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Denard Robinson: I'm pretty sure I can beat Usain Bolt in the 40-yard dash
Another day, another football player who thinks he is faster than Usain Bolt. With the Olympics having just ended, Bolt's speed has been a popular topic of discussion among athletes in non-Olympic sports. Everyone wants to be the fastest guy on the team. But being faster than the fastest man in the world would give you serious bragging rights. Even if it's only in the 40-yard dash, Michigan quarterback Denard Robinson thinks he could take Bolt down.
"I've watched him run, and I'm pretty sure I can beat him in a 40-yard dash," Robinson said Sunday according to Fox Sports Detroit. "I'd get a better start, and I could take him. At 60 yards, I'd be in trouble, and at 100 meters, he'd be gone, but I could get him in a 40."
That sounds quite similar to what a certain NFL running back recently had to say about being faster than Usain. Michigan backup quarterback Devin Gardner is the one who raised the subject, calling Robinson the "fastest man in the world." We all know what Denard is capable of with his legs. He didn't cut Little Debbie snacks out of his diet for no reason. He has a chance to finish the upcoming season as the career leader in rushing yards for an NCAA quarterback.
With all these predictions floating around, Bolt may have no choice but to run the 40-yard dash at some point over the next four years. Everyone seems to agree that he could beat them in the 100-meters, but football players feel confident about the 40 since it is what they train for. The Jamaican gold medalist could put all the speculation to rest by dusting either Johnson or Robinson in the event.


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HHSRS Training for letting agents in Welwyn Hatfield
Welwyn Hatfield Borough Council has recently offered letting agents the opportunity to attend the two day HHSRS training course offered by RH Environmental Limited. This innovative approach, is part of the support offered by the council and its partners, as part of its voluntary accreditation scheme PAL. Over 70 landlords and 9 letting agents have … Continue reading HHSRS Training for letting agents in Welwyn Hatfield
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26th June 2015 A Hatfield landlord has been ordered to pay more than £17,000 in fines and costs after pleading guilty at St Albans Magistrates' Court to 23 offences relating to a house in multiple occupation (HMO) that he owns and manages. Bobby Fasogbon, 46, of Gaydon Lane, Colindale, London was ordered to pay £12,000 … Continue reading HMO landlord hit with over £17,000 in fines and costs

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Japanese Electronics Giants Stumble
Panasonic, Sharp and Sony have all reported net losses. The WSJ's Juro Osawa explains why these formerpowerhouses are now struggling.
This transcript has been automatically generated and may not be 100% accurate.
I ... the the ... not such a good day for Japan electronic compass electronics companies ... at Panasonic falling and was twenty percent at after the firm announced a third-quarter loss is joining me now reporter Juro file at ... the gate ... jet ... that ... was the case of the market really not expecting such a big loss and for Panasonic visible as nine billion dollars by ... vote for that for the quantum ... of from July to September the sound ... nobody was really expecting this can last aam ... was a complete surprise that ... Panasonic this this life actually aam ... is mainly because of their restructuring costs the so the pushing ahead with a lot of restructuring and ... write downs of their assets and ... so it got kind of helps to move forward in focus the more profitable and competitive business is in ... no way ... but at the same time of the prom is that they're you know suppose the competitive businesses also ... there's no only all insurance no confidence that they'll be really ... the engines for their growth ... so I'm ... they're a lot of still questions remain ... though on ... this is ... the part of their attempts to read ... the note ... get to get in on with this ... um go ahead with this recession right now and ... then try to become a competitor at Everest s I just I haven't that allegedly new president has he ... indicated strategy going for dinner which direction he wants to take the company ... right of the hob ... you know I'm a ... specified sum of the businesses as in all ... the businesses of the will be focusing on free sample their home appliances a ... loss to machines and fridges ... those are fairly profitable businesses for Panasonic ... and are trying to bring that the emerging markets overseas ... and also odd they ... they make rechargeable batteries that ... will be a big market for electric cars hybrid cars ... to those that some of this is ... not the same time the main TV business still a big part of the revenue ... that's God ... doesn't aam profitable business and that ... that that this gritty tough market for anyone that says Panasonic ... so that they have other businesses that they still have to you know ... take care of ... Mackay and hate insect NSX Sonic is really miss the baton Smart sensei which is like the bread and butter for a lot of businesses it and competitors like Samsung has been a lot of money ... so any indication as to whether or not gold they'll get into smartphones are at expand on it ... I'd say that's the ... deal with that of the of the Sunday to said yesterday that it's going to stop selling smartphones overseas ... well they are the only ... market outside is a pound so far was the euro and the ... sun is selling smartphones the first I mean in your up ... this spring ... and only coffee later and now they're saying that it's a national poll on the market ... and just sell phones in Japan so ... did this is actually run the business is that they're trying to distance itself from ... up because in the DVD clearly done reading of ... Dr Kitchener ... a Panasonic ... and ... of the market for smartphones especially that of the court apart the high-end part ... isn't really dominated now right now by Samsung and Apple so ... you know a lot about missing ... analysts think that there's no room relief for Japanese players to jump in now and tried to grab the market and what what what the Fed the next question said the insurer also reporting earnings not not such a great day for them I that I write the books I recorded most of losses for the quad of the just ended ... and in September and Dom stop also revised outlook ... to a much deeper loss and they have no previously expected ... and that that's also coming from some of their restructuring charges because ... there's no kind of some of the Panasonic that I knew ... of ... the no ... review their unprofitable businesses ... and that ... in and tried ... in a still looking for work I went to focus


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Regulations for assigning retention credit in a reduction in force (RIF) were effective on December 24, 1997. The December 1997 issue of Workforce Performance sketched on overview of assigning retention service credit. The February 1998 issue explained the requirements and explored flexibilities for assigning retention credit for performance in a reduction in force. This article will look at how to assign credit when an employee does not have three ratings of record within the last four years or has equivalent ratings of record.
Additional service credit is computed by averaging the three most recent ratings of record given in the previous 4 years, but what if the employee doesn't have three ratings of record? Under the prior regulations, an assumed Level 3 (Fully Successful) rating would have been assigned for each of the missing ratings. Under the new regulations, there are no more assumed Fully Successful ratings. In an effort to link retention credit more closely to actual performance, actual ratings of record must be used to determine additional service credit in a reduction in force. As a result, if only two ratings of record are available to be credited, the values assigned to the summary level and pattern of these ratings would be added together and divided by two to determine additional service credit. If there is only one rating, the value assigned to the summary level and pattern of that rating would be the amount of credit to be assigned.
Example. Jane Doe is a career employee who has been back in the Federal workforce for only 1-1/2 years after a 5-year break in service. She has one rating of record, a Level 4 (Exceeds Fully Successful) in pattern E, available to be used for retention credit (pattern E uses four levels to summarize performance). The agency has determined that when a mix of patterns exists within a competitive area (that is, when ratings were assigned under more than one pattern), a Level 4 rating in pattern E will be assigned a value of 16 years. Since there are no other actual ratings of record to be used, Jane must receive 16 years of additional service credit in a reduction in force (16/1=16).
Occasionally, an agency finds an employee with no rating of record during the 4 years prior to the reduction in force. In this case, additional service credit is granted based on the value of the modal rating for the summary level pattern that applies to the employee's position of record.
A modal rating is the summary rating level assigned most frequently among the actual ratings of record given that are:
own modal rating. Where more than one pattern is used within a competitive area or in different competitive areas undergoing a reduction in force, there will be more than one modal rating. Agencies must use the same modal rating for all employees covered by the same pattern, within a competitive area. All ratings used in the modal tabulation must have the same summary level pattern and must be on record for the most recently completed appraisal period prior to the issuance of the reduction in force notices or issued prior to the cut-off date established by the agency.
Agencies may tabulate modal ratings in advance or as needed. If modal ratings are calculated in advance, an agency will look at all of the competitive areas as soon as a cycle is completed and tabulate the modal rating for each pattern. All modal ratings are then available in the event of a reduction in force. If the modal rating is calculated on an as-needed basis, an agency contemplating a reduction in force will look for any employees with no usable ratings of record and determine what pattern they are covered by and what competitive area they are included in. Then, an agency need only tabulate the modal ratings for the relevant patterns in the affected competitive areas.
To apply the modal rating for a particular pattern, follow these steps:
Example. The Music Department announced a reduction in force effective August 31 for the Jazz Division. The cut-off date for ratings of record was set for July 15. The Human Resources (HR) Office advised all Division Chiefs that even though only the Jazz Division would be required to take an actual reduction in number of positions, since the entire Department was a single competitive area, all Divisions would experience personnel changes as the reduction in force was run.
The Music Department uses an agencywide appraisal program with summary pattern H (five summary levels). The HR Office determined that there was no mix of patterns within the competitive area. The Office also reviewed the ratings of record to be credited and found 10 employees with no ratings of record.
The previous regulations on reduction in force restricted the application of additional service credit based on performance to those ratings given under the authority of part 430 of the Code of Federal Regulations (CFR). To help alleviate the problem of lost service credit for other Federal performance, the new regulations allow ratings to be counted if they meet the definition of an equivalent rating of record. Equivalent ratings of record are performance evaluations given while serving with Federal agencies or under appointments not subject to the appraisal law and regulations included in part 430 of the CFR. Such a rating may be considered an equivalent rating of record if:
Example. Susan Elm has been working for the Sports Agency for 5 years. The Sports Agency is exempt from the regulations in part 430 CFR. Susan then accepts a position with an agency that is covered under part 430 CFR. The following year Susan's new agency is running a reduction in force. Susan may receive credit for her actual performance rated in the Sports Agency because that agency used an official evaluation program, set performance expectations at the beginning of each performance cycle, and assigned a summary level rating to her performance.
For information about your agency's policy on assigning retention credit, contact your personnel office. For Governmentwide policy information, you may contact us.
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Cameron Diaz Talks Back
She said she'd never sit down for another celeb profile. Unless, of course, we let her have her say, too. (Hey,we thought—why not?)
Cameron Diaz is fifteen minutes late for everything. This is public knowledge. So the Chateau Marmont in Hollywood, for an extra quarter of an hour on one brisk Tuesday night, has a far less glamorous star attraction. A ftysomething French woman is buzzing around the place telling anyone who'll listen that her son, Jordan, a featureless, quietly horried boy, is celebrating his sixteenth birthday this very evening. And the mother is trying to parlay the event into favors of every kind: free wine, a special table in the dining room, and Christ knows what else. But Diaz arrives, right off time—and the Chateau's denizens, ordinarily too jaded to crane a neck at anyone, stop what they're doing. Even Jordan's maman halts her shameless favor-grabbing. Because Cameron Diaz, wearing her famous nine-acre smile and the pricey counterchic outt of any self-respecting twenty-rst-century movie star, is sauntering down the corridor into the dining room.
I tell her about the French lady's bizarre ant farm of behaviors, just to hear Cameron's Big Laugh, which she seems to deny no one. "Awww, it's Jordan's sweet sixteen," she chides, grinning at my implied threat that he won't see 17. "Don't crush him!"
The reason Cameron Diaz is here at all is that (she says) she will never again sit for a standard prole-interview. Near enough, this is it. And she has a few salient points to make about celebrity journalism. So the idea (her idea) is as follows: We'll spend some time together, and I'll write it up. Then she'll elbow me off the page and respond—busting me if I've misquoted her, addressing the strangeness of having the media create an omnipresent "Cameron Diaz" persona, and in general conveying what it's like to have your life turned into a weekly, wildly overpublicized semictional soap opera. After that, bringing a knife to a gunght, I'll respond to her response. And so on, back and forth. It'll be a media Thunderdome, except without that creepy little bald guy who rode on top of the really strong mute guy. (Or maybe with. The story is young.)
Paradox magnies celebrity. At 33, Cameron Diaz is nothing if not a bundle of contradictions. She repeatedly points out during our three-hour dinner that this is work for her, "required publicity for the lm"—In Her Shoes, in which she stars with Toni Collette—but the entire time, she is laughing the Big Laugh and more often than not is straying far from the topic of work. She tells an amazing story about a friend's dog that could climb up the inside of a chimney and broke its legs twice in three days by falling off the roof. While every other actor in Hollywood speaks of his or her "art," she speaks of her work in unusually businesslike terms, some kind of team process always involving her management, which she blithely calls "a business concern." She praises those she admires—John Malkovich, for example, or Daniel Day-Lewis—by saying that they "deliver," as if they're extraordinarily well-known FedEx employees. And she doesn't understand why anyone would really be curious to know anything about her, beyond that she loves making people laugh (which she does well in real life, playing the whole range from ordinary hilarity to very dark humor). By all appearances, she doesn't take herself the least bit seriously, though only a fool would describe her as ditzy. And that combination of paradoxical elements, in movie stars, is easy on the mind.
The fact that Cameron Diaz has been lied about and mischaracterized in the press is both the price one pays to reside in the celebrity stratosphere and a reprehensible crime of journalism. Because when the Backstab Reporter comes to meet his subject, he doesn't come showing the blade. He comes smiling. He's all compliments—at last, the one guy in the media who appreciates your work. Only later, when he's writing up the story, it's 3 a.m. and he's still seething about the time his father said that Terrible Thing when he was 9. So he takes it out on the celebrity. The celebrity, he realizes, deserves to be taken down a peg. Staring down the barrel of that deadline, it's all so clear. The reporter realizes that Nice is dull; Nice is for suckers. So he chooses Mean. And when the mean stuff isn't quite true, well, it's 3 a.m. A lot of things are true at 3 a.m.—or else why would Dad have said that thing he said?
But Cameron Diaz is nice. In ways that even actors can't fake for more than three hours, she is reexively polite and, by all evidence, lacks the self-absorption that's usually a prerequisite for her job. She sits surrounded by mirrors and never once checks her look. She automatically offers to share her food and asks you as many questions as you ask her—that sort of thing. Moreover, she rarely misses a chance to make fun of herself. "I know a lot of stuff I say about the press sounds like spoiled-celebrity stuff," she says, "but I'm just one girl. I'm hunted by paparazzi, big dudes with heavy metal objects screaming Get her!' The people who don't understand what that's like, every single day, need to know they're fortunate to have their...their anominity."
"Anonymity?" I offer.
"What did I say?"
"Anominity," I repeat.
She has another go: "Anomininity."
"Not even in the ballpark."
She emits the Big Laugh and tries yet again: "Amonynity!"
And it is at this very moment, after Cameron has explained why she cannot even sign autographs or pose for pictures anymore—because when she does it for one person, dozens of people queue up—that the hapless, French, 16-years-old-tonight Jordan, of all the people in this entire hotel, chooses to step up and meekly ask for a photograph.
Cameron's face, still ushed with laughter, nearly melts at the irony. "Oh, Jordan," she says, bafing him with the fact that she knows his backstory, "the crazy thing is that I don't take pictures."
Jordan promises, of course, he will show no one—absolutely no one, not ever.
"Except for everyone you know, right?" Cameron replies kindly. But she knows karma has brought this on her head. She poses as I snap a shot of the two, then purrs the requisite "Happy birthday!"
Appeased, Jordan rapidly quits the room with his digital swag. "It's an interesting struggle," Cameron says, "your needs versus people's desires. People just don't know what it's like to lose their...what was it?"
She catches her breath before explaining. "I'm from Long Beach, dude," she says. "I can't barely speak English!"
It is utterly inexcusable, but I cannot resist: "You can barely speak English?"
"See?" She actually topples over onto the blue banquette, hysterical, and after a long gale of laughter huffs out, "Oof. I just burned off my entire meal."
Tabloid attention doesn't merely double when two celebrities date. It exponentiates. Cameron's romance with Justin Timberlake has made her life lovelier and far more arduous. "I don't even think of the tabloid stuff as press,' " she says, twirling her hair as ever. "Those are romance novels. They're stories that have to go week to week, so they need movement for the ctional characters. I'm in at least ve magazines a week, and there are at least ve stories going on. I'm getting married or breaking up; Justin and I are moving in together; or I want to get married. None of it's true. Not any of it! People are so obsessed with it all. The idea that people are together just to get married and have children—not every relationship ends up that way."
It's all oil for the machine. The ve or ten psychotic paparazzi who camp in Cameron's front yard (and because of whom she may never, ever go into her front yard) take pictures to accompany this story of "Cameron and Justin"—because text is no good without art. And art is worthless without text.
Printed once, a myth is reprinted everywhere, on the authority of the original printing. You can read that Cameron will only wash her face with Evian water. "Ridiculous!" she says, as loudly as etiquette allows. There is also the story that she is freakishly superstitious, a tale that tabloids love to print about nearly any Big Name, since it makes the celebrity seem nutty (or better, hooked into the innite). But besides knocking on wood, Cameron lacks any such obsession. "I once ew on Friday the thirteenth with a black cat on my lap during a thunderstorm," she says. "And the ight attendant was retiring! It was her last ight!"
Something seems odd here. "They were givin' out black cats for the ight?" I ask.
"No, it was my cat."
"What's its name?"
She pauses, then cagily decides to deny something to the press. "Nuh-uh. That I won't tell you."
I decide to claim the same rights open to other reporters who "cover" Cameron Diaz, and tell her that the name of the cat is Fluffers. Fluffers is the name of the cat.
"No," she says vaguely. "It's Jack Handey."
"You're suckering me in," I tell her. "You're making that up."
"I might be," she says, laughing at half speed. "But you should use that!"
The names of her cats are one thing (actually, two things). But savoring the joy of withholding, Cameron even refuses to tell me her middle name. She's making me pay for the tabloid "news," the ction that drives her up a tree—for example, the tale of the lady in Monte Carlo who says she punched Cameron in the face. Cameron has never been to Monte Carlo. Worse, Cameron is suing the National Enquirer, which asserted that she had an affair with a married man. "You just can't sue everybody," she says wearily, before getting back to a happier word. "Anonymity!"
You should know these disparate facts about Cameron Diaz: Her paternal grandparents were Cuban and, though she doesn't speak Spanish, she occasionally dreams in that language. She suffered alcohol poisoning in Australia at the age of 18—and when asked what the liquor was, cheerfully replies, "Everything the Aussies pour down your throat, dude!" She loves poker and recently was the runner-up in a Texas Hold 'Em tournament in Tunica, Mississippi. Further, she does a spot-on impression of John Malkovich as the Russian gambler in Rounders: "Chyeck. Chyeck! This son of bitch, all night he is chyecking me! He beat me straight up!"
Know this if nothing else: The girl knows how to tell a story. Here's one from two nights before our dinner. See, that night, working on the computer upstairs in her house, Cameron heard some sort of fuss outside the window. Running out, she found to her horror that Fluffers, the cat that has an entirely different name than Fluffers, had caught something. "I realized, shit, it's a bird!" she says, freshly aghast. "I ran after it and got it and took it in. I did it all: got a little box, made a nest, and gured it would sleep the night. Then I went on the Internet to nd out how to care for a baby bird. It turned out it's illegal to handle any bird—illegal! The mothers, despite what you hear, will take care of the bird if they nd it again. And the next morning, I was going to meet Jane Goodall. So I got up early to nd the nest it had fallen from, thinking how tting all this was. Here I am, going to see Jane Goodall, and I'm out looking for a nest and being very observant, thinking, Where can my cat have found this?' and looking for tracks and trails. Nothing.
"Eventually, I said, Fuck it, I'll just make something.' I got one of those cone-shaped birthday hats and put stuff inside, then carefully found a secure spot in a pine tree. First I tried to feed the bird some worms from my compost barrel; I gently stuck one in the beak. The bird would have none of it. Bitch wouldn't eat it! Fifteen minutes later, the worm is still squirming in the most terrifying place it can imagine—in a bird's beak. I said, Okay, little birdie, I hope you make it through the day and that your mama comes and nds you.' I put the bird into the new nest, all nice and neat, and you know what the little fucker did? Got up and fuckin' ew away!"
So. What about this story, here, in the evil press? "This is roulette for me," Cameron says, retracting her smile. "I don't know if it's gonna shoot me in the head or shoot me in the foot, if I'll only be limping or if it will be the end of me."
_Dear Marshall,
Well, shit. Let's see, this was my big idea. I was going to expose the dirty workings of celebrity journalism and show everyone that when they read about a celebrity, the article is more about the journalist than it is about the celebrity. This turns out to be a difficult task, though, when you're dealing with a writer who is so aware of his accountability. My guess is that your fear of enduring the public wrath of an unhappy celebrity had something to do with your delivering an article that portrays me as a fun, not-as-stupid-as-you-think, hot bitch. (I added that last part; you missed it.) I have manners, I'm aware of my karmic responsibilities, and I understand how annoying it is to hear celebrities bitch about being celebrities. I'm self-aware enough not to look in the mirror every ve seconds, the way that most hobo-chic, pretentious, self-absorbed celebrities who talk about their "art" do. I should be happy about this "accountability factor," but you've thrown a wrench into my plans._
Any complaints now will make me sound vain and thin-skinned at best. But the truth is that I don't think any person could read an article written about him- or herself, be it attering or critical, and not feel that there was some misrepresentation. And I guarantee you that if you saw pictures and read articles that portrayed you as a stranger to yourself, you'd understand where I'm coming from.
You see, it's the strangest thing that as an actor you're required to sit down with a total stranger and reveal something of yourself in order to hock your product. I wouldn't necessarily have a problem performing this part of the job if it weren't for the fact that the conversations that take place at these meetings are rarely about the lm I'm supposed to be publicizing. They are almost completely about my private life. You're right, I consider the publicity stuff to be my job; it's what I get paid for (though I'm gonna have to start taking smaller paychecks). But I can't help feeling anxious about where the conversation is going to go.
_I've really come to believe that it's unfair that these conversations are interpreted from only one side. It doesn't feel good when your opinions and memories are misrepresented and then broadcast to the world. And while I'm sure the writer doesn't always set out to do that, it's what usually happens. That's why I've chosen to keep certain things to myself. It's the reason that I won't tell the names of my cats. That's something that is mine, and I don't want the whole world to know. My cats' names are too personal for a stranger to be familiar with them. _
I realize there are some people who have no problem giving it all up; they want people to know everything about them, as if that somehow empowers them. I'm not judging them for that—whatever oats your boat, right? But those people do set the rest of us "celebrities" up. For me, there is a difference between exhibitionism and performing. I chose a profession where I can do what comes naturally to me, which is to perform and entertain. As far as my exhibitionist urges, I need only reveal them to the fortunate few.
Before I began writing my part of this article, I sat down and read your rst section, and when I got to the story about my inability to say "anonymity," I thought, Wow, it's amazing I couldn't say that word, even though the lack of it is such a huge part of my own dilemma. The irony! Anyway, I was glad you used it to endear me to readers instead of humiliate me. Because the truth is that I can_ laugh at myself, just as I did when it took place. And I don't mind if other people laugh at me. But I was there at the moment, and although I do lack the ability to overcome certain linguistic challenges, I had a grasp on the meaning as well as the use of the word. So will readers get that, or will they just think that I am a ighty actress? _
But then I read it out loud to my mom, and all of a sudden I thought, Wow, he totally captured the moment. I'm too damn sensitive. (I also thought that this accountability thing was working out for me. Is it possible that you could make a journalist rise to the occasion?) You never can really see yourself as others see you, it seems, and so that is the real point of this little ercise. Every time I read a description of myself in these articles, I think, Who are they talking about? The writer's perception of you is based on many things. One is what they've already read about you. Take, for example, the rumor that I only wash my face with Evian. That bit of information is false, and I think it's one that jumps from celebrity to celebrity, since I heard the same thing about Demi Moore ten years ago.
As a celebrity, you are empt from having to do anything for yourself. You shouldn't stand in line, you shouldn't pay for anything—these things are considered the perks. But you also can't be a part of the world that thrives outside your door; you have to ght with people to do anything for yourself; you can't connect with people, because all they see is your celebrity; you have no right to privacy; people can say whatever they want to say about you, even if it's a lie—and everyone believes it. Most of the people you meet only want to talk about one thing—what it's like to be a celebrity. Which is a boring conversation and one that I may put the kibosh on as soon as I nish this article. All in all, your world becomes very small, and you have to make a conscious as well as a very tactful and creative effort to expand it.
Of course, this experience hasn't been so bad. At least not yet. If readers are at all impressed by me and my charming, self-effacing nature, all admiration should be directed toward you, Marshall. After all, this article is more about you than it is about me.
Dear Cameron,
Well, I wasn't afraid to be called out by you—and come to think of it, I'm not sure I rose to the occasion. The one small defense I'd throw out is that my prole of you wasn't accurate or slander-free merely because I was being scrutinized. It would have read the same, word for word, if it were a stand-alone article. But that leads to a key distinction—one that both you and I have evoked in different ways—when it comes to celebrity journalism.
There are two ways, more or less, to do a prole. One is when the subject gives you three hours; the other is when he or she gives you time over three months. In proles, as I think I mentioned over dinner, access is gold. The longer a writer is allowed to spend with the subject (obvious as this sounds), the more genuinely insightful the piece will become. I've done a ludicrous number of Hollywood proles and, without exception, the articles I've written after I've spent deep time with the subjects are the ones that leave everyone happy—because, as far wiser writers than I have pointed out, we are admittedly spending a limited amount of time with you, then building a Fictional Cameron, one we dearly hope is as close to the Real Cameron as possible. Are you, the reader wonders, anything like the cutpurse with a heart of gold in Gangs of New York? Or the enlightened ne'er-do-well sister in your new ick, In Her Shoes? Or are you most like the four-second glimpse we get of you sitting on the subway in Minority Report? (If even three readers catch that reference, I'll be a very happy guy.)
See, the syphilitic tabloid journos don't need time to build their ctional Camerons. They can whip up their own version without even leaving the shop. They'll listen intently to something phoned in by an under-tipped waiter—or really, anyone—then just type away. I will not defend them. They're the reason that, when I visit my hometown at Christmas, family members tell the neighbors that I'm an optometrist. But be warned: After what you said about the happy effect of reading my thing aloud to your mom, I'll be calling her regularly from now on. She'll be sitting through a lot of proles in the next few years.
Still, maybe I'm wrong. Let's juice it up here. Tell me somethin' splashy. Give me some romance-novel stuff. Are you and Justin on the rocks? Let y! Or tell me to fuck off! (I'm sorry to go all Pacino in Scent of a Woman on your ass.) What is the work of which you are most proud? Is it There's Something About Mary? Or Being John Malkovich? I'm betting it's one of the two. Though, in marketing terms, you should say it's In Her Shoes.
There's an apocryphal Bob Woodward joke about proles—that he doesn't even switch on the tape recorder for his rst four hours with a subject. "Bob," as I call him after years of a make-believe close friendship, didn't mean this in regard to celebrity journalism. But it applies. Every actor I know can spend a few hours spinning a persona that he or she wants the reporter to write about—hell, even I could pretend to be an Austrian cabinet minister for that long. But even the most gifted celebrity, faking it, runs out of steam after a few hours, especially if the reporter talks not as a magazine automaton but as an actual person. The celebrity then shows a eeting glimmer of who he or she actually is. It's human nature.
What you say about the crude insanity of someone pretending to know you after three or four hours, I agree, is entirely true. You know this in your bones after eleven years of it; I know it from the other side, from many years of fretting about it. I'll admit to you that there was a moment over dinner when I was tempted to unfairly psychologize you. Given the way you talk of your focus on directors in your lms and the importance of their vision in guiding your performance—to say nothing of how game you are—I got a vibe that when you were a kid, you were a bit of a daddy's girl. I offer this up knowing full well that some of your directors have been female. And I don't have a shred of evidence to know this is true. But that's the point. I'm not supposed to run vibes. I do not run vibes. So I present it as a presumed falsehood. (That said, are you gonna kick my ass for saying this? Because I'm a bleeder. Seriously.)
More to the point, in the three-hour frame, the reporter can only hope that you're behaving remotely like the Cameron Diaz one meets in the wild. That is, like the natural, actual Cameron Diaz. In person, I could only go with my instinct, that I was seeing something beyond the Presentation Cameron's maneuvers. If you were working that game (which I'm not cynical enough to believe), the mispronunciation of anonymity would have been pure genius. Because it did show that you can laugh at yourself—a quality rare among celebrities—and that the fact that your characters tend to be incredibly game seems to be an actual part of your personality.
So how to defend celebrity journalism at all? My odd defense is this. In a true and fair interview, one during which the reporter is listening, watching how your hands move, and looking you straight in the eye, there is every chance that you, the celebrity, will say something incisive. Just as you did, for example, about the fun-house-mirror effect of being "interpreted" by Some Guy who has barely shaken your hand. In a true and fair interview, if you can give a reader a glimpse of yourself—and the reporter manages to reveal a somewhat reliable Fictional Cameron—it can deepen the characters you play. I don't mean merely that it should make people lean back in the cinema and say, "Gosh, that Cameron Diaz can really act, seeing as how different her hair looks in this Malkovich picture!" I mean that something can resonate when what they know of you (or believe they know) is right there in front of them, on the screen. A look in the eye; the air of truth. It can bolster your performance just a tiny bit, I think.
To see you have fun in an interview—to hear you, once removed, laugh your ass off after a word comes out wrong—readers hear the Big Laugh as being that much more real on-screen. And they see that you're having fun, which, especially in something like Mary, they want to see. The 7 percent of celebrity proles that actually succeed are an echo chamber of real personalities, without being intrusive into, say, the sexual positions you and Justin enjoy (which I have in my notes) or your serious heroin problem, which I would never, ever mention.
That said, with celebrities (and more so, publicists), this is all a game of balancing time against value. You and your team gured three or four hours would do the trick here—though, this being a unique back-and-forth piece, none of the rules apply. This was never going to be just three hours, and you were getting a voice. Ordinarily, when I get three hours from a Big Name, I only go so far as to offer to the reader what it's like to spend exactly three hours with that person. It's a snapshot. I don't pretend I've leapt down the chute into John Malkovich's soul.
On the other hand, when I get three months, in different cities and spending large slices of time with someone, everything runs deeper. The ctional subject suddenly isn't so ctional. Many times, in those cases, the reporter stays friends with those subjects after the piece comes out. Because at that point, there's no way around it: You know each other somewhat well. There are times when reporting turns into a fellowship and the subject tells you things, off the record, that his own family doesn't know. Things that you never repeat to anyone, ever. Trust does exist between actual humans, even when one of the humans works in the media. It's rare, but it happens.
So the press isn't always out to lie about you, or write that bullshit romance novel, or score those topless photos (okay, two out of three). Granted, since Watergate, the press has been more important—and also far more arrogant. Part of that arrogance is an assumption in the minds of journalists who have watched All the President's Men a few too many times that any prole without something just awful in it is a puff piece, which isn't exactly true. Before Watergate, there were celebrity proles that were not so much knee-jerk negative as nuanced. You could read a piece about Frank Sinatra that left people who hated him saying, "Finally, they nailed that bastard Sinatra!" and left those who loved him saying, "Finally, they captured Sinatra's greatness!"
It can be that way again. It should be—and sometimes, it is. (By the way, did I really forget to describe you as a "hot bitch" in part one of this piece? Jesus, I'm losing my craft.)
Dear Marshall,
You are hilarious. Really, I think you're a funny mother$#&*@!. I get it: It's impossible to give an honest portrayal of someone when the time allotted by said celebrity's "team" is only enough for you to assault a poor 16-year-old boy and his mother. (By the way, let's just address this topic while we are here. Jordan's mother was a little overzealous, but that's what proud mothers do. They are erce forces of nature and will stop at nothing when it comes to their kid. Try to see it from her point of view.) So are we cool on Jordan and his mother now?
Where was I going? Oh yeah, if ever I lost my head and did anything asinsane_ as let a journalist follow me around for three months, I would denitely give you a go at trying to keep up with me. I get what you're saying. If only you could witness me in all aspects of my life, not just my three-hour dog and pony show at the Chateau, you could create a more rounded portrayal of me. And I truly appreciate your willingness to dedicate the time to achieve that. Look, I like you. I think you're funny and smart, and there's always the possibility that we could be friends. But if you and I spent chunks of time together, I would always be aware that you were there to observe me, and you would always be making some kind of note that you would later incorporate into your story about me. Giving that kind of time is not something that any of my other friends do. It's not that I have anything to hide. I don't pull my cats' (who shall remain nameless) tails or beat my assistant or let her beat me (kinky). I've just become very protective of what is mine. I hold sacred things that many people wouldn't think twice about giving over._
Are you wondering what I am comfortable giving over? Because I've been asking myself that question. I think of all the possible things we could have talked about when we met. We could have discussed world politics, which I have a lot of opinions about, but no one wants to hear an actor's point of view when it comes to politics. Actors who do try to talk politics get mocked. So I choose to be political in a way that I feel is most effective given the position I am in. Or you could have written about all the things that you turned the recorder off for. That_ would have made for an awesome story. We could have talked about...well, we could have talked about anything. But we didn't. Why? _
Because people are obsessed with celebrity, that's why. And I have to tell you, from where I stand, it doesn't seem like such a healthy thing. It's really strange to see it from the inside. So strange that I sort of wish everyone could see what it looks like from in here.
But obviously, I'm too guarded to ever allow anyone in from the outside to observe it. That said, you never know, maybe next week I'll feel different about it. Maybe I'll start carrying around a video recorder to document my and Justin's tongue wrestling. Or I'll invite the entire staff of Us Weekly_ to my annual pap smear. We could spin it off into a new reality series: E!'s Celebrity Gyno-Challenge. (I'm probably the only one who is laughing at that, right?)_
Obviously, I have some shit to work out, but this has been a very cathartic experience. So, thanks. I kind of wish you could see everything I deleted. I appreciate the opportunity to do this insane dance that we call "the celebrity prole" in a new and different way. It's been fun. Why do we do it in the rst place? Well, I guess we both need our jobs.
P.S. I wasn't a daddy's girl. I asked my mom.
Part 5.
Dear Cameron,
So our little experiment comes to an end. I've tried hard to be fair, and not only because whenever the subject of lawsuits came up (and this isn't on the tapes), you silently pointed at me and nodded furiously. Nor is it because of Justin's late-night phone threats. Not entirely.
Actually, it's been a real pleasure. You had me at "Well, shit."
Do I have regrets? Of course I do. For one, you never told us what your favorite lm work was. (Why do you refuse? Is it the Zapruder lm? Oh, my God. It's the Zapruder lm, isn't it?) And, alas, America shall never know the names of your cats. I sort of wish I hadn't guessed Fluffers, because it later occurred to me that uffers are the people who work on the sets of porn movies and...well, you know. (There are jokes in life we can never take back.) But is it too much to ask simply to know the name of a cat? Come to think of it, is it too much to ask that cats be able to talk, and in doing so, convey messages from the dead? I tell you it is not!
I can neither explain nor defend America's sad obsession with celebrity. A lot of people lead empty lives. As Bob Redford once said to me, "Reading about glamour is the cure when reality is not enough." Actually, he didn't technically say it to me. I think I saw it in an article somewhere. Also, it might have been Dustin Hoffman. It was denitely a big star. In any case, for my money, he or she hit the nail on the head in that paraphrased quote.
Marshall Sella writes regularly for GQ.


text:
|A week and a half ago: I can put the shelves in!
|This past week: Sorting and pricing books
|Irish tea and "biscuits"
With all the chaos, I was up until 4:30am this morning pricing books and cleaning up. I still hadn't cleaned the new counter (a large glass display case that has been stored in a garage for some time) and I hadn't even started pricing the antique books. One goal I really wanted to meet, but didn't, was to have some flyers to hand out with basic information like store hours and trade-in policies. But people didn't seem to mind. I started an e-mail list and said I would send them information later.
|My counter/display case — future home for antique books
People stopped by all day to browse, chat and wish me well. A few bought books, and one friend brought me a trunkload of books as a donation. It was a great opening day!
|Tannery Books — Opening day!


text:
Beloved Family and Friends,
I bet you think I'm going to wish you a Merry Christmas, Happy Hannukah, Blessed Yule or Joyous Kwanzaa or a Happy Festivus! I'm sure by now, whatever tradition you celebrate, you've already been blessed and wished upon more times than you can count. Yet, I do...wish you all of those things.
But, just as I stepped out into the cool, crisp night air I looked up to see a beautiful shining crescent moon and thought, "Such a miracle".
So here is my wish...
On this night, I wish you all a miracle.
So mote it be!


text:
Talk:Desktop Dungeons
From DDwiki
Revision as of 03:43, 6 April 2010 by 188.8.131.52 (Talk) (Undo vandalism by 188.8.131.52 (Talk))
Really need to get the front page protected and give some peoples special access. Xeriar 11:02, 23 March 2010 (UTC)
Is the download link provided broken? It looks like it's out of bandwidth -- is there an alternate place where the game can be downloaded?
Have you tried the alternate links provided? And sorry about the slow response WRT the spammer, I've appointing some admins and blocked the necessary IP --Nandrew 00:52, 25 March 2010 (UTC)


text:
The Shaping of Musical Elements: Workbook, Vol 2
Paperback, 440 Pages
Price: $35.00
Prints in 3-5 business days
Designed for the two-year sequence in music theory for music majors, The Shaping of Musical Elements takes an integrated approach to the study of music theory, linking the study of melody, harmony, counterpoint, and form to practical performance applications. Emphasizing tension as the vital link between theory and performance, this text features a new method of analysis that clarifies texture as it highlights the rise and fall of tension in music-making.
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- Copyright
- Standard Copyright License
- Published
- July 21, 2011
- Language
- English
- Pages
- 440
- Binding
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- Interior Ink
- Black & white
- Weight
- 2.79 lbs.
- Dimensions (inches)
- 8.5 wide x 11 tall
- Product ID
- 16230221
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|ResOrg - Manage and Renumber Resource Symbol IDs
ResOrg is a product designed to take the drugery out of the process of managing Visual C++ resource symbols.
A typical Visual C++ project will contain at least resource (.rc) file. Associated with each is a symbol definition file (named resource.h by default) which contains #define directives for each of the resource symbols used in the project.
Resource symbol definitions are created and modified by the Visual C++ resource editor when the resources for a project are edited. Unfortunately, when it does so it often gets it wrong.
How often have you seen this message box whilst editing a dialog:
...even when the symbol names are different? This happens because two symbols with the same value have been used in the same dialog template, and usually arises as a direct result of the way the resource editor allocates symbols.
The problem is that the editor is not particularly intelligent in the way it allocates symbol ID values - and does not provide any facilities to unravel the mess that can all too easily arise as a result. The end result can be a large number of conflicting resource symbol values or even unpredictable behaviour at runtime.
Enter ResOrg
ResOrg came about as a result of the sheer frustration of repeatedly renumbering resource symbols in a large multi-module project (75 modules, and over 3000 symbols) by hand or by using Excel.
ResOrg includes facilities to manage resource symbols at file, module and solution level:
There are actually two versions of ResOrg - a standalone application and a plug-in.
The standalone ResOrg application is capable of working with virtually all Visual C++ projects (including old versions such as Visual C++ 6.0), whilst the ResOrg plug-in offers the same capabilities directly within Visual Studio 2002, 2003, 2005, 2008, 2010, 2012, 2013, 2015 and 2017.
ResOrg offers many features to help make managing resource symbol files easier, of which the following are a small selection:


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Difference between revisions of "Norway Church Records"
|Line 133:
|Line 133:
Registreingssentral for historiske data
Ekspedisjon Universitetet i Tromsø
N-9037 Tromsø
Norway
Telephone: 47 77 64 41 81
Internet: [http://www.rhd.uit.no http://www.rhd.uit.no]
Registreingssentral for historiske data
Ekspedisjon Universitetet i Tromsø
N-9037 Tromsø
Norway
Telephone: 47 77 64 41 81
Internet: [http://www.rhd.uit.no http://www.rhd.uit.no]
=== Vaccination (Vaksinasjon) ===
=== Vaccination (Vaksinasjon) ===
Revision as of 20:38, 18 February 2013
The Lutheran church records are the primary source for genealogical research in Norway. Church records [kirkebøker] provide excellent information on names, dates, and places of births, marriages, and deaths. Almost everyone who lived in Norway was recorded in a church record.
Records of births, marriages, and deaths are commonly called vital records because critical events in a person's life are recorded in them. Church records are vital records made by the pastor or his assistant. They are often referred to as parish registers or church books and include records of christenings, marriages, and burials. In addition, church records may include lists of members, confirmations, marriage banns, and accounts of people moving in and out of the parish.
Church records are crucial for Norwegian research. The Evangelical Lutheran Church became the state church (Statskirken) or national church (Den Norske Kirke, lit. The Norwegian Church), after the Reformation in 1536. As such, it is an arm of the national government. The church keeps the vital records for the government.
- 1 General Historical Background
- 2 Information Recorded in Church Records
- 3 Baptisms (Døpte)
- 4 Introductions
- 5 Marriages (Viede, Vigde, Copulerede)
- 6 Burials (Begravede)
- 7 Norway Church Records arrivals and removals (Tilgangslister - Afgangslister)
- 8 Vaccination (Vaksinasjon)
- 9 Locating Church Records
- 10 Children of other Denominations (Barn fra andre trossamfunn)
- 11 Birth Clinics (Fødeklinikker)
- 12 Records kept by the midwife (Jordmorprotokoller)
- 13 Records at the Family History Library
- 14 Records Not at the Family History Library
- 15 Records online at Digitalarkivet
General Historical Background
Christianity came to Norway around 1152 to 1153 in the form of the Catholic church. The church was organized with an archbishop in Nidaros (now Trondheim), with ten bishop seats under him: four in Norway, two in Iceland, one in Greenland, one in the Faeore Islands, one in the Orkney Islands, and one in the Hebrides Islands and Isle of Man.
From the time of the Reformation in 1536, Norway became a Lutheran nation. From then until 1843 it was against the law to practice the Roman Catholic religion in Norway. Notable exceptions include Catholic congregations in Fredrikstad (since 1682), Kristiansand (since 1686), and Oslo (Kristiania) (since 1843). A few Quakers were also allowed to live near Stavanger in 1826, provided that they did not move out of the area.
The Norwegian government recognized only the state church prior to 1845, when it became legal to organize churches of other denominations. St. Olav's Catholic congregation in Oslo was organized that year. Its church building was completed in 1856, the same year Catholic missionary work was started in Northern Norway, with Alta as its seat. This work, also called the North Pole Mission (Nordpolmisjon), was abolished in 1869, and resumed its seat in Oslo.
There are no church records from the pre-Reformation times in Norway. Therefore, the earliest church records available are the Lutheran church records.
At a Congress of Deans held in April 1668, a resolution was adopted to introduce keeping parish records in Norway. However, it was not until 1688 that record keeping was required by law. Some pastors began keeping records much earlier. The earliest parish record dates from 1623. Church records for the state church are available in most areas beginning about 1700.
In 1845, the Nonconformist Act recognized Christian dissenter churches; however, the act required that everyone from all denominations notify the pastor of their local Lutheran parish of all births and marriages. The Nonconformist Act did not apply to Jews until 1851, when a constitutional provision repealed the exclusion. Few Norwegians belong to nonconformist religions. In 1989, only six percent of the population listed their religion as other than Lutheran.
A uniform system for keeping church records was introduced by royal ordinance in December 1812. The use of a standard form began during the winter of 1814. This form was replaced by a new one in 1820, and another in 1870. The form adopted in 1870 is basically the same one still in use today.
Because of concerns over possible destruction of church books by fire or loss, the Ordinance of 1812 required that a duplicate register be kept in a separate place. These records, called klokker bøker (clerk books), were kept by the parish clerk. The clerk books are designated as such in the Family History Library Catalog by the use of "kl" to the left of the volume and time period of the record.
Information Recorded in Church Records
At first, the record-keeping requirement was limited to baptisms, marriages, and burials. Confirmation registers of many parishes date from as early as 1736. Until a standard form was established in 1814, no directions were given on how to keep church records, so the records before that date vary greatly.
Baptisms (Døpte)
Prior to 1814, usually only the date of christening was listed. If only one date was given it was the christening date. Children were generally christened within a few days of birth.
This is the information usually found in the christening records:
- name of child
- name of parents. As you go back in time the mother's name is not always recorded.
- place of residence (name of farm)
- names of godparents and witnesses
- child's birth date/christening date
- home christening date if the child was christened at home
- father's occupation
- records of stillbirths
- legitimate/illegitimate
- smallpox vaccination date
The spelling of a name was determined by the recorder, so many variations resulted. (There was no standardized spelling). For example, the given name Sivert might be spelled as Syver, Sjur, Siver, Sifuer, or Siffuer.
After 1814 a standardized form was generally used in recording the event. This form asked that both the birth and christening date be listed, as well as both parents' names and place of residence, the child's legitimate or illegitimate status, and the names of godparents and witnesses. In larger cities, street addresses were also listed.
A wiki article describing an online collection of Norwegian Church Recirds is found at Norway Baptism (FamilySearch Historical Records).
After given birth the mothers were considered "unclean". They were "unclean" for about 40 days. After that time period the mothers would be formally reintroduced to the congregation. There were many superstitions regarding this time period; many things the mothers could or couldn't do.
Some parish records have a separate section for introductions, however, most can be found with the birth/christening records. The introdutions were done for the mothers of legitimate children only. The way back to church fellowship for mothers of illegitimate children was through the "absolutions"; as part of the church sermon, and where the women were expected to announce who the fathers of their illegitmate children were. (Bishop Eilifs statues of 1320)
See Baptism (Døpte) for more detailed information.
Rules about Baptism (Dåp) in Norway are found in Store Norske Leksikon but are in in Norwegian
The section states the following.
In the middle ages it was against the law to delay a christening of a child longer than absolutely necessary. The Norwegian law of 1687 states that the christening of a child must take place within 8 days of the birth. This law was abolished in 1771, but still in the 1800's children were usually christened 1 to 3 days after the birth. Since the general belief was that christening was necessary to obtain salvation, the clergy of the church early on gave permission to others to perform christenings. During the middle ages education was given on how a person was to perform the christening. Flexibility was given as to where a child should be christened, especially from year 1000 and later. The ideal place was the parish church, but in case of an emergancy it could be performed anywhere.
To learn more about how soon after birth a child was to be christened click here.
Marriages (Viede, Vigde, Copulerede)
Information found in marriage records:
- names of bride and groom
- marriage date
- ages
- place(s) of residence
- whether they were single or widowed at the time of the marriage
- occupations
- names of bondsmen (two men who knew that the bride and groom were eligible to be married; In later records these were often the fathers of the bride and groom).
- Sometimes a separate record of a couple's engagement [trolovelse] appears in the earlier records.
- date of the engagement and the three dates on which the marriage intentions were announced. These announcements, called banns, allowed anyone who knew of any reason why the couple should not marry to come forward.
- date of probate if there had been a previous marriage
After the 1830s, the records also include the names of their fathers and birthplaces.
Couples were usually married in the bride's home parish. Typically, the bride and groom were in their twenties when they married.
A wiki article describing an online collection is found at:
Norway Marriages, (FamilySearch Historical Records)
See marriage customs
Burials (Begravede)
Burials were recorded in the parish where the person was buried. The burial usually took place in the parish where the person died, one to two weeks after the death occurred. In the wintertime the actual time between death and burial could have been weeks or even months.
Information found in the burial records:
- name of the deceased
- date of death/burial. If only one date was given it was the burial date.
- place of residence
- age
- occupation
- cause of death
- For young children, the name of the child's father is usually given.
- Stillbirths were usually recorded in church burial registers.
- As you go back in time you might find the name of wives husbands.
Burial records may exist for individuals who were born before birth records and marriage records were kept. Some or all of the information can be found in the death and burial records. There is usually less information the farther back in time you search.
See Burials (Begravelse) for information on burial customs. A wiki article describing an online collections is found at: Norway Burials (FamilySearch Historical Records)
Norway Church Records arrivals and removals (Tilgangslister - Afgangslister)
Tilgangslister (Arrivals) are records where you will find the name of each person arriving. It lists the name of the person moving into the parish, date he or she arrived, age, reason for arrival, name of the parish he or she came from, place of birth, place of residence in the parish, and certificates.
Afgangslister (Removals) are records where you will find the the date of departure, name of each person, age, name of parish they moved to.
These records are usually available from 1814-1875. Some records of arrivals to and departures from parishes were kept prior to 1814, but you may find records as early as late 1700's to late 1800's. The printed forms in 1814 included information about people moving into a given parish and their departures to other parishes. They are valuable because you may follow each person as they move from one parish to another. When a family left a parish to emigrate to America often you may see whole families listed.
The arrival records may list the person's name, age or birth date, occupation, former residence, and new residence. The departure lists give similar information. These records are important sources for following the movement of the working class. They often include citations given to people leaving a parish for North America.
See Arrivals/Departures for more information. Most of the birth, marriage, and death records are available on the Internet at Digitalarkivet (Digital Archives) of Norway.
When you find the address, click on "Kirkebøker" (church books). Hard copies of these records in both Norwegian and English are also available for purchase. They can be ordered through the following address:
Registreingssentral for historiske data
Ekspedisjon Universitetet i Tromsø
N-9037 Tromsø
Telephone: 47 77 64 41 81
Internet: http://www.rhd.uit.no
Vaccination (Vaksinasjon)
During the lats part of 1700's smallpox vaccination was encouraged in Norway, and records of those vaccinated can be found in the parish register. In the early records the pastor listed all the children vaccinated on a particular day. These records may also list the person who performed the vaccination. After 1814 this information was sometimes added as a notation on the christening record. The main genealogical value of vaccination records is to show that a person resided in a parish at a given time. When the vaccination date is given in more than one record it can also be a way to verify that the person you have is the right one by comparing those dates.
Locating Church Records
The parish registers are kept at the local parish church until 80 years have passed since the date of the last entry. The registers are then sent to the state archive for the area. (See the "Archives and Libraries" section.) The duplicate copy of the register is sent to the state archive as soon as it is filled.
You must determine which parish your ancestor belonged to so that you will know which parish registers to search. Small villages that did not have their own churches were part of a larger parish, which is referred to by the town where the church was located. To identify the parish a farm or village belonged to, see the "Gazetteers" section.
Parish boundary maps can also be extremely helpful when determining which parish church records to search. They can also help you identify neighboring parishes if you need to search more than one parish in a region.
Children of other Denominations (Barn fra andre trossamfunn)
Children of other denominations should be listed in the Lutheran church records up to 1969, but this did not always happen. Children of Jewish descent are usually not listed in the Lutheran church records. They are listed in their own records, which by law should have been reported to the Amtmann and Magistrat (county officials) yearly from 1846-1891. The County official was to bring the records to the State Archive, but unfortunately these lists are not complete. However, children of other denominations are always listed in the fødselsregister (Registers of Vital Statistics).
Birth Clinics (Fødeklinikker)
Birth clinics and homes were establised in the 1800's. They made their own archives of birth journals as well as birth indexes. The birth journals have been deposited in the byarkiv (City Archives) and the birth indexes are deposited in Statsarkivet (State Archives).
Records kept by the midwife (Jordmorprotokoller)
The midwife would also keep a record, or diary of children born. In the year 1900, these records were standardized and you will find the name of the mother, her marital status, birth number (if it was her first, second etc.), if natural birth or complications, condition of mother (father), sex of the child, the child's health, name of the child will not be listed in these records. Each birth is listed in order of birth and may include the time. If a midwife served in several clerical district she was to keep a separate record for each. A midwife was not ordered by law to bring her records to the archive, but many of these records are available in the State Archives and in the Community Archives. They are listed with the records for the District Physicians or as their own record.
A midwife was to report a living birth to Sunnhetskommisjonen/Helserådet (Health Department) within 8 days of the birth. Stillborn children or children who died shortly after birth were to be reported to the parish priest within 24 hours. The parish priest was to send his report to the Health Department once a month.
Wiki articles describing online collections are found at:
- Norway Baptisms (FamilySearch Historical Records)
- Norway Marriages (FamilySearch Historical Records)
- Norway Burials (FamilySearch Historical Records)
Records at the Family History Library
The Family History Library has many Norwegian church records on microfilm. The collection includes all existing parish registers from their beginning until about 1920. This collection continues to grow as new records are microfilmed.
To find these church records in the Family History Library Catalog, look in the Place search under:
Records Not at the Family History Library
Baptism, marriage, and burial records with entries from the last 80-year period are located at the local parish church. Occasionally, pastors delay sending their old church books to the archives, so some local parishes may have records that are older than 80 years. You may write in English to local parishes for information from this most recent time period. When writing, always include a self-addressed envelope with three international postage coupons.
Records online at Digitalarkivet
Digital images of the church books are available for browsing at the Digitalarkivet Website. Many of these records encompass records from a later time period than is a available on microfilm at the Family History Library.
Searchable databases of church records are being added regularly to the Digitalarkivet website. They can be accessed from the Select source tab.


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February 22, 2019
Your Adventure Starts Here!
Did You Know?
socialRT @wizards_magic: With the first day of the Mythic Championship in the books, what's everyone looking forward to seeing tomorrow? Covera…
June 11, 2018
WIZARDS OF THE COAST SUPPORTS FUNDRAISER TO HELP LAMBERT HOUSEMagic: The Gathering | Dungeons & Dragons June 11, 2018 RENTON, WA– June 11, 2018—Wizards of the Coast, a subsidiary of Hasbro, Inc., is excited to support Lambert House in Seattle, WA—a center for lesbian, gay, bisexual, transgender, and questioning youth—with special Magic: The Gathering and Dungeons & Dragons t-shirts. "At Wizards of the Coast, we value all people and perspectives inside our walls, among our players, and in our games," said Wizards of the Coast Trade Marketing Specialist Talia Armato-Helle. "We are proud to support…
April 23, 2018
WIZARDS OF THE COAST AND TENCENT ANNOUNCE PARTNERSHIP TO BRING MAGIC: THE GATHERING ARENA AND FUTURE GAMES TO CHINARENTON, WA, and SHENZHEN, CN – April 23, 2018—Wizards of the Coast, a subsidiary of Hasbro, Inc., and Tencent, a leading provider of Internet value-added services in China, today announced a partnership to bring Magic: The Gathering to digital gamers in Asia. Tencent will be the exclusive digital publisher and esports broadcaster for the iconic strategy card game in China, Thailand, Vietnam, Indonesia, the Philippines, Malaysia, Singapore, Myanmar, Cambodia, Laos, and Brunei. Wizards of the Coast's newest digital game, Magic: The Gathering Arena, is…


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Fool Me Once: Celebrities Who Took Their Exes Back…And It Didn't End Quite Well
Celebrities Who Took Exes Back
They always say it's never a good idea to go back to your old thangs. And we tend to agree. Once the hearts are broken and it all falls apart, it rarely works out when those bonds get tied back together.
But, we all try it. And celebrities are no different. But we all know how it ends. Right? Let's take a look at celebrities that decide to get back together even though it wasn't the right decision. Or was it?
Vanessa Bryant – She divorced Kobe, then they were together for the Olympics only to have him dirty dogging with female swimmers.
Evelyn – She's lifted the restraining order against Chad. You think this means she's taking him back? If so, we don't see good things.
Drake – He let Rihanna back into his boudoir after she broke his heart. And it led to a big old fight. Whoops.
Continue Slideshow
Nivea – Her and Wayne were booed up many years ago. But he came back around to knock her up. And that was about it.
More Stories From Bossip
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UW Homecoming Parade Winners Announced
Retail Dining Services received the Grand Award for the most outstanding float in the 2012 University of Wyoming Homecoming parade. The parade, with the theme, "On This Land We Put Our Brand, 125 Years of Excellence, Pride and Tradition," featured more than 70 entries.
Winners in other adjudicated categories were:
Most Original Float: Latter Day Saints Student Association and Cowboy Fever bus.
Sweepstakes Winner: ASUW.
Best Use of Theme: UW Admissions Office.
Off-Campus Walking: Sikuris De Wyoming.
Off-Campus Commercial: Vee Bar Guest Ranch.


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"Thanks for the memory
thanks for it all
Wham bam thank you mam
thanks for the ball".
Slade – Thanks for the Memory (wham bam thank you mam)
So sang Slade in 1975 when glam was all but dead. It had been a relatively short ride, but a memorable one.
From 1971-1975 everything (musically at least) was tainted by glam rock, from Rod Stewart to The Rolling Stones. Glam Rock came to mean something different to everyone. Ultimately, glam became an opportunity for just about anyone to explore and exploit.
Some good bands had appeared during its twilight period, the most enduring being Cockney Rebel and Queen, but glam rock as a youth movement and a musical sub-genre was essentially over by the end of 1975.
It had been in slow decline since early in 1974. The best of the glam anthems had been and gone and established glam artists had either moved on to new pastures or were simply treading water.
A few artists were hanging on for grim death, trying to keep the whole thing going, but essentially glam was dead, its ability to outrage and shock had long since passed in the eyes of the public and mainstream media.
The last days of glam could almost have been some half drunken pub/club act singing 'My Way' to bleary eyed, partied out, disinterested punters for all anyone cared.
It was like a time travelling Sid Vicious catapulted back three years singing his trashy and dare I say 'punk-glam' version to a shell shocked audience.
"And now the end is near, and so I face the final curtain".
Maybe Frank Sinatra's more laid back version would be better suited to the lazy, 'end of days' feel of glam's decline, but Frank is obviously not glam in any way, although I'm sure he would have looked great in satin and tat singing 'Queen Bitch'.
So 'Whatever happened to the teenage dream"?
Well it just sort of fizzled out as the kids woke up to other things, eventually showing distain and disinterest in an old sound and style. There was still the odd twitch here and there of the glam corpse, even as late as 1976/77, but by then it really was the end.
With Ziggy now in 'retirement', Bowie went on to create the album 'Diamond Dogs', which many interpreted as his farewell to the glam movement. His next incarnation would be as a soul crooner, albeit of the 'plastic' variety.
Likewise, Marc Bolan made a move toward soul music, though less successfully than Bowie. A combination of substance abuse, and internal strife all helped derail the career of Bolan and T. Rex, as well as alienating fans with a rapid change of styles.
The band quickly faded from the musical mainstream as their album sales and popularity collapsed. His later work produced rather messy and monotonous records with banal lyrics and recurring riffs.
Slade and the Sweet had hits well into the mid 1970s, but when punk arrived, both bands eventually became passe. In 1977, the Sweet changed their image and sound to be more 'progressive,' while Slade carried on as they were, until they found more commercial success (albeit sporadic) in the 80s.
Mud also continued to have smaller hits for a few years, but their future was in the cabaret and club circuit.
Others searched for integrity in their music, Roxy Music carried on until their 1976 split, although when the band reformed they experienced their greatest period of commercial success in the new wave movement of the early 1980s.
Former keyboardist Brian Eno released a few albums of glam leanings before becoming a pioneer in ambient music and a popular producer.
In the United States, the New York Dolls split in 1975, and Lou Reed and Iggy Pop were doing their own thing in their own way.
Gary Glitter carried on as an even greater parody of himself well into the new millennium, until his decidedly un-musical activities caught up with him.
Glam also-rans like Alvin Stardust and the Glitter Band continued for a while before sliding into semi obscurity/retirement. And even Suzi Quatro, eventually turned to musical theatre and an acting career.
There was a storm on the horizon, moving quickly towards the safe harbour where glam was sheltering. A lot of the glam artists were after all already just the "Flotsam and Jetsam of the Music Biz, the Walking Dead and Has-Beens of the Recent (and Not-So-Recent) past".
'Year Zero' and punk rock was about to end their comfortable state of affairs and calm waters for good.
Even in the glam heyday of 1973 a Melody Maker review of the first Queen LP was captioned 'The Fag-end of Glam'. So from that point of view it had already out stayed and out played its welcome.
"There were times when he wanted to be a musician, and times he wanted to be a star. That was his main internal struggle". Producer Tony Visconti said when talking about Marc Bolan, but he could just as easily have been talking about glam rock in general.
A friend of mine stopped buying records after 1975, and didn't really start again until 1979. He couldn't give me a reason, possibly a hangover from the sweetness and sickliness of the glam years, or maybe he just lost interest. Who knows?
I left glam rock behind at 12, not really listening too, or thinking about it for a good many years, but it was always there, lingering just below the surface to jump out when I least expected it.
Often during some drunk Christmas or New Year disco, where I would be minding my own business and out would pop Slade over the sound system wishing me a merry Xmas and a glittering 'Ho Ho Ho'.
It is only now in my middle age that I have come to appreciate the music and leave behind any prejudices that I had and can just simply listen to the songs and enjoy.
So rest in peace glam rock, and sincerely; wham bam thank you Glam, thanks for the ball.
|Photo copyright Mick Rock
Slade: Thanks for the Memory (wham bam thank you mam) - Last days of Glam Mix


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Product Description
Stealth model is all black and includes extra abrasion areas but replaces reflective areas with black matching fabric.
Black. Machine washable. Sixteen graded sizes: Men's 34 regular, 36–54 short, regular or long. Women's 2-20 short, regular or long.
Thirty years on this fully lined Roadcrafter has been worn in every type of weather to nearly every place you can get to on a motorcycle. It is the original suit for everyday, all-distance commuting and touring.
Its luxurious full lining slips easily over your street clothes, and the outer shell is tailored to minimize wind flutter and drag at higher speeds.
More than three decades of experience have proven the Roadcrafter Classic's superior impact and abrasion-protection, and it's all-weather capabilities. The suit is literally covered with innovations for riders: 3M high-visibility Scotchlite™ reflective, nine strategically placed everyday-useful external pockets, six standard oversize TF impact armor pads, provisions for optional removable arm and thigh map pockets, optional hip armor and impact protection spine armor, effective water resistant zippered underarm and back vents, flapped hip-side zippers for access to your street pants, an all-day comfortable Ultrasuede collar, and a variety of adjustable tabs and zippers that allow you to custom fine-tune the fit.
Each one piece Roadcrafter Classic is about attention to each detail, real-world riding needs and meticulous craftsmanship. It's constructed of Made-in-USA mil-spec 500 Denier Cordura® GORE-TEX® outer fabric, ballistic nylon and a high pic Supernyl lining fabric.
Compared to traditional leather gear you'll ride warmer when it's cool, drier when it's wet and cooler when it's hot.
Five standard body colors: black, grey, red, hi-viz lime yellow, or cobalt blue. Six standard ballistics colors: black, grey, red, hi-viz lime yellow, cobalt blue, or silver. Machine washable. Men's sizes 34 regular, 36–54 short, regular or long. Women's sizes 2-20 short, regular or long (these feature a smaller neck, narrower shoulder, more defined waist, and extra hip room).
Getting the Perfect Fit
- All Roadcrafters are available in more than sixty in-stock sizes, with a wide range optional fitting-alterations if needed. Men's models are stocked by suit (chest) size in 'short', 'regular' and 'tall' versions. Women's models are stocked by dress size in short, regular and tall versions, too. Inventoried stock sizes are shipped within 24 hours.
- Roadcrafters are intended to fit nicely over a layer of street clothing, so if you wear a size 40R men's blazer or sport coat…or a size 8L women's dress…select the same size Aerostich jacket or suit. If you're unsure of your size, see the sizing chart guidelines, or contact us (218 722 1927, firstname.lastname@example.com) and we'll help you get the right fit. We will ask for information about your height, weight, chest/suit or dress size, and your jeans or pants 'waist x inseam' size.
- Find detailed information about ordering optional alterations, non-stock colors and specialized features here. Fully custom made-to-measure garments are not available. Standard suit colors are mix & match Black, Grey and Hi-Viz Lime Yellow body areas with your choice of Black, Grey, Silver, Hi-Viz abrasion areas. Request free color swatches here.
Hassle Free Sizing Exchange
If you happen to need a different size, just return the suit and we'll ship out a replacement free of charge (domestic ground shipments only).
- The 'Ride More' Guarantee
- The Complete Size and Fit Guide
- A Self-Fit Calculator
- Verifying Fit after Try-on
- TF Pad Removal and Replacement
Other ReviewsEditorial, Dressing Up, Cycle World
A 350K Roadcrafter...Still Going Strong
Roadcrafter Light - I Am Riding A Lot More
Video: Roadcrafter After the Crash
Video: 29,000 miles on a Ruckus (Roadcrafter Classic)
Roadcrafter vs. Roadcrafter Light Comparison on Troubadour on a Tiger blog
Additional Information
Additional Information
|More Info
Between Sizes:
Overall length* difference is 1 1⁄4".
Short to Regular:
Overall length* difference is 3".
Regular to Tall:
Overall length* difference is 2".
* Overall length = collar to ankle
We can adjust the sleeve lengths, elbow armor position, leg length, knee armor position, and many other variables, but we cannot change the body/torso length. For semi-custom fitted garments, we start with the body/torso size that is the closest and change the arms and legs as needed.
A great fit is critical to the long-term enjoyment and satisfaction of any garment. This is something we do better than anyone else with graded off the rack sizes. There are about 32 standard R-3 sizes vs. about 8 with typical S, M, L, XL grading. If the crotch in an R-3 is slightly binding, the garment will never have a chance to become your 'go to' riding gear, and I'd like it to have that chance.
One piece coveralls are the best gear for day-to-day short-hop utility riding because they work as a complete protection system all in one garment. But like mechanic's and trade-worker's coveralls, for comfort the crotch needs to be low enough to never bind.
Share Your Review
Share your comments and experience with Aerostich products. Please login (click here) to the Aerostich web site (logging-in is required to post a review). All comments and stories are reviewed before they are posted. More than 99% of all comments will be posted within 24 hours, or 48 hours on weekends and holidays.
If you have comments about product selections, pricing, ordering, delivery, business policies or other customer service issues, please do not use a product review. Instead, directly for a resolution.
- International Orders
- Currency conversion rates are close estimates only. All sales are processed in dollars (USD) and conversions are made by card-processing banks on the actual transaction date.
- USA Only
- ECO Saver delivery times are not guaranteed.
- SURFACE and AIR delivery options are guaranteed.
|Eco Saver
|2 Day*
|1 Day*
|International Air***
|under $ 50
|$ 20.95-$ 60.95
|$ 51-$ 100
|$ 25.95-$ 80.95
|$ 101-$ 200
|$ 30.95-$ 100.95
|$ 201-$ 400
|$ 40.95-$ 120.95
|Over $ 400
|$ 60.95-$ 150.95
- Surface transport only to US addresses.
- *SATURDAY DELIVERY: Add $15 to 1 Day or 2 Day service.
- **Add $15 to 1 day or 2 day for Alaska, Hawaii, and Puerto Rico. (Extended area charge of $12 may apply to rural areas.)
- ***Call for international rates. Depending upon country, most charges will be between these rates. Duties and Taxes are not included in the shipping price. FedEx may charge brokerage fees for some countries. You will be responsible for these charges.
- AFO/APO Addresses: Orders will be shipped Priority Mail.
All in-stock Aerostich products and RiderWearHouse Catalog items ordered before 2pm CST will be shipped within 2 business days. (If a specific size and color of Roadcrafter suit is not in inventory, we will notify you with an estimated delivery date. Production time varies.) All standard Aerostich items may be sent back for a refund, but the item(s) being returned must be in new condition.
Worldwide Orders
Buying direct from the United States is easy and convenient. Credit cards, fax machines, direct dial telephone service, and air shipping allow easy transactions between countries. For estimates on Duty & VAT costs, visit https://www.dutycalculator.com/calculation/, a third party import duty calculator.
We do not charge or cover duties, taxes or brokerage fees. FedEx may charge brokerage fees for some countries. You will be responsible for these charges.
Product Videos
What is the Difference Between a Roadcrafter Classic and an R‑3?
The RC Classic is the original Aerostich suit, updated and refined. It's fully lined and was created to be an armored coverall constructed along the lines of a leather rider's suit but in textiles. For this reason (the 'leather's' way it is put together) it isn't perfectly waterproof. It is pretty good, using about 30 meters of waterproof seam-sealing tape per garment, and modern waterproof zippers everywhere, but since its original and primary focus was commuting and ease-of-use, RC Classic can leak slightly in areas which are not seam-tapeable.
In most rain situations this suit is good for about 30 minutes on an unfaired bike. Then it may leak a little in the crotch because water pools when sitting (depending on how the fabric folds) and may drip through the zipper-attaching stitch holes. Riders with fairings and windshields often think it is totally waterproof even after all-day rain rides. This suit has been in production for over thirty years, which is fifteen years before the Gore-Tex company introduced waterproofness certification programs, so it's grandfathered. It's still great gear, still popular, and works and wears very well in almost all situations.
The R-3 is the third-generation Aerostich one piece coverall. It's unlined like a lot of today's most technical and lightweight waterproof outdoor gear, and it does pass the rigorous certification for rainwear. We sometimes think of it as an armored and highly abrasion-resistant rain suit. Its impact armor is attached to the inside with adhesively bonded hook-and-loop. This suit wears slightly cooler in really hot conditions absent a separate inner lining. There are numerous other small refinements the RC Classic does not have.
In summary, the RC Classic has become an actual classic just as 'Levi's 501' denim jeans and many other long-popular products. Many riders like it exactly the way it is. The R-3 waterproof one piece suit is what we make today for the same intended applications, but incorporating the technology and experience we now have.
How to Get a Functional, Comfortable One-Piece Suit Fit:
Start with your height and body length…For a person's given overall height, some will have longer-bodies-with-shorter-legs, and others have shorter-bodies-with-longer-legs. After a suit is sewn and completed there is no simple or cost-effective way to then make the garment's torso length (the distance from crotch to collar) shorter or longer. A few specialized alterations can help slightly (see 'ellipse' below), but they are imperfect Band-Aids.
Garage mechanics and others who wear coveralls for a living know a lowish crotch and baggy seat means they'll be able to raise their arms upward fully and comfortably. When one does this arm-raising to horizontal, the entire torso section of a one-piece suit slides upwards about 1.5". The suit's bulky shoulder impact armor move it that way. And when you lower your arms, the suit body area should slide back downward smoothly.
Aerostich gear is graded by chest size (38, 40, 42, 44, etc) and each is available in short (S), regular (R) and long (L) versions. If you are borderline height-wise, part-way between an 'S' and an 'R', go with the longer body length of the 'R'. And if you are somewhere between an 'R' and an 'L', go with the longer body of the 'L'. The extra body length in each size is about 1.3" greater. And if you ride a sport bike, or are an especially active rider and want maximum freedom-of-movement, a slightly longer body sometimes works and feels a bit better.
Leg and sleeve lengths should be adjusted as needed after your body/torso length has been determined. For a comfortable and correct fit with your raised arms out to your side horizontally (both at the same time), you should still have very slight room at the crotch.
The suit's body, sleeve and leg diameters are exactly the same for each 'S', 'R' and 'L' version of a particular size. For example, the dimensions around your body of the 38S, 38L and 38R are identical. The circumferences are exactly the same.
A riding suit's leg lengths are correct if, when standing normally, the hem breaks (wrinkles) slightly against the front of your riding boot just above the foot's arch, and the top edge of the TF knee impact armor cup is positioned near the center of your kneecap. Then, as you sit on your bike, the hem will rise about 1.5" and the knee armor cup will slide upward and center itself over your bent knee.
A riding suit's sleeves are the correct length if, when standing normally with your arms hanging loosely by your sides, they end about mid-way between your knuckles and your wrist, measured at the center back of your hand. The center of the TF impact armor elbow cup should also be centered on, or very slightly below, your elbow.
Specialized Motorcycle Configuration Considerations:
For comfort with low handle bars and higher positioned rear-set footrests, all one-piece riding suits will fit better with the 'Extra Forward Rotated Sleeve' alterations, and may also benefit from an 'ellipse' added to the center of the back. In addition, an 'expanded knee' alteration is available which provides slightly more space for knee armor when knees are bent more sharply.
For active off-road riding requiring maximum freedom-of-movement and upper-arm ease, underarm 'V' gussets may be added to increase upper sleeve diameter and provide extra room across upper chest and shoulder areas.
Learning Your New Roadcrafter Classic or R 3 Suit: Tips and Helpful Hints.
Yes, there is a break in period…Your new suit may feel stiff compared to more familiar types of clothing. You'll experience improvements in comfort, fit and function the more you ride, from first few miles and onward (nearly indefinitely). All Roadcrafter and R-3 suits continue to improve with added wear and miles.
The best way to put on an R-3 or Roadcrafter Classic suit is to hold it in front of you by it's 'chest',one hand on each side of the fully separated main zipper. Then, lower the garment slightly while moving it slightly to the right and raise your right leg and put it into the right leg of the suit. Next, pull the entire garment upward, release your right hand from the front of the suit and put it into the right sleeve, exactly as you would pull on a jacket. Lastly, your left arm goes into the left sleeve (just where you'd expect) and you are ready to start zipping up (…down, actually).
This does take a bit of practice, but it quickly becomes natural, fast and easy. It's the best way to get into a one-piece coverall with the least amount of bending and contorting, and the garment also spends the least amount of time dragging on the ground. That's why it's two main entry zippers are on the 'inside', instead of the outside (as on work coveralls, where the zippers are on the outside of the legs and the front zipper only goes to the crotch). This extra ease is important because your suit's intended purpose is as an 'all-in-one' protection and comfort solution for daily commuting and short-hop A-to-B riding. For when you want better protection than your street clothing provides with less rigmarole than changing into conventional gear.
To more quickly learn the suit's unusual main zipper, which starts nearly under one's chin,practice in front of a mirror a few times to memorize how to hold and engage the two main zipper sliders. These slider 'handles' are captured close together between the knuckles of the first three fingers of your right hand. Your opposite (left) hand then slides the other side of the zipper's end into both sliders. After being fully inserted, release the two slider handles from between your knuckles and grasp only the lower slider's handle. Then zip it downward to about your knee. At that point either lift and bend your left leg slightly and complete the zip, or bend over slightly and zip to the bottom. Most suit wearers seldom (or never) use the snap at the bottom of the zipper.
The removable collar hold-open magnets make it easier to ventilate the suit in hot conditions and are especially useful if you ride a motorcycle with a fairing or windshield, but they do have limitations. If your local climate isn't always warm, remove and put the magnets on the side of your tool box or refrigerator. Otherwise you might sometimes end up fighting with them as they try to keep the collar open when you wish to keep it closed.
Your new Aerostich suit will wear perfectly when the weather is nice, and will feel even better when the weather is lousy. You may discover that riding places in bad weather, when nobody else is out riding, is fun. It can be a little extra-satisfying to be on two wheels when everyone else on the road has no idea why you are out there in the first place…much less that you are reasonably comfortable. And if you've ever thought some non-riders might have considered you slightly 'off' because you enjoyed riding in the first place, wait until you walk into a workplace or grocery store wearing your dripping Aerostich suit after riding there thru a severe rainstorm. No amount of nice friendly smiling on your part will be enough. So enjoy the ride.
Details Make a Difference: Heated Gear Power Cord Port
This hidden cord port is part of all one piece Roadcrafter Classic's and R-3's. It's a pass-thru for a short wire that connects any electrically heated clothing to the outside of the garment. The other side of this pass-thru is behind the lower flapped pocket that is on the left side.
How it works is you position either a coily power cord (#172) or jumper cord (#162) so the end of the cord that connects to the electric garment is dangling out of this port on the inside of the suit. The other end is 'stored' in the pocket that forms behind the lower left flapped pocket on the outside of the suit.
When you are ready to ride somewhere with an electric garment beneath the suit, you first put on the electric garment. Then you put on the suit. Then you connect the power cord or jumper cord to the electric garment. Then you zip the suit closed around you. Then you get on the motorcycle (or stand close to it) and remove the other end of the cord from behind the flapped pocket and plug it into the power on the motorcycle. Then you ride away warm and comfortable.


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I want to solve a linear program using the simplex method, and I know that all my inequalities will pass through the origin (therefore, either my initial solution of (0, ... , 0) is optimal, or the program is unbounded; I'm only really interested in distinguishing between these two cases).
So here's how I think the algorithm would work: Step one is to pick a pivot variable. Step two - and here's where I think things break down - is to find the equation with the smallest value of the constant to the coefficient of the pivot variable. But since my inequalities all pass through the origin, the constant is 0 every time, so all equations are an equally valid choice for the pivot. This reduces the Simplex Method to a brute-force search of the set of basic variables, which would make it run in above-polynomial time.
Is this correct? Or am I missing some feature of the Simplex Method that handles this case?
Thanks in advance!


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Related Topics:
What is "butler finish nickel?" How does one apply this finish? R.J.
This question was asked by another reader a number of years ago. Here is the response I gave at that time. The butler finish nickel is a fine satin finish. This finish originally resulted from the regular cleaning and polishing of fine silverware. One way to produce the finish is to wet scratch the surface with a suitable wire brush. An easier way is to buff the surface using fine grit, greaseless buffing compound. The type of nickel bath is important. Bright nickel baths give a finish that is too glossy so a dull or semi-bright bath should be used.
Since you have not used this process before I suspect you will have to do some experimentation with the conditions in order to get the most satisfactory results.


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Putting a new spin (literally) on the adaptive snowboards that let those with physical disabilities still enjoy snowsports, the folks at Signal Snowboards worked with Crankbrothers to design what could be the world's first snow-friendly wheelchair.
Using parts from a mountain bike the creation lets a rider—in this case a good friend of the company named Tim Ostler who was paralyzed from the chest down in a halfpipe accident—carve their way down a slope with as much control as any other snowboarder. It actually looks like it was one of Signal Snowboard's more difficult builds, but at the same time definitely one of the most rewarding. [Signal Snowboards]