text:
Movie actresses who portray "innocent characters" invariably are deeply troubled individuals.
When tutoring one should speak softly. Raising the voice does not improve clarity of understanding.
I wonder if I can get Direct TV in heaven.
I have concluded there is a God. The New York Yankees swept a four game set with the Boston Read Sox. Of course, if you are a Red Sox fan, it is now clear the Devil exists.
Hatred us the emotion which more readily captures the human heart in matters of politics than does love.
Patriotism is the last refuge of the scoundrel. No truer words were ever said.
I miss the caring human voice and music of Johnny Cash.
A helicopter and plane collided over the Hudson River. I assume now there will be calls for police directing air traffic.
Growing up in America a half century ago, people used the expression, "eat a good breakfast." Today, it is more likely to be, "eat a quick breakfast."
I think McDonald's cutting back on personnel.
My nightmare at age 78 is awakening with a stiffness in my side that will not go away.
I am shocked by New York DA Morgenthau demanding jail time for Plaxico Burress who shot himself! Does that mean jail time for the obese, alcoholics, and depressed people?


text: Quick, call the CDC. We've got a Rocky Mountain outbreak of Acute Sore Loser Fever. After failing to stave off two historic recall bids on Tuesday, two delusional state legislators and their national party bosses just can't help but double down and trash voters as dumb, sick, criminal and profligate. The ululations of gun grabbing Democrats here in my adopted home state are reverberating far and wide. Appearing on cable TV Thursday to answer the question "What happened?" Pueblo State Sen. Angela Giron sputtered that she lost her seat due to "voter suppression." Giron whined to CNN anchor Brooke Baldwin that voters "weren't able to get to the polls" and that there was "voter confusion."

subset: commoncrawl


text:
On a bone-chilling day like Friday, what sane person would want to go near the water? Yet that's what the Utah Symphony invited listeners to do, on a cleverly programmed concert that started 2013 on a thrilling note.
The second and third suites from Handel's "Water Music," the best-known selections on the program, got top billing. British conductor Nicholas McGegan, known for his mastery of early music, led the chamber-size Utah Symphony in a brisk, jovial performance. Particularly during the trumpet-heavy Suite No. 2, it was easy to imagine oneself lounging on the banks of the Thames, nibbling on cucumber sandwiches, as the barge bearing the royal musicians floated by. Charming strings predominated in the merry Suite No. 3, with Caitlin Valovick-Moore contributing a delightfully jaunty air with her flute and piccolo playing.
McGegan paired the Handel on the second half of the program with water music of a decidedly different character, the Four Sea Interludes from Benjamin Britten's opera "Peter Grimes." From the opening bars, Louise Vickerman's distinctive harp playing made it clear that the North Sea beaches Britten's characters inhabited are nothing like the banks of the Thames. The full-size Utah Symphony brought all its force to bear in the most dynamic and involving performance of the Sea Interludes in recent memory.
Utah Symphony concertmaster Ralph Matson is this weekend's soloist in a pair of early concertos. First came Vivaldi's brief but lively E-flat Major Concerto, subtitled "The Storm at Sea." (It's the fifth in a set of concertos that included the far-more-famous "The Four Seasons.") Playing at breakneck speed, Matson and the orchestra deftly conveyed the gusts of wind and turbulent waves. The audience got a more leisurely look at the violinist's artistry in Bach's Violin Concerto No. 1, the only work on the program that had nothing to do with water. Matson masterfully balanced stately elegance with lyrical beauty, and McGegan led the Utah Symphony in a sensitive supportive performance. Jason Hardink's work on the harpsichord was especially noteworthy.
Mendelssohn's "Die schöne Melusine" and Sibelius' "The Swan of Tuonela" opened the program. McGegan, who conducted without a baton all evening, led the orchestra in expertly shaded readings of these short tone poems. Lissa Stolz, on English horn, gave a beautifully expressive performance in the role of the swan, with fine support from cellist Ryan Selberg, violist Roberta Zalkind and violinist Kathryn Eberle.
Catherine Reese Newton
Utah Symphony
Music of Mendelssohn, Sibelius, Vivaldi, Bach, Handel and Britten.
With • Conductor Nicholas McGegan and violinist Ralph Matson.
Where • Abravanel Hall, 123 W. South Temple, Salt Lake City.
When • Reviewed Friday, Jan. 4; repeats Saturday, Jan. 5, at 8 p.m.
Tickets • $32-$72 at www.utahsymphony.org.
Running time • Two hours, including intermission.


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|Topic Review (Newest First)
When it comes to boat stuff, there's no such thing as overkill! Kinda' like having too much fun--oh yeah.
Good Luck,
Originally Posted by SpcAlan1 View Post
BUT.... after spending 2 nights on the boat, and off the shore power for 2 weeks now - both batteries are still 'full'. maybe the 15watt is overkill, but cost/watt is better than the 5 watt trickle charge.
I did buy the Solar Force 15watt solar panel at west marine for about 70 bucks. and another 25 for the controller.
I have not installed either yet, will keep you updated.
BUT.... after spending 2 nights on the boat, and off the shore power for 2 weeks now - both batteries are still 'full'. maybe the 15watt is overkill, but cost/watt is better than the 5 watt trickle charge.
It was an inboard, 30-HP Universal Atomic -4 gas, 100-amp alternator. It charged the batteries in no time at all.
The values I was just taking from what I could find reported by others.
Anchor lights:
"20 watt incandescent bulb and it drew 1.7 amps per hour"
Anchor Light Replacement - SailboatOwners.com
"Our amp draw went from 2 amps to .2 amps"
So I was guesstimating around 1.5 per hour. Interior cabin lights I was rating at 1 amp per hour of draw for non LED.
I don't think those are too out of line, but could be off and again, it all depends on how you use it.
Was your Catalina inboard or outboard? Any chance you had an alternator charging the batteries when you were motoring?
Your figures are pretty high for power consumption:
4 hours cd use: 2 amps
6 hours VHF receiving: 3 amps
bilge pump: negligible daily
8 hours of anchor light: 10-15 amps??
6 hours of cabin light use: 6 amps, for 1 light.
Most VHF Radios do not draw a lot of power while receiving. While some draw as much as .5 amps, that power consumption rating is with the volume turned to half. At lower volumes, the power consumption is far less. Unfortunately, it's not a linear equation but at 1/4-volume it could be as low as .25 or less. Now, if you gab on the radio a lot, the transmit draw is nearly 5 amps, which is a chunk of power.
Anchor lights, even incandescent, draw very little power. Most draw less than .5 amps, and a replacement, LED, bayonet base, anchor-light bulb could be installed for under $20 in the same housing. The LED 12-watt replacement, which is really bright, sells for just under $10.
You can also find LED replacement bulbs for those interior lights as well that are inexpensive. Keep in mind that you should try to match the equivalent incandescent wattage rating--not the actual wattage rating. You'll be amazed at how little they cost. And, you should shop locations other than marine stores.
Six amps of cabin lights seems like a lot, especially for a small boat. Most of the time, when I was sailing my Catalina 27, a single cabin light was more than enough, and it didn't stay on very long--even if I was reading a book.
With two of my electrical panel indicator lights on, which were red, I could see very well in the cabin at night. Additionally, my GPS/Depth Finder stayed on 24/7. At night, while at anchor, it was used as an anchor alarm. Of course the screen power was very low and dimmed at night, so it drew minimal current, probably less than .2 amps. This, plus the anchor light was my total drain on a single, multiple use battery. When I rolled out of the sack, which was usually about 7 a.m., the first thing I did was turn off the anchor light, then turned off the GPS Anchor Alarm, fired up the alcohol stove and tossed some turkey bacon in the frying pan, then turned on the VHF for NOAA weather. It only takes about 5 minutes to get all the weather information a person wants to hear for a day. Then the VHF was turned off.
After a hearty breakfast, some orange juice, and a hot cup of coffee, the engine was usually fired up, then I would raise the anchor and slowly motor through the maze of other boats that came in during the night to anchor up in the cove. Once I was clear of the fleet, I pointed the bow into the breeze, slowed to idle speed, locked the tiller in place, raised the sails, and the engine was shut down. For the remainder of the day I would keep a close eye on the battery voltage, which was displayed on the GPS at all times. The single, 5-watt solar panel kept it well above 12-volts throughout the day.
Good Luck,
Ok, I will double check my equipment.
in the meantime, I do think I am going to LED's now. The bulbs are 30 bucks each at west marine - or I can buy the whole lightset - with bulbs for 20? what gives?
Originally Posted by SpcAlan1 View Post
I am thinking the 15W is already overkill ( for size and power ).
Again, how much power am I ever going to use in one outing?
cd radio
vhf radio
cabin lights and running lights
bilge pump
4 hours cd use: 2 amps
6 hours VHF receiving: 3 amps
bilge pump: negligible daily
8 hours of anchor light: 10-15 amps??
6 hours of cabin light use: 6 amps, for 1 light.
So you could easily be consuming 20-30 amps per day, and the "hours of use" listed might be real low. A weekend could see you use 60 amps. The 15 watt panel would take all week to charge up from that usage.
Switching the lights out to LEDs would drastically reduce the power usage. Cabin lights would be .1 amp draw per hour instead of 1, and the anchor light might be .15 per hour instead of 1.5. If you're doing any night running, LED green/red/stern lights would also save a lot of juice.
Of course the above is all guesswork. You'd need to see the actual power stats of all of this gear. It's also very very user specific. Do a lot of talking on the VHF? Transmit is 3 amps per hour while listening only is .5.
I am thinking the 15W is already overkill ( for size and power ).
Again, how much power am I ever going to use in one outing?
cd radio
vhf radio
cabin lights and running lights
bilge pump
no tv's, PS3's, microwaves, sat tv/radio, nada
|You should definitely go with at least the 15 W panel. But price out a 30W panel as well; my 30W panel is not much bigger than that (maybe 1.5 x 2.5).
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|Reviews and Articles Discussion for Techgage content is located here. Only staff can create topics, but everyone is welcome to post.
|Topic Review (Newest First)
|Rob Williams
Great review, Jamie. I've come to the conclusion from reading it that the game isn't for me, but I might check it out in the future regardless. I had expected it to be somewhat similar to a Deus Ex where I can explore an open-world, but that's what I get for looking at nothing more than screenshots (I do this with all games, because I like to be "surprised").
The game sure does have one hell of a lineage though, and given its cult following, I sure do respect it.
That X-Com was redone in pretty much the same vein of the three games that made it a cult is a miracle. I suppose we have Firaxis to thank for. 2K not so much, considering their flagship product for the IP, and where the real money will go for, will be a FPS version. Still, as you remembered me on IRC, Tharic-Nar, 2K owns Firaxis, so I also give my disgruntled thanks to them.
The changes you mentioned are quite considerable. I happened to like the action points in turn-based squad games. Was part of the experience -- and an intimate aspect of the game design -- that would greatly affect strategical and tactical decisions. We got them on everything, from XCom, to Jagged Alliance, Fallout: Tactics and Silent Storm. I'm not sure what to make of this new, simpler system. I guess I would have to try it out. But It's my view again we are moving to simpler gameplay mechanisms when before we had more complex and involving ones that helped in fact create a stronger bond with the game (and that helped make them cult games). The question I put is this: Weren't these, despite all the complexities, the games that really defined our love for computer gaming? So, will simpler be better than that? I have my doubts. I think the harder they were, or the more complex they were, the deeper the relationship we established with them. Today far superior games in terms of technology rapidly move to the recycle bin of our subconscious, simple because they do little more than showing pretty graphics to hook us in.
Anyways, the one squad thing is in fact quite the blow. I felt the pain. Completely changes the strategical aspect of the earlier games. Still, I'm not so damaged by it than by the lack of action points.
I'd love to have this game. And I will eventually. Like you I have a deep love for XCom and I couldn't miss the opportunity to add this remake to my collection, especially when it was developed by one of the companies I respect the most. What I will most definitely skip (unless something really new in the "seen-it-all" FPS genre comes up) is the FPS version being developed by 2K.
|Rob Williams
XCOM: Enemy Unknown Review - Tinfoil Hats Recommended
It's been a long time coming. Developed by the fine folks at Firaxis, XCOM: Enemy Unknown is a reimagining of the classic strategy game, but without the genre-bending tactics of other ill-fated titles. Will veterans of the original rejoice? Does it remain fresh for a new audience? Have I really been mind controlled? Read on to find out!
Read through Jamie's in-depth look at XCOM: Enemy Unknown and then discuss it here!
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Last weekend, like about half of the civilized world, I went to see the new Harry Potter movie. It's a wonderful movie, even if you're not an avid reader of the books, because it's a true teenage suspense thriller. Without releasing any spoilers, one scene struck me as unreal. Our heroes on a "camping trip" are settled in a tent. And not just any little pup tent. This tent is bigger than many homes, has real furniture, is warm and inviting. There's even a teapot for when it's time to have scones.
Which reminded me of Oracle's new TPC-C result published today. What is realistic for a system? Do you have:
27 servers with 1728 cores at your disposal for your database? 13,824 threads? 1.76 petabytes of storage? $23 million to spend on storage for one cluster?
With all of these resources you would expect an amazing result. But IBM's clustered result from August is actually over 3 times the performance per core of this brand new Oracle result.(1) And the IBM result only requires the energy, space, and complexity of systems management for 3 servers rather than Oracle's 27.
Next time I go hiking I would love to encounter a Harry Potter tent. But in reality I don't think I will -- no matter what trail I take.
(1) IBM Power 780 cluster (3 x 64 core) (24 chips, 192 cores, 768 threads) with DB2 9.7 TPC-C result of 10,366,254 tpmC, $1.38/tpmC, configuration available 10/13/10) vs. Oracle's SPARC SuperCluster with T3-4 Servers (27 x 64 core) (108 chips, 1728 cores, 13824 threads) TPC-C result of 30,249,688 tpmC, $1.01/tpmC, configuration available 6/1/11). Source: www.tpc.org. Results current as of 12/02/10.
TPC-C ,TPC-H, and TPC-E are trademarks of the Transaction Performance Processing Council (TPPC).
The postings on this site solely reflect the personal views of the author and do not necessarily represent the views, positions, strategies or opinions of IBM or IBM management.
technorati tags: IBM, systems, performance, TPC-C, POWER7,Oracle,SuperCluster,SPARC,T3,780,benchmark,11g,DB2,Solaris,world record,storage,TPPC,benchmarking


text: Ekaterina Kulinicheva from Espoo, Finland: http://winter.sport-express.ru/figureskating/reviews/25547/ EK: Igor, how many ice dancing teams do you have in your group now? IS: This summer, I had about ten pairs. In addition to Chock/Bates, Cappellini/Lanotte, Ryazanova/Tkachenko, and Tobias /Stagnyunas, there are Justina Plutowska/Peter Gerber from Poland, several junior teams from Canada, America, France and Italy. I also helped another Italian pair, Charlene Guignard and Marco Fabbri. And just for a few weeks, I worked with Evgenia Kosygina and Nikolai Moroshkin - Alexei Gorshkov's athletes. EK: Was there anyone else who would like to work with you, but you had to refuse - for example, due to lack of time? After all, you had to deal with relocation to a new place ... IS: No, I didn't refuse anyone. At the rink in Novi, where I work now, there are two "fields" - and one of them is at my disposal almost the entire day. Certainly, the organizational part took a lot of time. But it's okay, I managed. EK: How long did it take to arrange everything? IS: It was hard because I did not expect what had happened, and was not ready for that forced relocation. Many of arenas had already sold out ice or closed for the summer by that time. But in the end we were lucky: there was enough ice in Novi, and working process didn't stop. To deal with what happened on a personal level was, of course, much harder. EK: Can you say that you have already got over it? IS: (After a pause.) I think I look into the future (smiles). EK: In general, you are not the one to hold grudges, are you? IS: No, I am not. But I'm not forgetful. EK: You must have had many offers ... IS: It was nice when people started calling from everywhere. Florida, California, New York. But I did not want to move far away, because it would be difficult to relocate all skaters. Some of them, for example, study at university. And I'm just used to Michigan, I have lived there for more than two decades. There are my friends, people who I had worked with for many years. The whole structure can be moved from one rink to another, but from one state to another - it is much more complicated. EK: They also invited you back to Russia, didn't they? IS: I actually got a call from the Russian figure skating federation. They offered support. We didn't discuss anything specific, but I was very pleased. EK: Was it even possible to convince you to move from the U.S.? IS: I would not use such words as "possible" or "impossible." Everything is possible in this world now. It is just extremely difficult. I was able to organize everything in Novi in a short time. It helped that I had contacts with many experts on ballet, acrobatics, general physical preparation. And if I decided to move somewhere else, I would have had to search all over again. EK: Who of the coaches is working with you now in Novi? In the summer, I know that Barbara Fusar-Poli and Marina Klimova came to work with you, but, if I understand correctly, not on a permanent basis. IS: Yes, Barbara and Marina visited several times and helped me a lot. They are very competent experts. But the schedule was built so that their constant presence was not necessary. EK: So now, after ten years of coaching partnership, you prefer to do everything by yourself? IS: I had worked like that before Marina (Zueva - EK) - for almost 15 years. And my group got on quite serious level. EK: Do you communicate with athletes who had stayed in Canton? IS: I wouldn't really call it communication - there is no time left. Working at the new place consumes all my time. But we are still on good terms. For example, Meryl (Davis - EK) always writes me emails, congratulates with Madison and Evan's successes (Chock and Bates - EK). I hold no grudge against the skaters. They are victims in this situation. EK: So, the official version voiced by Arctic Edge club - that three top teams refused to work with you due to some disagreement - it is not true? IS: No, it isn't. EK: Are you interested in what's going on with your former students, what do their new programs look like? IS: Certainly. Why should I lie (laughs)? I actually watch with interest programs of all ice dancers of the world, and even more so - of the ice dancers of their level . Each of their programs can bring something new to ice dance. EK: Have you seen any of them? During team USA test skates, for example? IS: No. In the U.S., test skates are organized in such way that only experts and coaches of the specific team can see them. EK: Everybody is wondering how your break-up with Zoueva can affect the situation in ice dancing. And how it can affect the gap between Virtue /Moir, Davis/White and the rest of ice dancers. What is your opinion on this? IS: (Laughs.) I cannot comment on it, because I have not seen either of them this season yet. But I think that both teams have great potential. It will not be easy for the rest to catch up with them. There is eighteen months left until the Olympics, and I think it's ... (small pause) quite difficult, so to speak. EK: You agreed to work with Ekaterina Ryazanova/Ilia Tkachenko and their coach Alexei Gorshkov back in the spring. What did they want to get from working with you? IS: Perhaps they were looking for some new breath in their work, programs, in the skating technique. Alexei and I had known each other for many years, so it was easy to get along. So far we have worked only for three months, but I have very positive impressions. I feel that this team has huge potential and I enjoyed working with them. EK: What, in your opinion, did they lack before to be able to become number one or two on the Russian team? IS: I think they will be able to try to do it this season, and the next, Olympic season. They have everything it takes - they just need a little time. They both are very good skaters. Ilya is simply an amazing partner, Katya is very expressive, emotional, strong partner. We need to find the right programs and music for them. And then this team will shine and will surprise fans. EK: Have you agreed at once with Tatiana Tarasova's idea to replace the first version of their free dance "Hey You" with the waltz from The Godfather? IS: Yes. When we started working on the Pink Floyd program, the idea seemed interesting and fresh. But the program turned out to be a little flat, so we decided to choose more emotional music. Due to the "Godfather" I better understood this team. I think this is what they need. EK: At Finlandia Trophy your new students Cappellini and Lanotte won the free dance, but Ekaterina Bobrova and Dmitri Soloviev won overall. What is your impression of the Russian team who also has made a coaching change in the off-season? IS: Unfortunately, I did not have an opportunity to watch them: I was too busy with my three teams. Let me answer this question some other time. I can only say that three months is too little time to draw any conclusions. You cannot say that athletes have moved to another coach and it had changed them completely. That with the former coach everything was bad, and now with the new one it is all good. It does not work this way. All you can see right away, it's some really interesting findings, programs. But it takes time to see the results of serious work. EK: Last season, most of the top teams preferred light dancing programs. Davis and White had even replaced dramatic La Strada to Die Fledermaus. And now many skaters decided, on the contrary, to skate "drama". Is it the new fashion in ice dance? IS: I am not sure if you can really apply the term "fashion" here. In principle, each team tries to show something new every year - that's how they continue to develop. And that is what I think can be considered the main trend. If you do just dancing programs or only dramatic ones each season, it will get repetitive. Current rules in ice dance are very strict - they require change of pace and change of character. Choosing the music, first and foremost, you keep that in mind. EK: How did it happen that two top teams came across the idea of "Carmen" (in addition to Cappellini/Lanotte, Virtue/Moir have chosen it for their free dance - EK)? IS: I had this idea in mind for many, many years. Even a program was set - for a team that did not happen. And when Luca and Anna came to me, I thought that this theme will be just right for them. EK: In figure skating, there were a few famous "Carmen". What is special about Cappellini/Lanotte's program ? IS: Last time that we saw "Carmen", let me remind you, it was Tatiana Navka and Roman Kostomarov's version at the Olympics in Turin in 2006. But there were Toreodor and Carmen, while Luca and Anna have completely different story and different drama - Carmen and Jose, a story of love, betrayal, jealousy. Because of this, we chose different music fragments. You know, it's such a powerful thing, such an amazing music, that you can do several programs and not repeat yourself. I thought that now "Carmen" corresponds to what the ISU wants. EK: Have you re-watched any of the past versions? IS: Honestly, no. I clearly remember all of them, including Natalia Bestemianova and Andrei Bukin's program. I watched the ballet with Maya Plisetskaya, and many more. Many choreographers had turned to "Carmen", treating this theme in different ways. The closest to what Anna and Luca do is Plisetskaya's performance. By the way, Anna and Luca worked with the choreographer Ludmila Vlasova, former ballet dancer of the Bolshoi Theatre. She also added much to the program.


text:
Being honest and striving for quality is what defines Molalla Redi-Mix. Established in 1976, this family-owned operation continues to provide quality ready-mixed concrete, aggregates, crushed rock, soil delivery, excavation, and roadbuilding services. Doug and Mitchell Jorgensen purchased the company's assets from their father in 1997. Today, President Mitchell Jorgensen is fully engaged with the day-to-day production, while Doug Jorgensen handles the excavation and rock sales.
It's a small operation, with only eight trucks. "Our dispatch people strive to make a realistic daily delivery schedule, and we notify our customers if we're running late or if we can help them earlier," says Jorgensen. That work ethic has paid huge dividends now that construction has dramatically increased the last five months.
Since banks have begun to loan money for housing and commercial work, Molalla is seeing 40%-60% increases in sales over last year. As a result, the producer offers 100% company-paid health insurance to its drivers. "We treat all our employees with respect and patience," says Jorgensen.
After opening a new dry-batch plant five years ago, the producer now services ODOT highway bridge construction and other commercial work that requires strict performance standards. "We have a great reputation among local testing labs, contractors, and engineers," Jorgensen says.
As they move forward, one concept at the forefront of their minds is sustainability. "Positioning is everything, and that's where we're at," says Jorgensen.


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The five-mile shelter-in-place restriction established following a fire at a train derailment site in southwest Jefferson County has been lifted, said Jody Johnson Duncan, spokeswoman for Louisville EMA/MetroSafe, around 4 p.m. Thursday. Air restrictions also were lifted Thursday evening.
Duncan said evacuation orders are still in place within a 1.2-mile radius of the fire. A full evacuation of West Point was ordered on Wednesday because of the lingering threat of air contaminants. But Bobby Thompson, a disaster volunteer for the American Red Cross, said some have refused to leave their homes in the northern Hardin County town. Thompson said officials are not forcing residents to leave, but once they leave they cannot return until the order is lifted.
Residents were briefly allowed to return to their homes for medicine, pets and extra clothes between noon and 1 p.m. Thursday, Thompson said. Emergency officials have set up checkpoints to keep people out of the city following the evacuation.
The Red Cross established a temporary shelter at Muldraugh Elementary School, and Thompson said 39 people stayed at the shelter overnight Wednesday.
Thompson said the school is equipped for long-term use as a shelter if needed. Hardin County Animal Control established a pet shelter in the facility away from displaced residents for health reasons.
Duncan said a railcar continued to burn Thursday afternoon and officials were cooling the cars with water. A lingering concern is the fire's proximity to two cars containing hydrogen fluoride. Ron Dodson, director of the Meade County Emergency Management Agency, said the chemical compound is not flammable but there is a fear that the cars could overheat and explode, which would release the chemicals into the air and endanger lives. Dodson said officials are spraying the cars with water to keep them cool.
According to the Centers for Disease Control and Prevention, hydrogen fluoride can burn lung tissue and cause swelling and fluid accumulation in the lungs. Skin exposure can lead to severe burns and skin ulcers, according to the CDC.
The fire ignited from residual traces of 1,3 butadiene in the air after it was removed from derailed railcars following an accident Monday that derailed 13 cars of a 57-car Paducah-and-Louisville Railway train near the Ohio River Dragway. Duncan said officials have pinpointed that an acetylene torch used by workers caused the blaze. The air was not stable enough for the torch's use, she said.
Three injured contractors were transported to University Hospital in Louisville. One was listed in critical condition while another was classified as serious Thursday. The third has been released, Duncan said. Officials originally reported that all injured workers were R.J. Corman contractors, but P&L officials said Thursday the discharged patient was one of its contractors.
Two more contractors were injured but refused treatment.
U.S. 31W remains closed near West Point. Motorists can access alternate routes by logging on to www.511.ky.gov. Northbound motorists planning to travel U.S. 31W toward Louisville should use Ky. 313 to merge onto Interstate 65. US 31W is restricted to local traffic north of U.S. 60, according to the website.
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Beth Simone Noveck
Professor Beth Simone Noveck served in the White House as the first United States Deputy Chief Technology Officer and founder and director of the White House Open Government Initiative (2009-2011). UK Prime Minister David Cameron appointed her Senior Advisor for Open Government. She served on the Obama-Biden Transition Team and was a volunteer advisor to the Obama for America campaign on issues of technology, innovation, and government reform.
She focuses her scholarship, activism and teaching on the future of democracy in the 21st century. Specifically, her work addresses how we can use technology to create more open and collaborative government. With a grant awarded to New York Law School from the John D. and Catherine T. MacArthur Foundation, she is collaborating with colleagues to create a research network on the impact of technology on democratic institutions.
She founded the Democracy Design Workshop: Do Tank, a program for the design of law, policy, and technology to foster openness and collaboration. With support from the Sloan Foundation, she is currently prototyping OrgPedia, the Wikipedia of firms. With the support of the Omdiyar Network, MacArthur Foundation and seven leading patent-holding firms, she designed and built the U.S. government's first expert network Peer To Patent. The Rockefeller Brothers Fund, the Council of Europe and AmericaSpeaks have sponsored her research on online communities by funding the Cairns Project, graphical software to support group formation and collaboration. She also received a grant from ICAIR to support the creation of Democracy Island, an experimental space within a virtual world for research on citizen participation.
A graduate of Harvard University and Yale Law School, she was named one of the "100 Most Creative People in Business" by Fast Company magazine, " Top 25 Game Changers" by Politico and one of the "Top Women in Technology" by Huffington Post. A Fellow of the National Academy of Public Administration, she spoke at TEDGlobal on the future of government.
Her book Wiki Government: How Technology Can Make Government Better, Democracy Stronger and Citizens More Powerful (Brookings Institution Press 2009), appeared in Arabic, Chinese, Russian and in an audio edition. She is also co-editor of The State of Play: Law, Games and Virtual Worlds (NYU Press 2006). Her new book, The Networked State will appear with Harvard University Press. She tweets@bethnoveck and blogs at the Cairns Blog.
She is on leave 2012-2014 and visiting at New York University's Robert F. Wagner Graduate School of Public Service and the MIT Media Lab.
Wiki Government: How Technology Can Make Government Better, Democracy Stronger, and Citizens More Powerful, Brookings Press (2009). Chinese (2011), Arabic (2011), Audio Book (2011).
Ex Machina: Law, Technology and Society Book Series (Co-Editor with Prof. J.M. Balkin) (NYU Press).
The State of Play: Law and Virtual Worlds, Jack M. Balkin and Beth S. Noveck, eds. (NYU Press, 2006).
Architecture, Law and Virtual Worlds, Guest Editor, First Monday Special Issue, (January 2, 2006).
Articles and Chapters in Books
Open Government (Laurel Ruma, ed., O'Reilly Media 2010).
Visual Deliberation, in Online Deliberation, Todd Davies, ed. (University of Chicago Press, 2009).
A Complex(ity) Strategy for Breaking the Environmental Logjam (with David R. Johnson), in Breaking the LogJam: An Environmental Law for the 21st Century, NYU Environ. L. Rev. (Fall 2008).
The Future of Collaborative Governance (with David R. Booth) in Government 2.0, nGenera Reports (Fall 2008).
Government by the People, in 21 Century Democracy, Alison Fine, Ed. (Personal Democracy Forum, June 2008).
Open Patent Examination: A One-Year Research Report. Center for Patent Innovations Report on Peer-to-Patent Pilot (June 15, 2008).
Peer to Patent First Anniversary Report, Beth Simone Noveck et al. (June 2008)
Peer-to-Patent: Collaborative Patent Examination. Tokugikon, No. 249 (May 2008) (in Japanese and English).
Wiki Government: How Open-Source Technology Can Make Government Decision-Making
More Expert and More Democratic in Democracy Journal (Dec. 2007).
Wikipedia and the Future of Legal Education, 57 J. L. Ed. 1 (2007).
The New Paradigm for Legal Information (with Ethan Katsh) in Law Library Journal (Spring 2007).
Peer to Patent: Collective Intelligence and Intellectual Property Reform, 20 Harv. J. L. Tech. 123 (2006).
Trademark Law and the Social Construction of Trust: Creating the Legal Framework for On-Line Identity, 83 Wash. U. L. Q. 1733 (2006).
A Democracy of Groups, First Monday, vol. 10, no. 11, at http://firstmonday.org/issues/issue10_11/noveck/ (November 7, 2005) (peer reviewed).
Democracy The Videogame: Virtual Worlds and the Future of Collective Action in The State of Play: Law and Virtual Worlds, Jack M. Balkin and Beth S. Noveck, eds. (NYU Press, 2006).
Courtroom Applications of Virtual Environments, Immersive Virtual Environments, and Collaborative Virtual Environments. Law & Policy, Vol. 28, No. 2, pp. 249-270. (with Bailenson, J.N., Blascovich, J., Beall, A.C. ) (2006).
The Future of Citizen Participation in the Electronic State, I/S: A Journal of Law and Policy for the Information Society, Vol. 1, Issue 1 (2005).
Society's Software, 74 Fordham L. Rev 101 (2005) (with David R. Johnson).
The State of Play: An Introduction, 49 N.Y. L. Sch. L. Rev. 1 (2004)
Schoenberg's Moses und Aron: Legitimizing Modernism in Law and Music in Paare und Paarungen: Festschrift Werner Wunderlich, Margarete Springeth and Ulrich Muller, eds., (2004).
Unchat: Democratic Solution for a Wired World in Democracy Online: The Prospects for Democratic Renewal Through the Internet, Peter Shane, ed., (2004).
The Electronic Revolution in Rulemaking. 53 Emory L. J. 1 (2004).
Designing Deliberative Democracy in Cyberspace: The Role of the Cyber-lawyer. 9 B.U. J. Sci. and Tech. L. 1-71 (2003).
Die Wirkung der Bilder in den USA: Die Reaktion der Medien in einer traumatisierten Gesellschaft, in Die Offene Gesellschaft in Zeiten ihrer Bedrohung, Peter Christian Hall, ed. (2003) (The Effect of the Images in the USA: The Reaction of the Media in a Traumatized Society)
El Espacio Transparente: Derecho, Tecnologia y Democracia Deliberativa en la Sociedad de la Informacion, in Journal Frónesis of the Institute of Philosophy of Law of the Universidad del Zulia, Venezuela (2003) (translated into Spanish).
Book Review, Digital Diplomacy, Political Science Quarterly, Vol. 117, No. 2 (Summer 2002).
CyberForum: Harmful and Illegal Content Regulation in Europe, (Rapporteur's Report, Council of Europe, January 2002).
Democracy's Demise? The Impact of Internet Technology on the Perception of Democratic Legitimacy, in Demokratie: Modus und Telos (Andrei Markovits and Sieglinde Rosenberger, eds., forthcoming, Boehlau Verlag, 2001).
Citizen Participation and New Technology, Elektronische Demokratie: Bürgerbeteiligung per Internet zwischen Wissenschaft und Praxis (Verlag C.H. Beck, Information and Law Series, Vol. 24, 2001).
Indian Convergence Legislation Analysis, commissioned by Center for Democracy and Technology, available online at http://www.bethnoveck.com.
The Impact of Internet Technology on Democratic Legitimacy, in the Aventis Foundation Triangle Forum Working Paper Series: How We Want to Live Tomorrow (Spring 2001), 1-29, available at http://www.cap-info.de/triangle/download/noveck_e.pdf.
Paradoxical Partners: Electronic Communication & Electronic Democracy, in The Internet Democracy and Democratization (Peter Ferdinand, ed., Frank Cass, 2000), 18-36.
Rating and Filtering: A Best Practices Model, in Protecting Our Children on the Internet: Towards a New Culture of Responsibility (Bertelsmann Foundation Press, 2000) (with J.M Balkin and K. Roosevelt), 199-263.
Developments in U.S. Direct Broadcast Satellite Regulation, in SatelliteFinance (June 7, 2000) (with O. Kurtin).
Financial Community Fixes Online Data Privacy, in The National Law Journal (January 24, 2000).
Global Navigation Satellite Systems, in Outer Space, Intn'l Bar Assoc. Journal (January 2000) (with O. Kurtin).
The Regulatory Context of Acquisitions and Investment in U.S. Telecommunications, in TelecomFinance (November 24, 1999) (with O. Kurtin), also reprinted in the Journal de l'Union des Avocats Européens.
Transparent Space: Law, Technology and Deliberative Democracy, in Cultural Values, (Catherine Kratz, ed., Blackwell Publishers, October 1999), 472-492.
Accelerating on the Datenautobahn: German Politics and the Regulation of New Media, in Breakdown, Breakup, Breakthrough: Germany's Tortured Path to Modernity (Carl F. Lankowski, ed., Berghahn Books, October 1999), 137-155.
Under Siege: Data Privacy in Hong Kong and Elsewhere, in INFO, (August 1999), 309-313.
Thinking Analogue about Digital Television: Bringing European Content Regulation into the Information Age, in Convergence and European Digital Television Regulation (Christopher Marsden and Stefaan Verhulst eds., Blackstone Press, 1999), 37-65.
Un Internet Public n'est-il qu'un rêve?, in L'Humanité (June 24, 1999).
Third Generation Wireless in New York Law Journal (June 1, 1999) (with O. Kurtin).
FCC Gains Upper Hand Over Local Telephone Companies, in National Law Journal (April 26, 1999) (with O. Kurtin).
FCC Proposes Rules for 2GHz, in Satellite Finance (April 15, 1999) (with O. Kurtin).
Jews in German Society, in The Cambridge Companion to Modern German Culture (Eva Kolinsky & Wilfried Van der Will, Cambridge University Press 1998) (with A. Markovits), 86-109.
Universal Services in the United States: Unjust, unreasonable and unaffordable? The E-Rate Debate, Comment in International Journal of Communications Law and Policy, Nr. 1 (August 1998), available at http://www.digital-law.net/IJCLP.
The Information Economy as Information Society: Training the Business Leaders of a Wired World, in Universität und Praxis (Spoun, Müller-Möhl and Jann, eds., Neue Zürcher Zeitung Press, 1998), 519-535.
Fasten Your Seat Belts: Safe Driving with No Speed Limits on the German Datenbahn, in Intellectual Property Worldwide (November/December 1997) (with F. Maennel).
Hitler's Willing Bankers, in 15 German Politics and Society 2, 96-112 (1997) (with Laurent Jedermann), 96-113.
Anti-Semitism in Hugo Bettauer's Vienna, in Yale Companion to Jewish Writing and Thought in German Culture 1096-1996 (Sander Gilman and Jack Zipes, eds., Yale University Press, 1997), 440-447.
Garbage, the City and Death: The Fassbinder Controversy, in Yale Companion to Jewish Writing and Thought in German Culture 1096-1996 (Sander Gilman and Jack Zipes, eds., Yale University Press, 1997) (with A. Markovits), 805-811.
West German Reaction to the Holocaust 1945-1990, in The World Reacts to the Holocaust (David Wyman and Charles Rosenzveig, eds., Johns Hopkins University Press, 1996) (with A. Markovits), 391-447.
Der Kampf um Wien: Sexuality and Politics in Hugo Bettauer's Vienna 1918-1925, in Jura Soyfer and his Time (Studies in Austrian Literature, Culture and Thought) (Donald Daviau, ed., Ariadne Press, 1995).
The Political Culture of First Republic Austria, in Austria in the Nineteen Fifties (Gunter Bischof, Anton Pelinka and Rolf Steininger, eds., Transaction Press 1994), 138-171.


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Subscribe to Menopause email updates.
When menopause happens before age 40, it is considered early. Early menopause can be caused by certain medical treatments, or it can just happen on its own.
Medical treatments that may cause early menopause include:
Sometimes menopause happens early on its own. Some possible causes include:
When menopause comes early on its own, it sometimes has been called "premature menopause" or "premature ovarian failure." But a better term is "primary ovarian insufficiency," which describes the decreased activity in the ovaries. In some cases, women have ovaries that still make hormones from time to time, and their menstrual periods return. Some women can even become pregnant after the diagnosis.
Usually, menopause is confirmed when a woman hasn't had her period for 12 months in a row. To help determine if you may be reaching menopause, your doctor will ask if you've had signs like hot flashes, irregular periods, sleep problems, and vaginal dryness. But these signs are not enough to determine that you are reaching menopause.
Blood tests that can measure estrogen and related hormones, like follicle-stimulating hormone (FSH), can help determine if you have reached early menopause. You may choose to get tested if you want to know whether you can still get pregnant. Your hormone levels change daily, though, so you may need to have a test more than once to know for sure.
Women who enter menopause early can have symptoms similar to those of regular menopause. These can include hot flashes, mood changes, vaginal dryness, and decreased sex drive. For some women with early menopause, these symptoms are quite severe. In addition, women who go through menopause early may have a higher risk of certain health problems, such as heart disease and osteoporosis. Talk to your doctor about treatments like menopausal hormone therapy that can help with symptoms. Discuss ways to protect your health.
Women who want to have children and go through early menopause may feel extremely upset. If you want to be a parent, talk to your doctor about other options, like donor egg programs or adoption. Your doctor may suggest that you see an infertility specialist. You also can talk to your doctor or a therapist about painful feelings from the loss of fertility and other effects of reaching menopause early.
Content last updated: September 22, 2010.


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tjost wrote:Ahhhhh...... Technically though that's not something they have in common, strictly speaking, I mean I could grab any number of books and say if you line one word up from each it'll spell something that is not in common with any of them.
That was my initial reaction as well, though upon rereading the instructions it just says "What is the connection or common thread between these six shirts?"
So I guess this counts as a connection?
the shirts cost $15.00 and if you add the numbers in the ship date 7/17 that is also 15. so I am going to say 15 is the common thread.
They are all at 59 minutes to first woot.
If Organization only had Order...
The "tread" is the common thread. They're all made from the same type of thread or "yarn" in textile terms.
Yes! Exactly!
Uh... Something along the lines of Survival of the Smartest? Or like...Natural Selection....stuff along those lines...
Wait. Chain of Events? Oh my. This is going to bug me all night.
They all sold in 59 mins?
jkall1 wrote:They are all at 59 minutes to first woot.
Darn it, if I would have read this email before lunch I would have had 6 new shirts :P
mousitecht wrote:the shirts cost $15.00 and if you add the numbers in the ship date 7/17 that is also 15. so I am going to say 15 is the common thread.
Umm... 7 + 17 = 14. Or does a slash count as a one these days?
Angsto2 wrote:Am I too late!
Alex: The theme is: What are 6 shirts shirts that have never been in my kitchen?
What did I win again?
way to go, Cliff!! :-)
as far as i'm concerned this is the winner. (only cause you beat me to it) :-)
So the 'Connection' is the first word of each title. Ok. I guess...
My answer is :
•Fiber Content: 4.5 oz 100% Combed Ringspun Cotton
•Manufactured In: Honduras/Nicaragua
•Printed In: Carrollton, Texas, USA
None of those shirts have ever been in my kitchen.
Crash_Enburn wrote:Umm... 7 + 17 = 14. Or does a slash count as a one these days?
7 + 17 = 24. I think they meant they equal 15 in that 7 + 1 + 7 = 15. Each number individually.
The theme has to do with a field of science, or all the shirts represent a movie that was in the movie theater the same year.
It seems to have to do with the food chain! :D Or things eating other things. :3
Fiber Content: 4.5 oz 100% Combed Ringspun Cotton
Manufactured In: Honduras/Nicaragua
Printed In: Carrollton, Texas, USA
They are all manufactured in the same place, printed in same place, and made of the same material.
They all have the same "tag" in the
neck of these wonderful shirts!!!!
i say they all sold 717 shirts
Guess the theme? Looks like Animal Planet friends
They are all parodies of 1970's movies:
Sleeper (1973)
Black Hole (1979)
Star Wars (1977)
Jaws (1975)
Monty Python and the Holy Grail (1975)
Aristocats (1970)
Is it "The Hitchhiker's Guide to the Galaxy"?
Well, I was going to say the 59 minute thing... Good catch on the May the force, I see that in my browser since I opened each in a new tab...
So for another guess if those are not right, All of the shirts use the color of the shirt within their design.
Centered design placement
Was "may the force be with you" the answer???? I don't get it. I would have said "NOTHING" they have nothing in common.
Ya... I'd have a rough time calling that a commonality... ... ... But, hey, not my contest. ;-)
tgentry wrote:The first words in all of the designs appear in the phrase "May the Force Be With You." Surely they have that in common?
Quoting this because people can't read. Yes, it was correctly answered within minutes. I think it's a fabulous idea though and woot will just have to come up with a less obvious one next time.
Another guess... Attraction
They all eat.
Summer Blockbusters
Awww, and here I was thinking electromagnetism was a clever guess...
*Magnetic metal detector
*Force lightning
*X-Ray radiation
*Sharks hunt by sensing electricity
*Electric motor
*Static electricity, the main use for cats! And dogs.
Clever stuff, though! I wouldn't have noticed the titles lining up like that.
15. The shirts are all $15. The contest ends on the 15th, and the shipping date, 7/17 adds up to 15. 7+1+7......?
Unwanted...On each shirt there is something unwanted...a shark, a dog, a metal detector, a dark force, a black hole and a chainsaw if you were a tree. LOL
wootmikko wrote:They are all parodies of 1970's movies:
Sleeper (1973)
Black Hole (1979)
Star Wars (1977)
Jaws (1975)
Monty Python and the Holy Grail (1975)
Aristocats (1970)
Hmmm...I like this idea...
You must be a woot writer to be spouting that kind of nonsense.
All the letters from all the design titles appear in the sentence, "the quick brown fox jumps over the lazy dog"
Now where's my prize?
(why do I bother coming on this site, just habit at this point I guess... ugh)
They're all $15
View All →


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I was doing my daily rounds on fleabay and I found this statue for $150 very sexy indeed!:love:love:love
Printable View
I was doing my daily rounds on fleabay and I found this statue for $150 very sexy indeed!:love:love:love
mmm not real sure if it was meant to be his Baby Momma or his daughter but a very interesting piece
nice find
I'd say his daughter since she posed as him for a while.
interesting to see what people do to femalize a male character
I stumbled across that site awhile back as well. The artist had several "femalized characters I think, along with some other sculpts. Some interesting stuff.
either way......shes a buttah face....
I would think that is Ailyn Vel, his daughter that killed one of Fett's clones and took his armor and masqueraded as fett.
Pretty cool, but I just can't imagine a bounty hunter with boots like that.
I'm working on that right now for my wife...have been for a bit now. Just got a belt from Taco and all sorts of hard parts from Bradley Fett. Doing it budget style but she's in some good shape so it should come out pretty nice!
There is a thread on it somewhere here...
Eye candy distraction!


text: Battle Shock Rating: Fry your enemies and defend the castle with magical powers at your finger tips Battle Shock puts you into the role of a wizard who has the power to summon electricity. By using different gestures, you will conjure unique electrifying attacks to defend your castle. Destroy armies of knights, archers, battering rams and more!! And when magic … Read More


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Category: Chris Hemsworth baby India
This week, for The Nameberry 9, Appellation Mountain's Abby Sandel looks at new names that might make their way onto future Top 1000 lists.
Are you still drowning in data? I had barely finished devouring every bit of analysis regarding the new US Top 1000 before the state data started to pour in. Emma is tops in North Dakota, and Mason and Olivia won Most Likely to Appear on a Birth Certificate in Utah.
Baby name news was all over the mainstream media, too. NPR and The New Yorker weighed in on name trends. Jimmy Kimmel was one of many to pick up on the influence of reality television – he quipped that if he ever has twins, he'll christen them Toddler and Tiara.
There's no denying it – when it comes to baby name trends, what's in the headlines has an impact. A notable name is not guaranteed to catch on – Snooki and Katniss remain rarities. Still, it is an important part of the puzzle – a source of inspiration and new ideas that we all tune into, almost constantly, on our smartphones and tablets and televisions and magazines at the grocery check-out line.
Last week brought us plenty of notable names likely to have an impact when we look at future years' Top 1000 lists:


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Please note that the following has been added to the Code of Conduct.
The discussion of functional weapons is prohibited. This includes working flamethrowers, wrist rockets, knee darts, rifles, sidearms, etc. Such items are extremely dangerous and this site does not endorse or promote the inclusion of such items on a replica costume. "Smoking" rocket packs are not considered a weapon and are not prohibited from being discussed.
You may wonder why we are prohibiting such talk. While we recognize that there are a number of members on this board who would be capable of manufacturing a relatively safe working flame thrower or other "weapon", for every competent person, there are a dozen who just think it would be "cool" and would end up burning their arm off or blowing their house up. Even worse, we have a large number of very young members who may not fully grasp the fragility of life and might try to recreate something they saw or heard about here on TDH. The last thing we would ever want is to turn on the TV and find out that one of our members had accidentally maimed themselves or someone else due to having read a post here on TDH. I am sure you can all understand that if something like this were to happen, TDH would be done.


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Why do people do it?
There are many reasons for distracted driving, including busy lifestyles, stressful jobs, and the presence of children and pets in the car. Many people us technology such as cell phones, Blackberrys, and other electronic devices as their main means of communication. They forget to put these devices down when they should be paying the closest attention to their driving for the sake of their own safety and that of other.


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Click for "Microbes After Hours" videos
I was googling the internet after listening to TWiP 9 where there was a mention of the tongue parasitic isopod. From the looks of this published paper, that is the real deal. http://www.idosi.org/wjfms/wjfms1(2)09/10.pdf
I will never eat sushi again.
Also, for her birthday I got my mom a copy of the book Vincent recommended about Henrietta Lacks, and it was the best gift I've given anyone in years. Thanks! :)
Mitchell writes:
Hello Dr. Despommier,
I am a microbiologist currently working to develop a TB diagnostic device and I must first let you know that I very much love your show. I was somewhat skeptical that I would be as big a fan as I was (am) of TWiV when your first episodes came out, but I really like the distinctly narrative style of your show. The stories and anecdotes are really great and provide a much needed aspect to science communication.
The real reason I am writing, however, is because I get a "Word Spy" email every week about neologisms and your name showed up in the first ever recorded citation of the word "farmscraper". It doesn't say that you coined it, but your name is now forever associated with this. Maybe this is a bigger deal to me than to other people, but I think it's pretty fantastic. Here's the link:
Anyway, I enjoy the show and I also heard and enjoyed your recent interview on Futures in Biotech. You read a lot of emails that say your show should be every week, but I'd like to give my controversial opinion that once or twice a month is perfect. I think it gives you more time to go deeper into the history and the stories, and it allows me to focus on the show. I often don't get to listen to the whole thing at once, and I will often end up with several TWiV episodes piled up. I don't want to feel like your show comes so often that it loses its intensity.
Thanks for the geat podcast. Keep them coming!
Pittsboro, NC
Greg writes:
You've probably seen this but it's an interesting article concerning Toxoplasma and it's possible influence on the personalities of entire nations.
Greg Hampton
Virginia Beach
Jim writes:
Vince and Dick,
The 2 Jul 2010 podcast from AAS Science, at http://www.sciencemag.org/about/podcast.dtl, has a three minute segment (attached) 25 minutes into the podcast that discusses the question, "Do parasites affect intelligence?", but does not make reference to Dr Despommier's comments made in a previous TWIP about the historic impact of hookworms in the Southern US. Does this current work confirm or extend Dr Despommier's hookworm discussion? Listeners can also see the transcript of the podcast and this particular part by going to page eleven of a downloadable PDF file athttp://www.sciencemag.org/cgi/content/full/329/5987/97-b/DC1 .
Smithfield, VA


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I'm in the middle of work. Blogging has to take a back seat to paying the mortgage, and packages have to be set out for the post office or Bob in Omaha will be sending me an irate email asking me why he hasn't received his widget yet. So here I am, in my office, plugging away distractedly at work while watching CNN and obsessively checking Facebook every five minutes. My husband is across the room packing and listening, too. Occasionally one or the other of us makes a disgusted noise in res … [Read more...]
Speaking Out Because I Must
September 12, 2012 by Leave a Comment


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Anne Marie & Kevin
May 11
Tinton Falls, New Jersey
Q & A with the Bride:
What was the one thing about your venue that made you know it was the one?
We loved so many things about the DoubleTree! The size of the dance floor really sealed the deal for us though. Having two large families who love to boogie, we knew that size was important. The accommodating staff and sheer convenience of the hotel aspect of the venue were huge factors in our decision as well.
Which three details from your wedding were your favorites?
Our theme was part "life is sweet upon the seat of a bicycle built for two," and part seaglass as Kevin proposed while we were hunting for seaglass. Our absolute favorite detail was an old bicycle built for two that we fully restored for the wedding so we could make our entrance 'riding in style'. Aside from the bike, we loved incorporating DIY aspects such as banners, pinwheels, and wreaths with Z's on them.
Give us the one moment in your wedding day you can't stop thinking about.
By far the best part of the day for us was reading our vows to each other. We each wrote our own vows and kept them a secret until we were up on that alter. Kevin went first which completely shattered any hope of me holding it together. It was a very special moment for us and for our family and friends.


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Earn from It
Collection Societies
Whether a composer/songwriter is self-published, or has a publishing deal, the money paid by third parties for the use of a composition is almost invariably gathered in the first instance by collection societies. Most countries which have copyright legislation also have at least one organisation responsible for granting licenses to use music and, in turn, for distributing revenues to the appropriate rights holders.
In Germany, one society [GEMA] is responsible for collecting all the different publishing royalties, while in the US three organisations, ASCAP, BMI and SESAC, compete with each other to collect performance royalties.
In the UK there are several organisations, which are responsible for collecting different types of royalties. The key societies in terms of publishing are 'PRS' and MCPS, although musicians who play on sound recordings released by a record company will also benefit from royalties collected by PPL (Phonographic Performance Limited). Moreover, composers/songwriters who own the copyright to a music video will receive royalties from VPL (Video Performance Limited).
In order for the societies to be able to collect on a composition, the song must first be registered, which in turn requires the composer, and/or the music publishing company administering the composition(s), to become a member of the societies. Writers pay a one-off fee of £100 to join PRS, while membership as a publisher costs £400. MCPS charges both composers and publishers alike, £50 for life. Joining PPL and VPL is free of charge.
Throughout the world, collection societies are interlinked by reciprocal agreements. This means that in their own territory, they collect on behalf of their foreign counterparts. Therefore, if a member of PRS and/or MCPS has a piece of music used in Spain, the royalty will be collected by SGAE, which passes the money onto PRS and/or MCPS, after deducting a commission. By the same system, a Spanish composer/songwriter who has a piece of music used in the UK, will see the British societies collect the royalty in the first instance, before passing it on to SGAE.
In the UK, publishing royalties are collected by MCPS and PRS. Since 1997 they have worked together as the MCPS-PRS Alliance and, in some areas of music online, they offer a joint licence.
PPL collects on behalf of the record companies and musicians who played on a sound recording, while its sister organisation VPL (Video Performance Limited) is responsible for distributing income derived from licences granted to TV channels broadcasting music videos.
Details of the key UK organisations are listed below:
PRS (Performing Right Society) www.mcps-prs-alliance.co.uk
Wherever music is played in a public place, the premises concerned have to buy a licence from the PRS. Regardless of whether it is a hairdressing salon with a CD player, a large concert venue hosting a gig or a multiplex cinema, all are legally obliged to pay a fee. Moreover, radio and television stations also have to buy a licence.
PRS distributes the money it collects to its members, who can be either composers/songwriters or music publishing companies who administer the compositions of their signed writers.
A wide variety of tariffs exist. How much is charged depends on such factors as where music is being played, the size of the audience and, with live performances, the type of event. Moreover, the charge can vary from a simple annual fee to a formula which takes into consideration factors such as the number of tickets sold.
With large broadcasters such as the BBC and Virgin Radio, as well as medium-to-large concert venues, PRS is able to account for every composition played or performed. In the case of the former, a census system operates which logs every play. In the case of medium-to-large venues hosting a rock/pop concert, PRS charges 3% of the gross ticket receipts, deducts its commission and subsequently pays the composer. Classical concerts, free events, theatre performances and variety shows, are all governed by other tariffs, but the revenue collected is also paid out at a specified time.
Where smaller venues and concerts are concerned, as with smaller radio and television stations, a different system exists for distributing revenue to composers and publishers. Although all such businesses must also pay for a PRS licence, they are not monitored continuously. Instead, all the compositions used on a given number of sample days are noted.
With small venues, PRS has introduced a system which allows composers to claim revenues if they have performed more than ten gigs within a given time frame, thereby providing the possibility of getting some revenue.
Unfortunately, this is not the case with smaller TV and radio stations. In simple terms, if a station is sampled for one day only, and a song is played once on that particular day, then it will be treated as though it has been aired 365 times and payment will be distributed accordingly. However, even if a piece of music is used repeatedly for several months, unless it was aired on the sample day, the copyright holder will not receive any payment.
It is worth bearing this in mind when dealing with parties who claim that the use of music on TV or radio will automatically lead to PRS royalties. Unless it is a large network, such as the BBC or Virgin, getting paid via the sample system is simply a matter of luck.
Critics argue that this favours established composers/songwriters, as they are more likely to have their work played on any given day. PRS aims to reduce the reliance on samples but must also balance the cost of collecting against what it costs to administer and distribute revenues.
Using samples to monitori smaller premises such as shops, is deemed to be so uneconomic that statistics garnered from the use of music in other environments are used as a basis upon which to distribute the income.
MCPS (Mechanical Copyright Protection Society) www.mcps-prs-alliance.co.uk
Mechanical royalties are due wherever music is copied, which usually means where it is featured on a physical soundcarrier such as a CD, DVD, vinyl record or cassette. Moreover, if music is sold as part of another device, such as a mobile phone, then a licence must also be obtained from MCPS.
How much is paid depends on whether music is the principal purpose of the product and if it is to be sold or given away as part of a promotion [eg a free CD with a magazine or newspaper].
A key source of mechanical royalties is the sale of CD albums. The rate is set at 8.5% of the undiscounted dealer price. If an album costs a record shop £8 to buy wholesale, then the mechanical royalty will be £0.68. MCPS deducts an administration charge for collecting on behalf of the composer/writer.
It is important to note that the royalties paid vary depending on the country. For example, in the US the mechanical royalties tend to be lower than in the UK.
Moreover, in some countries such as Germany they are collected by the same society responsible for performance royalties.
In instances where the composer/songwriter is a member of MCPS and is self-releasing an album of their own work, an application can be made for exemption from mechanical royalties. This prevents a situation arising whereby MCPS ends up collecting from the ultimate recipient of the royalties.
MCPS-PRS Alliance www.mcps-prs-alliance.co.uk
In order to simplify the process of online users incorporating music into their sites, the MCPS-PRS Alliance grants joint licences for certain types of use. These include the Joint Online License, covering medium to-large-scale services such as internet TV and radio; Limited Online Exploitation License, for smaller internet broadcasters and non-commercial organizations, generating under £3,000 per year in revenue; Joint MCPS-PRS Ringback Agreement, which covers songs being played before a person answers their phone.
For larger sites offering general entertainment content, but where music is not the main focus, a General Entertainment On Demand licence is being developed, which is due to be introduced in 2008.
Revenue generated by licences costing over £20,000 per year is distributed using software, which matches tracks to those held on the MCPS-PRS database. PRS estimates that over 90% of tracks are accounted for, with staff aiming to trace the most popular of the tracks, which do not appear on the database.
As is the case with smaller terrestrial and digital TV and radio stations, compositions played by online broadcasters under a certain size, are sampled.
How MCPS and PRS split the revenues from joint licences varies according to the use. For example, with download services 75% goes to MCPS and 25% to PRS, while the split is the opposite with internet broadcasts. If more than one type of service is being provided by the online user, then a 50/50 split applies.
In some cases online music use cannot be covered by a joint licence. These include online advertising, background music on a webpage and sites using music to encourage people to buy a certain product or service.
Details of how to gain permission for this type of use, can be found on the MCP-PRS Aliance website.
PPL (Phonographic Performance Limited) www.ppluk.com
Like PRS, Phonographic Performance Limited (PPL) collects from television, radio and internet broadcasters, as well as pubs, clubs, shops and other premises. However, its role is to distribute the licence revenue for the use of sound recordings, as opposed to the composition. Sound recordings are subject to a separate copyright from publishing rights, and last for a period of 50 years following the date of recording, Publishing royalties last for 70 years following the death of the composer/songwriter.
When composers/songwriters play on a recording of their work, or own the label which releases the compositions, they will be entitled to royalties. Although PPL does not charge a fee to join, membership is necessary for it to collect money for the use of a composition.
The record company releasing a piece of music is required to register the recording electronically with the 'Catco' system and provide details of those musicicans who played on the recording. Once this has been done, PPL divides the royalties for a composition's use. The record company receives 50%, and those who performed on the recording, split the remaining 50%. How the latter is shared out is based on a formula which takes into consideration the contribution a musician made to the recording. For example a lead guitarist is likely to be deemed a 'featured performer' while a triangle player will generally be regarded as a 'non-featured performer'.
PPL is able to account for all plays used on TV channels, as well as all BBC radio and 80 commercial stations. However, when it comes to distributing the money generated from clubs/discos, jukeboxes and pubs, the society shares out the revenue based on a mixture of tracks played on radio and information used to compile dance music charts. Revenue generated for playing background music is shared out based on a sample provided by ten background music suppliers.
PPL has reciprocal agreements in 22 territories, including the US, India, Canada, Japan and most Western European countries. Members can request that the organisation also collects abroad on their behalf.
VPL (Video Performance Limited) www.vpluk.com
VPL grants licences to television broadcasters as well as clubs, bars and other premises showing music videos. The recipient of the royalties is the copyright holder of the video clip. In the UK this is usually the record company which has produced the music video. Therefore, if a composer/songwriter owns the record company releasing their material, or the artist has produced their own clip, VPL can collect those royalties.
If this is the case, then it is important to join before the video is made available, because royalties can only be collected from the date of joining. Membership is free.
Giving Music its Due: the history and work of the UK organisations for composers, authors and publishers of music, the MPA, the MCPS and the PRS
Terri Anderson, MCPS – PRS Alliance Limited, 2004
Harmonious Alliance: a history of the Performing Right Society
Prof Cyril Ehrlich, Oxford University Press,1989


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text: Your right, we should be sending the best skaters but its done on ranking and The Seasons Ranking is based on one competition only. The Pool ranking is based on multi competitions and the all important TES score. Brendon's scores at 4CC and Worlds were not a year ago, they were this year. ISA have chosen to season rank based on Wintersun this year but it's only one comp and it only improved current rankings in the pool and added newly qualified people to the pool. Any Skater can have have a bad skate we all know that.


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Chuks Aneke is enjoying a strong season at Arsenal after making a big splash in the Reserve League and coming on as a substitute in the Carling Cup.
The 18-year-old sat down for an exclusive interview with Arsenal Player during the international break and you can watch that clip by clicking on the link to the right.
Alternatively, scroll down the page to read the full transcript.
It's been a difficult period of results for the team - can you put your finger on why?
To be honest I haven't really got an answer. We've got a lot of good players around the Club and a lot of quality so we should be winning games. For some reason it's not going like that at the moment but I'm pretty sure that soon we will bounce back and start winning some games.
What's the mood been like at the training ground?
I haven't really noticed a change to be honest - I think people are optimistic and looking forward to the next game. Obviously there is an international break at the moment and people are away but it's not really any different.
How impressed have you been by the youngsters like Emmanuel Frimpong?
Speaking to them they have done well to get into the first team and obviously they want to push on now and help the team win games. All of us want to strive to get into the first team and obviously they have got there. They just want to do the best for the badge and do well for the team.
Talk us through the early-season form of the Reserve team.
We have a lot of good players in our Reserve team and because we have been together for quite a long time now we get used to how each other plays. We have a good bunch at the moment. We have had a good start - undefeated - so yes, it's a good time for us.
Who are the newer faces in the team, perhaps those that have broken through from the Under-18s?
Every year there is a new bunch - obviously I was the new face last year. They are good players - everybody at Arsenal is. They come in, they do well and a lot of them are due to do it again this year.
Who should we be looking out for from this Reserve team?
There are a lot of players to look out for. People like Zak Ansah and Jeffrey Monakana, there are a lot of talented players there.
What have you made of Ryo so far - how is he adjusting to the English game?
It is hard of course but he is a very good player. He is very quick and has a lot to offer the team. We saw the other day that he got an assist [for the Reserves] and he is a very good player. His English has developed since he first came and he is a good lad. He is doing well.
Talk us through your Carling Cup debut.
It was a good experience to come off the bench at the Emirates. Obviously I had hoped for a bit longer on the pitch but it didn't quite work out. It was a very good experience to play in front of that crowd and see how the first team works.
What does it do to your motivation once you've played in that first team?
When I came back I found that I was very motivated. It was my first experience being in and around it and after I got home I realised it was a big achievement. I want to push on now and show the fans and boss how good I really am.
Did any of the senior players take you aside before the game and offer some words of encouragement?
No, not really, it wasn't really like that. The Shrewsbury team was quite young itself so everybody was in the same position.
So what's next for Chuks Aneke? Jack Wilshere benefited from his loan spell, Emmanuel Frimpong hasn't been on loan. What will happen for you?
Personally I haven't really got a preference. I just want to start playing some regular games and if that means going out on loan to get them then I am ready for that. I don't think playing for Arsenal regularly is a viable option at the moment.
What would you like to have achieved by the end of this season?
Basically I just want to play games. I am at my happiest when I'm playing football and I just want to show people how good I am. I have been playing football for a long time and that is really just my aim now.


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German Shepherd Dog Forums (http://www.germanshepherds.com/forum/)
- Training Theory & Methods (http://www.germanshepherds.com/forum/training-theory-methods/)
- - behavior issues (http://www.germanshepherds.com/forum/training-theory-methods/455514-behavior-issues.html)
behavior issues
Hi, this is my first post here, I'm having some behavioral issues with my German shepherd.
He sometimes comes when called and sometimes doesn't, even when he seems tired and hot he sometimes just runs off. He doesn't go to far, but I live in town and worry about the neighbors getting mad or him getting run over. He will be behaving so well and then just run off.
He also is not always nice with other dogs. His hackles are almost always up when he sees/meets a new dog. I'm not sure if he's scared or if he's mean. He does get along with a few dogs here in town, so I know he can do it.
I've been using lots of treats and very few corrections and he just doesn't seem to be getting any better. I'm at a loss for what to do. Trying to get a behaviorist to come out, but it's expensive because they are all far away.
He ran off today when we got home, just walking from the car to the back door, which we do every day. He was hot and tired from our walk. I left him outside by himself on his tie out after I caught him because I was so mad. He walked off lead and then comes home and runs off!
Do not let your dog off leash.
Also, if he runs off and you call him back to you, do you punish him when he returns? You should never do this. Every time he comes when called (doesn't matter what he did) you need to reward him.
Yep, that's the same as I would say. You can start with a short leash and work your way to a longer leash until he obeys your first recall without hesitation and eventually doesn't run off at all. I would even put this practice into outside of home too, wherever you take him for his walks. That way he knows his behavior is expected to be the same no matter where you are or what the circumstances are.
The more he gets to practice this behaviour, the more difficult it will be to stop it.
The way I look at it, is that if I don't want my dogs to do something, I set it up so that they can't. For example, my rescue was always on a long line for a number of years when out in the back field, or on walks in the woods, because she did what your boy is doing. The best way to stop her from running off was to prevent her from running off - anything you try and do after the fact is too late - the behaviour is practiced and re-inforced, and satisfies their need to do whatever they wanted to do.
If this has been going on for a while, it won't stop after a few weeks or months on a long line - it might take much longer than that! Again with my rescue, she started running off as soon as I got home and let her out of the car. Now, I live on acreage, have a fairly long driveway, so I figured just opening the door and letting her out was pretty safe, considering that neither the neighbors nor the road would be visible from where she was - nope! Bee-line straight for the road at double speed!
So I set up a tie out by the carport, and clip her on as soon as the door opened before she was even out of the car. I did this faithfully, without exception for a full year (this girl was WORK - LOL! but I learned so much from her!). After managing her behaviour for a year, then I started to let her out un-tethered, and she hung around. After all that time, she forgot about running out towards the road. And it's not that she had no training. We went through basic and advanced obedience where she shone, did SchH and she earned her BH and the equivalent of SchH-I obedience, both of which require lenghty off-leash heeling and obedience control in a large open area, but still, given the opportunity, it was just too much fun to take off at a run and go sniffing and exploring, so why not?
There are not short-cuts or easy ways with a dog that takes off - it takes management and re-programming that little brain of theirs over time. So management and prevention coupled with on-going rock-solid obedience training is the key.
Train him, maybe use a different word, like HERE! instead of COME!. But there are rules to follow:
1. Do not give him the command more than one time. HERE! If he comes, praise and treat. If he does not, immediately, go and get him and bring him to where you want him to be in front of you and have him sit, then "Good Here."
Repeated commands = nagging, it teaches a dog to ignore you until you reach that special pitch.
2. VERY IMPORTANT! Do not give him the command if you cannot immediately reinforce it. This means that the dog MUST be on leash until he is 100% on leash with distractions, and even longer. If the dog is off lead and you want him to come, call his name, make yourself more interesting than whatever he is doing, reach in your pocket as if for a treat, run the the other way, BUT DO NOT COMMAND HIM, HERE! That will come, but later.
Giving commands that the dog can then choose to obey, teaches the dog that he can ignore you, depending on what his reward might be if he does, it will reinforce that you are not in control. He will come then only if he thinks a treat is better right now, than whatever he wanted to do.
3. Every time your dog comes to you, it has to be good. You must never call your dog to you to berate him, or scold him.
FIDO Come! .... WHAT IS THIS, POOP IN MY HOUSE?!?!? Sorry, you have just punished your dog for doing what you wanted and are teaching him not to come.
Be consistent. Praise and treat him for coming, every time. Add a sit and be sure you can touch the collar when he reaches you.
The recall is a life-skill. A good recall can save his life and a bad recall can lose him his life. Stop letting your dog off lead when he does not have a good recall and is uncertain around other dogs. You need to get those things worked out before your dog is given the opportunity to get himself in real trouble.
Thanks for the helpful tips.
Btw,I have never punished him for coming to me EVER. but the rescue he came from did punish him. They would use a shock collar on him, even though he had zero training.
Luckily, he never goes for the road. It is suspected that he was a stray for quite awhile, so at least he has street smarts.
Some links in post 8 you might find useful.
You most likely have more of a "training" issue than a "behaviour" issue. :)
I don't think you need a behaviorist, just training. Find a good trainer. You have received some good tips here but it sounds like you need motivation to work on basic training. Find a trainer or classes.
Best to you and yours.
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text:
Florida tops NCAA basketball title odds table
They haven't lost since Dec. 2 and they are rich in experienced senior players.
The Florida Gators, the top overall seed in the 2014 March Madness bracket, were sitting at +400 on the NCAA basketball championship odds list at Topbet.eu Monday morning.
Just a few hours after Selection Sunday made Florida, Wichita State, Virginia and Arizona as the top seeds in each region and a few hours before the play-in games were set to finalize the bracket, Gators backers were throwing money behind the team that won back-to-back titles in 2006-2007.
Michigan State, the Big Ten champs who always excel in March, are the second betting choice at +500. Arizona was +700, despite their Pac 12 tournament loss and Kansas, the highest-rated No. 2 seed on the odds menu, was also +700.
Defending champion Louisville, which has surged of late and won the inaugural AAC title, is +900. Meanwhile, the other No. 1 seed Wichita State does not get the full respect from Topbet linesmakers as they sit as the sixth betting choice at +1200.
Syracuse, Duke, Wisconsin and Virginia (a surprise No. 1 seed after winning the ACC crown for the first time since 1976) are the only other school at less than +2000.
The longshots on the board include NC State and North Dakota State at +75000.
Check out updates of March Madness betting odds and get the current lines courtesy of Topbet.eu (below).
Florida +400
Michigan St +500
Arizona +700
Kansas +700
Wichita St +1,200
Louisville +900
Syracuse +1,500
Duke +1,800
Wisconsin +1,800
Virginia +1,600
Michigan +2,500
Creighton +3,000
Villanova +3,000
Iowa St +3,000
Kentucky +5,000
North Carolina +5,000
San Diego St +6,500
Oklahoma St +7,500
Ohio St +7,500
Oklahoma +7,500
UConn +7,500
Baylor +7,500
Pittsburgh +9,000
Cincinnati +9,000
Oregon +10,000
Texas +10,000
U Mass +10,000
Tennessee +10,000
Iowa +11,000
Memphis +11,000
New Mexico +11,000
St Louis +11,000
Gonzaga +12,000
Stanford +22,000
Providence +22,000
Kansas St +30,000
St Josephs +35,000
Nebraska +45,000
Dayton +50,000
Colorado +50,000
Xavier +50,000
Arizona St +50,000
George Washington +50,000
Harvard +75,000
North Dakota St +75,000
NC State +75,000
Field (Any Other Team) +10,000


text:
Coulter labeled Dems who question qualifications of Condoleezza Rice and Clarence Thomas as "racist"
Right-wing pundit Ann Coulter labeled Democrats as "racist" for questioning the credentials of national security adviser Condoleezza Rice, recently nominated by President George W. Bush to replace Secretary of State Colin Powell, and conservative Supreme Court Justice Clarence Thomas. Coulter's remarks came during a November 17 discussion on FOX News Channel's Hannity & Colmes of some controversial political cartoons depicting Rice as a pawn of President George W. Bush.
The cartoons shown on the program are in poor taste (see here [1], here [2], and here [3]), but are in no way a production of the Democratic Party. Regardless, Coulter said "It goes beyond the cartoons," claiming that Democrats who oppose Rice's nomination are doing so because they "have a big problem with black women." Coulter also asserted that former national counterterrorism coordinator Richard Clarke has "a problem with blacks" because his book Against All Enemies: Inside America's War on Terror [4] (Free Press, March 2004) suggested [5] that Rice had not heard of Al Qaeda when he briefed her on the terrorist group in 2001. Coulter also labeled Democratic strategist Bob Beckel a "racist" to his face.
From the November 17 edition of FOX News Channel's Hannity & Colmes:
COULTER: I don't know why you [Beckel] keep talking about [the unfair treatment received by] Bill Clinton when your party -- I mean, I understand why you'd like to change the subject, but your party is being biased and condescending about a black woman.
COULTER: I understand why you are so terrified of letting us point out what racists the Democrats are and how they have a big problem with black women.
BECKEL: You better be damn careful about using that word. I'll tell you something, I worked in the civil rights movement.
COULTER: Sean, stop him!
SEAN HANNITY (co-host): Bob -- Bob --
BECKEL: When you were sitting in your little schools up in New England.
HANNITY: Bob --
COULTER: I keep trying to get to this.
BECKEL: Don't start with me about that. Ann, you just crossed the line.
HANNITY: Bob -- Bob --
COULTER: Blah, blah, blah, blah, blah.
COULTER: It goes beyond the cartoons. It goes to the fact that...
ALAN COLMES (co-host): Bob Beckel.
COULTER: ... it is Condoleezza Rice who keeps being attacked for not being the most qualified person for the job, as I know Clarence Thomas was. No one ever said that about Warren Christopher. What were his qualifications for the job?
COULTER: You're [Beckel] racist. You do the same thing with Clarence Thomas.
COULTER: You keep talking about these cartoons. I'd only seen one of them before this program tonight. And I said I think liberals have a problem with blacks. They have a little race issue going on here.
You know, it's often said that blacks feel like they have to be twice as good as whites for the same position. Well, when it comes to blacks working for a Republican administration, that's true. They have to be 10 times as good or they have their credentials questioned [by liberals]. That really is...
COLMES: You think liberals have a problem with blacks?
COULTER: ... the puppet Bush.
COLMES: Do you think liberals have a problem with blacks? You want to make that statement in a vacuum?
COULTER: Yes. No, I think I've given a few examples, and I'll give more. There's Clarence Thomas, who was constantly made fun of, is he the most qualified one of the job. I don't remember anybody ever asking that of Justice William Brennan or [David] Souter.
COULTER: Dick Clarke, the flamboyant opponent of the Bush administration, came out with a book earlier this year, claiming that Condoleezza Rice, when he talked to her about Al Qaeda, her face showed that she was perplexed, that she had never heard of Al Qaeda before.
Can you imagine somebody saying that about, you know, Wolfowitz? No. That's my fourth example now of liberals having a problem with blacks.
BECKEL: I have no problem with her [Rice] because she's black. I have a problem with her because I don't think she's up to the job [of secretary of state]. Do not begin to say that people like me are racist when I spent a lot of time out in the vineyards on the civil rights movement.
I don't think you can type one credential where you've had -- You've got to be careful here, Ann.
COULTER: And you listen to jazz.
- Posted In
- Diversity & Discrimination [6], Race & Ethnicity [7]


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Posted by Andrew Bartels on September 27, 2010
Like thousands of Oracle clients and a dozen or so Forrester analysts, I was at Oracle OpenWorld last week. One of the big news items was the announcement of the availability of Fusion Applications. The creation of these new applications has been a massive effort, involving many of Oracle's top software designers and developers working for over five years. My preliminary opinion, along with my colleagues, is that Fusion apps do have some useful new features and a better user interface than prior Oracle products, as well as providing a more credible SaaS option than Oracle's prior On Demand offerings.
However, there seems to me to be a lack of clarity as to how Fusion apps fit in the evolution of the Oracle family of apps. To its credit, Oracle has stated that it is going to be responsive to clients, not forcing them to convert to Fusion nor make staying on existing apps unattractive by not supporting and enhancing those apps. Instead, it wants to make Fusion apps so attractive that clients will want to adopt them, either (rarely) as a whole suite or (more likely) as step-by-step replacement or additions to existing app products. Still, that leaves unclear what Oracle sees as the endgame for Fusion vs. its other app products.
As I see it, there are four scenarios for how Fusion apps will relate over time to the existing portfolio of apps that Oracle has acquired and continues to support through its Applications Unlimited position:


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This degree program is currently on hold and being redesigned.
Our innovative interdisciplinary post-professional master's degree offers advanced education and specialization for those with design education or interest in design education, including those with degrees in architecture, industrial design, landscape architecture, planning, and allied fields.
This graduate program offers deeper specialization than is possible at the undergraduate level and provides immersive educational experiences—student-driven learning models—that produce tangible and practical outcomes or products. Much of the course work requires working in student teams and/or with community and industry partners, to seek new uses for what we know about architecture while developing new knowledge for students, teachers, researchers, and practitioners.
This flexible, adaptive, and highly customizable design curriculum is student-centered and provides access to engage the knowledge areas such as centers and institutes within the within the Ball State University community including state-of-the-art facilities and equipment in emerging media and technologies. Close partnerships with industry and community partners will enable students to engage learning and research with a tangible impact.
Your plan of study, including a focused thesis or creative project, is tailored to your chosen knowledge interests and career goals. Interdisciplinary connections to other departments and colleges is encouraged, as this flexible curriculum offers rare and unique opportunities to learn, explore, and innovate outside of traditional architectural sequences of study, while "design" remains central to your explorations.
Areas of specialization may coincide with graduate certificates (note: additional certificate offerings are being developed through this academic year). Current available certificate programs:
The master of archtiecture post-professional program includes 24 credit hours of required courses and 6 credit hours of the thesis or creative project. Students are recommended to enroll in 12 credits each of the first two semesters, followed by the thesis or creative project. It is a 30 credit hour (three semesters) program, generally students take 1.5 calendar years to complete.
Students must apply and meet the admission requirements for both the Department of Architecture and the Graduate School. International students must apply through the Rinker Center for International Programs. For directions on how to apply go to Post-professional application checklist.


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City Stomp Live at Dizzy's on 5th
Dizzy's on 5th
Until Wed Apr 24 2013
- $
Photo: Caroline Voagen Nelson
City Stomp Live!
Not yet rated
Time Out says
Thu Jan 31 2013
The triple-parked strollers outside Dizzy's on 5th will tell you when a City Stomp gig is happening. Inside, giddy kids—toddlers to grade-schoolers—scarf down high-end mac and cheese and sliders, fidgeting as they wait for the music to start. Frontman Kevin MacCallum is a local star: Many little ones know him from City Stomp, the preschool music program that explores Caribbean, African, Latin American, Irish and Jewish music in classes and live performances around the Park Slope area. The moment he picks up his guitar, kids start rocking out all over the snazzy retro diner. By song two, the grown-ups are grooving too. Seatings begin at 5pm and 6:30pm. Ages 6 months to 8 years.
CommentsAdd +
Venue details
Dizzy's on 5th 230 Fifth Ave
Park Slope
New York
- Cross Street:
at President St
- Venue phone:
- Venue website:
- Opening hours:
Mon–Fri 7am–10pm; Sat, Sun 9am-10pm
- Transport:
Subway: R to Union St
- Price:
Average main course: $12. Cash only
Dizzy's on 5th
- 230 Fifth Ave
Park Slope
New York
- 718-230-5551
- dizzys.com
- 230 Fifth Ave
- Dizzy's on 5th
- Event phone:
- Event website:
- Categories:
Music. Kids music. Things to Do
- Good for:
Going in a group. Lively scene. Local talent. Mood. Energetic and active. Kids. Hands-on for kids
- Event type:
Concerts. Performances
- Date Time Price information
Wed Feb 20 20135:45pmFree with dinner; reservations required


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|Road Racing & Rally The place to discuss information about road/rally racing stats, tips and events. Track sanctioned events only.
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Focus Addict
New Hampshire Motor Speedway in the rain.
Here's a video of my friend Dave driving my car at NHMS in the rain on 7/10 with NER SCCA.
He's a veteran driver, and knows NHMS pretty good, but it was his first time ever driving my car. He really did a great job.
We co-drove the car over the weekend's double event. He in ITE, me running in STU. I have to work on getting my video done. I was about 2 seconds slower than Dave, but it was my first time at NHMS. Turn 3 was really diffcult for me to handle, and I was not very comfortable with the downhill left hander.... But I had a blast, its great getting out to run on a new track. NHMS is very challenging.
The car is not fully prepped for STU, the new motor is still WIP (but my custom intake cam is on the way from Web Camshafts and the motor should be done soon!) so this is still running just a stock used D23 engine with header and tuned ECU.
About 75% of the chassis mods are done to have the car built for STU, so maybe I'll have most of the work done later this year. I still need to drop some weight. I got my 15X7.5 Spilstreams finally. (FYI - 18racing.com just restocked, should have 12 in flat black left in stock) and I have worked on a few other weight reductions. So even though I added a splitter and rear wing this year, I'm still about 25lbs lighter than last year. (2625 with 3/4 tank and driver) I still have the heater box and sound proofing to remove, and want to go full lexan etc. I need to get closer to the 2430 lb minimum weight for STU & 2300 CC (its 2530lbs, but it gets reduced by 50lbs each for FWD and MacPherson strut suspension)
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(FF BST Thread) > http://www.focusfanatics.com/forum/vehicles-sale/690769-sale-05-zx3-track-car-%245-000-options-avail.html#post10067337
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Although this is good for various uses, I thought this stuff might be a good alternative to sourcing the Riddell helmets to pull out the padding in those for Fett buckets. I haven't used this in any helmets yet, just in TK forearms (works great!) but will probably try it in a helmet shortly. So, if you prefer foam to a hard hat liner this might be useful.
Anyhow, it's a cheapo exercise mat (cost $20 at Canadian Tire) that is sort of like a "ribbed" high density foam...the ribbing is nice for contouring to something with a shape to it. One side is the exposed foam and the other is a thin tough nylon-cloth type of material (don't know exactly how to describe it). Hopefully you can figure it out from the photos. I wasn't sure if the layers would stay together when cut, but they do!