound. The surround information is more ambient than discreet, so listeners should not expect this edition to become a surround sound demonstration disc. The exciting score is punctuated with well-synchronized sound effects.
The supplemental section includes audio commentary by Roy Pilot, coeditor of The Annotated Lost World, and approximately 13 minutes of O'Brien animation outtakes from the film that were recovered in 1993. The Pilot commentary is informative, but it is also presented in deadpan dullness. Also included is a small printed paper reproduction of the 1925 Lost World theater program.
We are very enthusiatic about this new edition of The Lost World. It is, by far, the best home video edition of the film and we recommend it highly. The combination of the additional and improved quality footage and the two fine music scores makes this disc virtually unbeatable. This edition is entertaining and satisfying viewing. However, owners of the Lumivision edition will want to retain it for its generous supplemental materials and its representation of the Kodascope version of the domestic negative. Together, the two discs should be a valuable addition to any silent film collection.
The edition was reissued on DVD-R disc; it is now out-of-print and replaced by the Flicker Alley edition noted above.
The Lost World (1960), color, 96 minutes, not rated (USA) and Rated PG (Canada), with The Lost World (1925), color-tinted black & white, 76 minutes, not rated (USA) and Rated G (Canada).
Twentieth Century Fox Home Entertainment, unknown catalog number, UPC 0-24543-45965-1. Full-frame 4:3 NTSC, one single-sided, single-layered DVD disc and one single-sided, dual-layered DVD disc, Region 1, ? Mbps average video bit rate, ? kbps audio bit rate, Dolby Digital 2.0 stereo sound, English language intertitles, no foreign language subtitles, chapter stops, two-disc standard DVD keepcase, $19.98. Release date: 2007. Country of origin: USA
This edition features an excellent high-definition video transfer from the very-good to excellent 35mm restoration print from the George Eastman Museum.
The film is accompanied by an excellent music score performed on theatre pipe organ by Philip Carli.
We still recommend the Image Entertainment edition noted above, but this edition is the best presentation of the George Eastman Museum restoration version of the film.
The Lost World (1925), color-tinted and color-toned black & white, 64 minutes, not rated.
Lumivision Corporation, DVD0897, UPC 7-24117-08979-5. Full-frame 4:3 NTSC, one single-sided, single-layered DVD disc, Region 0, 4 Mbps average video bit rate, 384 kbps audio bit rate, Dolby Digital 2.0 stereo sound, English language intertitles, no foreign language subtitles, 11 chapter stops, jewel DVD case, $24.95. Release date: September? 1997. Country of origin: USA
With the cooperation of George Eastman Museum, Lumivision Corp. released a home video version of the surviving footage of The Lost World in 1991. In the intervening years since the 1950s, reels three and four of the Kodascope dupe negative had deteriorated, but fine 16mm preservation dupes made in the 1950s kept this footage from being lost forever and was utilized along with the surviving 35mm materials for the video transfer of the Lumivision edition. This same transfer was issued on DVD by Lumivision in 1997.
The resulting video transfer is very-good. The picture retains very good tonal ranges and detail. Even reels three and four (taken from the 16mm safety positives) are very-good and are not discernable to the average viewer. The print shows some wear but is far from being distressed. There is also some moderate speckling that comes and goes. All of the film's intertitles have been transferred as freeze frames, perhaps to slightly lengthen their screen duration. The color-tinting and color-toning is excessive at times, being a bit too saturated — a complaint common to other Lumivision silent film titles (its Birth of a Nation edition in particular).
The supplemental material includes original film trailer, promotional film, stills archive, description of missing scenes, essay by Scott MacQueen, letter on The Lost World by Ray Harryhausen, plus exerpts of the Willis O'Brien films Prehistoric Poultry (1916), R.F.D. 10,000 B.C. (1917), The Dinosaur and the Missing Link (1917) and Monsters of the Past (1923) a non-O'Brien film from the Pathé Review series. Of the supplementary materials, the three exerpts from Willis O'Brien's 1917 Edison films fare badly. It is likely that these films have only survived as the contrasty 16mm reduction prints (one with pronounced print scratches) utilized for transfer here. Other short films included on the DVD are of very-good quality that is similar to the main film itself.
The original Lost World trailer does not appear to feature any footage that is not available in the surviving film, with the exception of some animated titles. A separate Lost World promotional film has been included that features Bessie Love and other First National celebrities: actor Milton Sills (who sits on a film set trying to solve a puzzle dressed in a tuxedo — standard issue wardrobe for romantic leads) and film director Lambert Hillyer.
The 1923 film Monsters of the Past features stop-action animation of dinosaurs similar to O'Brien's work. Unfortunately, the dinosaur animator's identity has been lost in time. The print appears to be 35mm, with color-toning. The most amusing portion of this film is the reverse photography sequence of a woman 'sculpting' a dinosaur out of clay by hand in about 90 seconds, complete with surface texture that magically appears from her massaging fingertips.
The supplemental section also features a still frames section, with text explanations, and a separate essay details what we know of the missing portions of The Lost World.
The DVD is accompanied throughout by a serviceable synthesizer performance of the 1925 score, with extra music for the supplemental films. And while we are not generally kind to synthesizer soundtracks that sound too synthetic, this performance is of better quality than others on silent film DVDs. Also, part of the soundtrack here are sound effects that document the closing of a door, the tapping of a typewriter, the murmuring or cheering of a crowd, and the chattering of a chimpanzee, for examples. While the synchronization of the sound effects is very good, we question whether it really adds anything to the presentation and actually found their presence jarring on our first viewing.
Until the 2000 George Eastman Museum version is released on home video (and that will probably not be until GEH's existing agreement with the current holders of the Lumivision home video rights expires), this DVD represents one of two quality editions of Willis O'Brien's pioneering animation work. We recommend the reissued DVD of this out-of-print edition in conjunction with the Flicker Alley edition noted above.
We do have a problems with this DVD's packaging design. SlingShot Entertainment utilized the 'Super Jewel Box' packaging, which we object to less than snapper cases, but the cover insert also features a blunderous typographical error, crediting the original story to "Sir Conan Doyal."
We recommend this DVD in conjunction with the Flicker Alley edition noted above.
The Lost World (1925), black & white, 93 minutes, BBFC Classification U.
The disc features two selectable music scores, audio commentary by Roy Pilot, animation outtakes, and a reproduction of the original souvenir program.
North American collectors will need a region-free PAL DVD player capable of outputting an NTSC-compatible signal to view this edition.
The Lost World (1925), black & white, 88 minutes, BBFC Classification U.
It is not known whether this release is of the George Eastman Museum reconstruction nor whether it has been transferred from anything other than a 16mm reduction print.
Tales from the Future (1925-1989), black & white and color, 758 minutes total, not rated, including The Lost World (1925), black & white, 63 minutes, not rated.
St. Clair Vision, PDS88269-3VD, UPC 7-41027-16319-3. Full-frame 4:3 NTSC, three single-sided, dual-layered DVD discs, Region 0, ? Mbps average video bit rate, ? kbps audio bit rate, Dolby Digital 5.1 stereo sound, English language intertitles, no foreign language subtitles, 4 chapter stops, three-disc DVD keepcase, $7.98. Release date: June 2005. Country of origin: Canada
This budget edition is a good value for the surprisingly good quality of the 35mm film elements utilized for the natural-speed full-frame video transfer. There is a reason for this as the transfer has merely been duplicated from the Lumivision edition noted above, removing the oversaturated color-toning and tints. Some sections of the source print (or the transfer) are quite dark. The source print has the usual speckling, dust, and other flaws, with a reasonably broad range of greytones (without blasted-out highlights) with holds a great amount of picture information.
The film is accompanied by an LP record playing Scott Joplin piano music (processed for 5.1 sound), pops, crackles and all. It is ludicrous to watch dinosaurs battling it out to uptempo ragtime music.
If you're cheap, this is the best of the budget editions of The Lost World, which we slightly favor over the oversaturated color of the Lumivision edition but demerit for the distractingly stupid choice of accompanying music. Also, two of the three discs' labels are swapped (one being the disc with The Lost World on it) — another indication of the level of intelligence among budget video producers.
Triple Feature Drama Classics, Volume 8 (1925-1926), black & white and color-toned black & white, 230 minutes total, not rated, including The Lost World (1925), color-toned black & white, 69 minutes, not rated.
Navarre Corporation, 1631, UPC 7-41027-16319-3. Full-frame 4:3 NTSC, one single-sided, dual-layered DVD disc, Region 1, 3 Mbps average video bit rate, 192 kbps audio bit rate, Dolby Digital 2.0 mono sound, English language intertitles, no foreign language subtitles, 6 chapter stops, standard DVD keepcase, $9.98. Release date: 16 April 2002. Country of origin: USA
This Navarre presentation has been transferred from a truncated color-toned 16mm reduction print, which is dark in shadow areas and soft of image detail. It has exposure fluctuations that are consistent with most older 16mm prints, and suffers from moderate speckling, dust, splices, and print scuffing. While the natural speed video transfer's framing is open, the overall quality of this transfer is a bit of a rough go in comparison to other — better and more complete — DVD editions that are available.
The presentation is accompanied by a canned orchestral soundtrack.
The Lost World (1925), black & white, 68 minutes, not rated.
Alpha Video, ALP 4064D, UPC 0-89218-40649-1. Full-frame 4:3 NTSC, one single-sided, single-layered DVD disc, Region 0, 6.5 Mbps average video bit rate, ? kbps audio bit rate, Dolby Digital 2.0 mono sound, English language intertitles, no foreign language subtitles, 5 chapter stops, standard DVD keepcase, $6.98. Release date: 22 October 2002. Country of origin: USA
This budget edition is not worth its low cost. This Alpha Video edition has been transferred from a very-good 16mm reduction print, but the video master transfer has been so drastically overcompressed for this disc that portions of the image are slow to shift into correct position as the movements of actors and miniatures move about in this sometimes jittery source print. Sure signs of the noted overcompression are the constant crosshatched MPEG-2 video artifacts that are clearly seen on a computer screen and, especially, on an HD monitor.
The cobbled-together musical accompaniment, from a number of monaural orchestral and pipe organ sources, is at times distorted and can be tough listening for the discerning.
Don't be cheap. Skip this low-quality disc and spend the few extra bucks for the Image edition recommended above.
The Lost World (1925), black & white, 63 minutes, not rated.
Front Row Entertainment, 3743, UPC 0-82554-37432-5. Full-frame 4:3 NTSC, one single-sided, single-layered DVD disc, Region 0, 5.5 Mbps average video bit rate, 192 kbps audio bit rate, Dolby Digital 2.0 stereo sound, English language intertitles, no foreign language subtitles, 13 chapter stops, standard DVD keepcase, $5.98. Release date: 2003. Country of origin: USA
This budget edition has been transferred from a 16mm reduction print that is contrasty and largely devoid of true image detail. It has not been helped by a video transfer that has been overcompressed on DVD.
We find it insulting that Front Row touts this disc as "Digitally Remastered For Superior Picture Quality," for the visual results are anything but superior. Highlight details are often blasted-out, with shadow details plugged-up to black.
The Lost World (1925), black & white, 69 minutes, not rated.
With so many other editions available, don't bother chasing this one.
The Lost World (1925), black & white, 150 minutes, not rated.
We suspect that the unusually long running time noted includes the disc's extras.
Other SCIENCE FICTION and FANTASY FILMS of the silent era available on home video.


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Java Draw Created Jul 27, 2009 470 x 338px Unless noted Copyright 2009 SPIDER 08.
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WOW! Just how long did this take you? About 6 minutes from what I can gather from the last draw you did. Amazing! Very pretty picture here. 5/5 and favs.


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Methods of Information GeometryInformation geometry provides the mathematical sciences with a new framework of analysis. It has emerged from the investigation of the natural differential geometric structure on manifolds of probability distributions, which consists of a Riemannian metric defined by the Fisher information and a one-parameter family of affine connections called the $\alpha$-connections. The duality between the $\alpha$-connection and the $(-\alpha)$-connection together with the metric play an essential role in this geometry. This kind of duality, having emerged from manifolds of probability distributions, is ubiquitous, appearing in a variety of problems which might have no explicit relation to probability theory. Through the duality, it is possible to analyze various fundamental problems in a unified perspective. The first half of this book is devoted to a comprehensive introduction to the mathematical foundation of information geometry, including preliminaries from differential geometry, the geometry of manifolds or probability distributions, and the general theory of dual affine connections. The second half of the text provides an overview of many areas of applications, such as statistics, linear systems, information theory, quantum mechanics, convex analysis, neural networks, and affine differential geometry. The book can serve as a suitable text for a topics course for advanced undergraduates and graduate students. |
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Elementary differential geometry | 1 |
The geometric structure of statistical models | 25 |
Dual connections | 51 |
Statistical inference and differential geometry | 81 |
The geometry of time series and linear systems | 115 |
Multiterminal information theory and statistical inference | 133 |
Information geometry for quantum systems | 145 |
Miscellaneous topics | 167 |
181 | |
Bibliography | 187 |
203 | |
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a-connections a-family addition affine connection affine coordinate system Amari arbitrary autoparallel canonical divergence components convex coordinate system corresponding curvature curved exponential family defined denote differential geometry dual connections dualistic structure dually flat space e-curvature efficient estimator embedding encoding entropy Equation equivalent estimating function estimating submanifold Example exponential family finite first-order efficient Fisher information matrix Fisher metric geometric structure given hence induced information geometry information theory inner product invariant Kullback divergence let us consider mapping maximum likelihood estimator measurement mixture family multiterminal mutually dual n-dimensional Nagaoka necessary and sufficient normal distribution Note obtain open subset operator orthogonal parallel translation parameter parameterized probability distributions problem quantum random variable real number Riemannian metric Rn+1 satisfies statistical inference statistical manifolds statistical model stochastic submanifold subspace sufficient statistic suppose symmetric tangent space tangent vector tensor field tion TP(M TP(S transformation unbiased underlying distribution vector fields


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EXPECTATIONS: Imagine my disappointment when I learned this wasn't a sequel to the 1978 Anthony Hopkins evil-dummy flick Magic.
REALITY: In the week since I first rented Magic Magic, I've agonized over how to review it. Part of this, I think, stems from the title, which is as meaningless as Potato Potato or any other random word repeated. Then again, it's also difficult to critique a film that succeeds precisely because it plays against expectations from the first few minutes and spends the next ninety asking us to figure out just what kind of a horror film we're watching.
At least the premise is intriguing. Alicia (Juno Temple) flies to Chile to spend a few days with her cousin Sarah (Emily Browning), a college student who's made at least three new friends in Santiago: Brink (Michael Cera), an American exchange student who might be a sociopath; her boyfriend, Agustín (Agustín Silva), a Chilean psychology student; and Barbara (Catalina Sandino Moreno), whose character is never clearly defined. Called back to Santiago after what might be a manufactured emergency, Sarah leaves Alicia in their company as they venture to a cabin for a few days of sun, cliff-jumping and & mind games.
Killer Joe 2: Eat, Pray, Kill
Writer/director Sebastián Silva, who apparently made Magic Magic on the quick while he had Cera in Chile to film Crystal Fairy and who's never made a horror film before, establishes a tone of creeping dread and invites us to explore the possible explanations for the foursome's bizarre dynamic. Is Alicia the subject of a grand psychological experiment designed by Agustín and implemented with Sarah's help? Is Brink's inner serial killer beginning to blossom? Is Alicia, jetlagged and oversensitive, making herself an easy target for her cousin's new friends? Does the cabin sit atop ancient tribal burial grounds? Are the natives who live down the road exerting supernatural influence on the group? Was Barbara written into the screenplay at the last minute to gender-balance the group in the women's favor?
As the film churns towards the inevitable, after the options are whittled down to one, Magic Magic finally proves itself to be rather depressing and maybe not really a horror film at all. To write more about the film's plot would be unfair, but just in case, if you absolutely need a pristine viewing experience to enjoy a film that depends so heavily on uncertainty, you should stop reading here. Magic Magic is a lot like Rohtenburg in that it deploys horror tropes in a sad, fucked-up character study. As the ending looms larger, you might think Magic Magic is going to turn away and serve up a happily ever after, but nope: This is a film with the courage of its convictions.
Temple, as usual, turns in a solid performance as a woman whose sleep deprivation, which she combats with mysterious pills (courtesy of Barbara, in one of her lone contributions to the plot), begins to take its toll as she can make less and less sense of her cousin's friends' erratic behavior. And Cera, branching out after he stretched his child actor phase to the breaking point, provides the film's most ambiguous mystery. Is this the worst acting possible, from a man who clearly doesn't understand his role, or better-than-mediocre/honestly-kind-of-good acting? Cera's more precious affectations have never bothered me, but his performance here borders on alien. He giggles as he shoots birds with his pellet gun, reacts inappropriately to almost every line of dialogue, sobs whenever a character dares to call him a bad name, etc. It's a loony performance, especially coming from a 25-year-old man whose character is presumably the same age, and your appreciation for Magic Magic might finally depend on your tolerance for Michael Cera.
Damn, that's a cold-ass honky.Personally, I think Silva has found in Cera what Paul Thomas Anderson found in Adam Sandler when he directed Punch-drunk Love, the psychotic behavior that defines a comic persona once carried to hyper-realistic extremes. Just as Sandler was exposed as a rageaholic, Cera's persona is that of a masturbatory manchild whose first instinct, when confronted by anyone who doesn't behave according to his plan or worldview, is to shut down or lash out. We find it funny when this happens in the safe confines of a comedy like Arrested Development, but horrifying and surreal when it happens in a film like Magic Magic, especially when the other characters can't grasp why he behaves like George-Michael Bluth in a dramatic horror film.
Don't misunderstand me, though. Magic Magic is far from an actors' showcase. Rather, it's a chance for Silva to explore the "weird and boring" boundaries of what can be considered horror. This is the film a young Roman Polanski would have made had he grown up in Chile. Magic Magic may be ponderous and twenty minutes too long, but Silva finds new ways to demonstrate difficult filmic concepts like the unreliable narrator, limited perspective, and diegetic and extra-diegetic sound, and he has a knack for building tension, even at a languid pace. (P.S. You really should try to forget this paragraph should you decide to see this movie. I warned you!)
Actin' | 9/10 |
Filmin' | 8/10 |
Writin' | 7/10 |
Pacin' | 5/10 |
Endin' | 10/10 |
Overall | 39/50 |
MINORITY REPORT: Everything you've just described about Michael Cera's performance spells 'magic magic' to me. Acting is already a kind of magic; weird acting just doubles it. -Joseph "Jay Dub" Wade
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The Middle Distance, 11/16/12: The Scent of Smoke
The Middle Distance 11.16.12: The Scent of Smoke
It is nearly Thanksgiving and in the early mornings my turn-of-the-20th century neighborhood smells like wood smoke. Nights are cold, the neighbors cranking up their fireplaces and wood stoves. A deadly summer wildfire season has put the fear of God and flame in most of us on the Front Range of the Colorado Rocky Mountains, and that little whiff of smoke carries with it the slightest twinge of anxiety. But the scent of smoke just as quickly becomes the breath of well-being. Winter is almost here and with it come smoke and fire.When I was growing up, my family lived in modern ranch-style houses and suburban split levels where the fireplaces were decorative, not functional. Our grandfathers both warmed their houses with fire and coal and on cold winter Sundays we sat as close as we could to the cast iron fireplace at our Grandfather Morrison's house, warming our knees, feet and hands.
The scent of wood smoke on cold mornings sends me back to my other grandfather's Kentucky farm, rocky acreage above limestone caves and underground rivers. Winter days were wet and blue-gray, the sky low and steely, and once every year we tagged along with our grandfather into the woods to burn the plant bed.
This was a daylong event, carried out in the quiet woods relatively near Grandaddy's tobacco field. Rakes, shovels, buckets and grandkids were loaded onto a trailer hitched to the back of Grandaddy's tractor, and we bounced across the uneven fields to the site of the plant bed — a clearing on the edge of the woods; a level, rectangular, upturned dirt bed as big as the foundation of a small house. We unloaded and dispersed into the underbrush to retrieve kindling — sticks and small limbs we dragged across fallen leaves and piled on top of the dirt bed. Eventually, Grandaddy poured a whole can of gasoline or kerosene over the kindling and dropped a wooden match to ignite the whole thing. Come spring, the plant bed would become the nursery for tender new tobacco plants. The idea was to kill all the weed seeds and prepare the soil for the persnickety tobacco seedlings, sensitive plants that couldn't tolerate invaders.
Our job was to watch the edges of the fire and make sure a flame didn't escape into the surrounding forest. We stood alongside metal buckets filled with cold water from a nearby spring.
Later in the afternoon, when the fire had died to a rich, black smoldering earth cauldron, we escaped into the nearby woods and climbed on great slabs of vine-covered rock that jutted out of the soft earth.
Grandaddy picked over the plant bed, making sure every last twig was fully burned.
We returned to the house, our clothes and skin saturated with the scent of smoke.
When I was ten, my grandmother died in that farmhouse. She had cancer and was in great pain. My mother came out every day to bathe her and fix her hair so she would look pretty lying in her bed. She died quietly one afternoon, just as my mother had told me she would — releasing one last, long breath.
Shortly after, I began having the one dream in my life that became a recurring dream. In the dream, my grandmother is plump and rosy, her thick black hair twisted in a knot at the back of her neck. Light-footed as a ballerina, she comes dancing through the living room of the farmhouse, announcing to us in a little girl's voice: "Come on, everybody, the house is on fire!"
Like the Pied Piper, she leads us through the narrow hallway, across the kitchen with its sloping linoleum floor, onto the screened-in back porch, up the path to the barn, smiling and singing: "The house is on fire. The house is on fire."
In the dream, we reach the barn and stand close together, looking back in wonder as flames taller than trees shoot from the roof of the little house, consuming it.
I remember that dream because I was afraid to tell it. It was linked somehow to the scent of wood smoke, to the burning of the plant bed. Out in the middle distance, fifty years later, I like to think it was linked to the power of the flame to kill all the noxious weed seeds, to turn burnt branches and twigs into ash that would feed the soil. I like to think the dream released my grandmother from the long winter of her cancer, a thin whisp of smoke trailing through the winter sky.
Kathryn Eastburn is the author of A Sacred Feast: Reflections of Sacred Harp Singing and Dinner on the Ground, and Simon Says: A True Story of Boys, Guns and Murder in the Rocky Mountain West. You can comment and read or listen to this column again at The Big Something at KRCC.org. "The Middle Distance" is published every Friday on The Big Something and airs each Saturday at 1 p.m. right after This American Life.
3 Responses to The Middle Distance, 11/16/12: The Scent of Smoke
rose enyeart says:
You using the term "Grandaddy" turns me back to the little kid who loved to go wherever my Grandaddy De went. He was one who always had time to talk with me and tell me stories. He always had a nickle for me to go to the store for goodies. He swore like the railroad man he'd been and probably told lies to make his stories better, but he loved me and I loved him and loved to hang around with him.
Tamara Fisher says:
Grandparents are important…Old people and little people need each other. Everybody else is too busy running the rat race.
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Hidden World
Hidden World
Use your time management talents to rebuild the kingdom!
Shockwave UNLIMITED members Sign in to play this game with no time limits at no additional cost.
Game Info & Requirements
Hidden World
An evil wizard has attacked a kingdom of beauty and enchantment, leaving a path of destruction in his wake! Your mission: gather the forces of good, and repair the broken land one village at a time! As you collect the resources you need, you must also fend off the wizard's followers, employ power-ups that give your workers a boost, and complete the renovations before time runs out. The full version of Hidden World features:- 48 fast-paced levels
- 4 stunning worlds
- 4 bonus levels
Use the mouse to collect resources, make repairs, and complete all tasks before time runs out.See in-game help for detailed instructions.
Minimum Requirements:
Windows XP/Vista/71.2 GHz processor
128 MB video RAM
150 MB free disc space
DirectX 9.0c
Developed by: Zoom2GamesPublished by: Alawar Entertainment, Inc.


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Subject: | Re: [K12OSN] Different types of video cards how to manage |
From: | "Odin Nøsen" |
Date: | Thu, 15 Oct 2009 11:51:47 +0200 |
> If you get the intel 845 running from the server let me know how you managed > that. My video refuses to work no matter what I do. I've got the same problem. Some Intel 845-machines does work, other doesn't. This usually works (in lts.conf): [10.0.1.193] XSERVER = vesa But there are limitations with resolutions (and speed). Odin _______________________________________________ K12OSN mailing list [email protected] https://www.redhat.com/mailman/listinfo/k12osn For more info see <http://www.k12os.org> |
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Comprehensive databases for nanomaterials, events, products,
companies, research labs, degree programs and publications
Phonasum is a network of researchers and practitioners working in the field of photocatalysis from all around Europe. The main objective is to increase via a concerted European effort the fundamental knowledge of nanocrystalline photoactive materials and development of new products, which utilize self sterilizing and self cleaning photoactive materials in specific industrially relevant application fields such as self-cleaning and anti-microbial surfaces, water treatment, air purification and general hygienic applications.
Address: | Beranovych 65 |
City: | Prague |
State/Province: | |
Postcode: | CZ-199 02 |
Country/Region: | EU |


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iPhone Diary: 26 June 2010 by Bette J. Kauffman. Taken with iPhone 3G in Chicago, Il.
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- 不実な恋人;; Lovechild
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from fictiondb: AN UNFINISHED LOVE AFFAIR... Jacques Gaston had loved all women, until he'd found one woman he wanted with an urgent hunger. But the blond beauty had disappeared from his bed and his life. Now, reunited three years later, Jacques was determined to seduce her aga...