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As Apple goes, so goes Google, where smartphones are concerned. The company has made great strides with its Android operating system by taking an Apple invention, the iPhone, and putting something like it within the grasp of a variety of hardware and cellphone carrier partners. Apple's most significant move this month — its rollout of AirPlay to app developers and electronics manufacturers, allowing smartphone music to play wirelessly on home stereos — is now ripe for similar treatment at the hands of Google.
Apple AirPlay represents a sea change where music is concerned. Today's smartphone apps are capable of things that never would have been possible with a traditional MP3 player, like streaming music from Pandora and other services that cater to a listener's every whim. Now, AirPlay can put those incredibly powerful music sources on the best speakers in the house, making iPhone music apps a real, simple option for home listening.
But as with many other things Apple, AirPlay is a proprietary standard. Denon/Marantz and other companies that make AirPlay-compatible speakers and sound systems must work directly with Apple in order to do so, and will almost certainly be subject to the same sorts of licensing fees already paid by any company that makes iPod and iPhone accessories capable of connecting to Apple's proprietary iPod, iPhone and iPad docks.
Just as it open-sourced the iPhone concept with Android, Google could open-source the AirPlay concept, giving itself a key advantage over its Cupertino rival. Google announced in October that it is doing something like this, with a feature called Fling that will enable users to stream audio and video from Android phones to Google TV. However, that misses the point: The real opportunity here is to create a wireless entertainment standard for zapping music and other digital entertainment from smartphones and other app-running devices to home stereos, powered speakers, car radios and so on — not just to Google TVs.
Apple has already figured this out. Will Google follow its lead?
Evolver.fm covered every Apple AirPlay-compatible speaker system we could track down earlier this month, finding that Denon/Marantz was first out of the gate, due to its early behind-closed-doors work with Apple on those devices. Now that the cat is out of the bag, home audio manufacturers will line up to implement Apple's proprietary AirPlay standard too, the same way they did with iPod-docking speakers. As they did with iPod-connected speakers, manufacturers will almost certainly have to pay for the privilege of connecting to Apple's devices wirelessly.
Google, with its deep pockets and predatory view of Apple's iOS ecosystem, could easily offer its own AirPlay-style protocol for free, open-sourcing it so that any speaker manufacturer would be able to add Google Fling without paying a licensing fee. At that point, Google's entertainment platform would become the cheaper and possibly more attractive option for both manufacturer and consumers, while offering the same features pioneered by Apple — again.


text:
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subset: commoncrawl


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Chris Dodd: The Internet Developed Because Of Strict Copyright Enforcement
from the keep-digging deptIt's really quite amazing just how badly Chris Dodd still doesn't seem to get what happened in the SOPA/PIPA fight. Every time he opens his mouth to "explain" what happened, he just looks less and less and less aware of what actually happened.
His latest discussion on the topic came at the National Association of Attorneys General meeting in Washington DC -- a "friendly" audience for Dodd. His discussion starts around the 2 hour, 10 minute mark if you want to fast forward the video. For reasons that are unclear, CSPAN has disabled embedding on this video. Either way, Dodd continues to show off that he has no idea what happened. The specific "panel" that he's on is (of course) pretty one-sided. It involves him, old friend Rick Cotton from NBC Universal ("just think about the poor corn farmers!") and then two university officials to talk about how they're forced to censor the internet because of draconian laws that the MPAA pushed through (where there's at least a little pushback on the ridiculousness of copyright law, but just barely).
Dodd does his usual nod to the fact that the MPAA is "pro-internet" and "pro-innovation" and how any "solution" has to keep a free and open internet. That's funny, because the proposal he backed over the last year didn't actually do that. So, it's a bit late to say that now. And, next time, if he really wants to protect the free and open internet, perhaps invite some of the folks who actually built it to the table, rather than shutting them out, calling them liars and trying to dismiss their concerns. It might help people take him more seriously when he talks about how much he loves the internet.
He goes on to talk about how an example of "good" legislation was the kind that the MPAA shoved through a few years ago, forcing colleges and universities to become copyright cops. Not surprisingly, Dodd happens to leave out the part where the MPAA was so egregious in lying with bogus stats to get that law passed that it eventually had to admit it lied. Of course, that didn't stop the law from passing.
From there he launches into a defense of SOPA without naming SOPA. He takes us on a tour for the ages of bogus, debunked or misleading stats, in talking about just how evil "foreign rogue websites" are -- leaving out the actual facts, including that existing laws seem to be doing just fine in tracking those guys down. He neatly conflates counterfeit drugs and bulletproof vests with people downloading movies. Funny, because I don't think anyone's ordering bulletproof vests from Megaupload.com. On top of that, he claims that (unnamed) search engines are reaping billions in profits from these sites, which is flat out bunk.
He concludes by asking the assembled attorneys general for "help" in dealing with this "ever growing problem." Wait, I thought that the MPAA was insisting that the "problem" was getting under control... but now they're admitting that it's "ever growing"? Yeah, okay...
Rick Cotton's talk is no less ridiculous. He kicks off by telling the attorneys general that it's time to end "the wild west" of the internet, and that we can't think of the internet as "Somalia" any more. This is, of course, totally and completely ridiculous and Cotton should be ashamed for such blatant misinformation. After all, he's been a key player in helping to pass many of the 15 different copyright laws in the past 30 years targeting "piracy" -- with many focused directly on the internet. To pretend that the internet is "the wild west" is just flat out ridiculous. He quotes the bogus Mark Monitor report claiming tons and tons of traffic to infringing sites. And while he admits that Megaupload has been shut down, and that it represented a huge portion of that traffic, he ignores the point that this was under existing laws. And yes, he says this right after insisting the internet is lawless.
Rick Cotton is shameless in his disinformation efforts.
When they get to the question section, the first question is to Dodd about SOPA (which neither he nor Cotton mentioned directly). Dodd starts out with his usual talking points about how this was unprecedented -- that the bill had tremendous bipartisan support, and how SOPA was just about foreign sites (ignoring that the original draft of SOPA was not limited to foreign sites -- yay misinformation!). Dodd pretends that a bunch of these sites "learned" from the "over 300" domain seizures to set up in foreign territories -- ignoring that most of the sites he's complaining about have been around for much longer. He also skips over the bogus seizures and the questionable legality of the seizures themselves. Minor details, apparently.
He then states that it's unlikely that these bills will move forward this year, but "there are efforts underway" and he's hopeful that solutions to "this problem" are being worked on.
And he concludes on the doozy that I point out in the title, claiming that the internet itself would have been at risk if the tech industry had "the same attitude" to copyright as they do today:
The internet itself would have been in deep trouble, if you'd had this attitude about copyright twenty years ago -- where the very ideas that gave birth to this industry would be at risk.Oh really? Which ideas? Ideas about freely sharing information and code? Ideas about not caring if anyone could copy your source code -- in fact requiring that such copying be allowed? To claim that the internet industry's view on copyright law has somehow shifted from being protectionist to not just shows, yet again, how Dodd has absolutely no clue what he's talking about on this subject, and should maybe take some time to talk to people who actually work in the industry before he makes a bigger fool of himself.
From there Mark Shurtleff, Utah's Attorney General, blamed the whole SOPA/PIPA situation on a "well-orchestrated" online campaign that was based on pure lies. Um. It's ridiculous to hear him say this after sitting through nearly an hour of lies from the pro-SOPA/PIPA camp. He even admits that his own kids argued against him. Perhaps he should listen to them, because it appears they were a lot better informed than their father. He notes that he's now afraid that any attorney general that tries to "stick his or her neck out" on these issues will get similar SOPA/PIPA treatment -- so he asks Chris Dodd and Rick Cotton to come up with "a plan" to help them.
That, right there, is pretty incredible. A US state attorney general, asking private industry how to help them avoid having to deal with the public speaking out against plans to censor the internet and attack internet openness. Wow.
Dodd responds by saying that the movie industry "needs to move into the social media space. We were not in that space at all." That's pretty ridiculous. The MPAA has a blog. I mean, they don't allow comments on it, and it's sort of the laughingstock of anyone who actually understands these issues, but they have that. They also funded and supplied the key employees for "Creative America" -- the astroturfing group that supposedly is trying to round up supporters for SOPA and had an active Facebook page and blog... though the Facebook page mostly involved discussions about just how laughable Creative America's positions are.
SOPA supporters had an online and social media presence. It's just that they didn't have reality on their side. That's the problem. If Dodd and the MPAA ever bothered to understand what actually happened perhaps he'd stop making these crazy claims.
Either way, the clear conclusion from this talk is that folks like Dodd and Cotton still have no clue what happened and still don't understand the issues at hand. They're still approaching this from the old way of doing things, where it's politics as usual. They're not interested in really understanding what the public was concerned about and they have no intention of actually listening to what was said. All of the strategies discussed were about "reloading" on their side, not about actually talking to the people who understand the internet. It's sad, but it means that SOPA and PIPA will be back, though as Dodd explicitly says "hopefully it won't be called SOPA any more..."
Filed Under: chris dodd, copyright, history, internet, pipa, rick cotton, sopa
Companies: mpaa, nbc


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Liberty News
TV station airs interview with President Falwell on healthy habits
Led by President Jerry Falwell, Jr.'s commitment to weight loss (73 pounds to date), Liberty University has experienced a health revival. Falwell's lifestyle shift garnered the attention of WSET-TV, Lynchburg, Va.'s local ABC station, which aired a story on Nov. 7, featuring an interview with Falwell and Liberty staff who have been inspired to change their habits as well.
The broadcast also highlighted Liberty's commitment to promoting health and wellness campus-wide, as the school was recently ranked the third healthiest college in the nation by The Daily Beast.
Liberty has become a champion of health in the local community, promoting wellness initiatives in the area while it encourages its students, faculty, and staff to live holistically healthy lives. Liberty has enhanced its recreational opportunities, providing a variety of ways to stay active.


text:
The History of Italian Cinema: a Guide to Italian Film from its Origins to the Twenty-First Century
Gian Piero Brunetta
Princeton, NJ, Princeton University Press, 2009, ISBN: 9780691119885; 397pp.; Price: £19.95
University of Bristol
Date accessed: 9 April, 2020
This new history of Italian cinema is in fact a translation of Gian Piero Brunetta's 2003 volume Guida alla storia del cinema italiano 1905–2003 [Guide to the History of Italian Cinema 1905-2003]. It is difficult to give an accurate sense, for the non-Italianist, of Brunetta's stature within the field of Italian film studies. Professor of Cinema History at the University of Padua, his works on Italian film have been voluminous and palimpsestic, frequently overlapping and regularly being reissued in slightly different forms. His major work is his four-volume Storia del cinema italiano [History of Italian Cinema](Einaudi, 1993), of which the last volume was reissued in updated form only this year. The four-volume Storia is the 'ineluctable point of reference' for any scholar working on Italian film, and overshadows all other such works.(1) Furthermore, Brunetta's prolific output, and the undoubted authority with which he speaks, mean that he occupies a central position within the study of Italian film in Italy and abroad; as Alan O'Leary writes, 'Italian cinema studies is written after Gian Piero Brunetta's pioneering work, and is always indebted to it'.(2) This is the first English translation of his work.
Brunetta opens his work by making a distinction between the activity of the critic and that of the historian, placing himself firmly in the latter camp: 'while critics tend to separate, to distinguish, to condemn, and to create hierarchical values (often with ephemeral longevity), the historian's primary task is to shed light on the relationships between different elements' (p. 4). History is the watchword of Brunetta's text, and the growing body of accessible archival sources on the history of the Italian film industry is enthusiastically, even over-enthusiastically, welcomed by him: 'hopefully a new historiographic spirit will continue to ascend – like a Pentecostal spirit – among university scholars in Italy and abroad' (p. 6). It is worth pausing for a second to unpack some of the disciplinary issues raised by these comments. Historical and empirical research on film emerged in the 1970s, particularly in North America; David Bordwell traces its rise to the decline of so-called 'Grand Theory' (semiotics, psychoanalysis, structuralism).(3) What Bordwell calls 'middle-level research', small-scale studies of the material practices of film, is analogous to Allen and Gomery's refusal of what they call 'superhistory', a totalizing history that 'could be written only if this or that "correct" perspective were taken and all the facts of film history uncovered'.(4)
The 'historical turn' within film studies has involved a focus on audiences and reception history, and the archival study of production, distribution and exhibition contexts, as well as the histories of technologies. Janet Staiger's important work on historical reception studies in 1992 laid the ground for a materialist approach to the empirical spectator, assumed by psychoanalytic criticism to be ahistorical.(5) In this approach film viewing practices are shown to be embedded in social and economic contexts, and Staiger and others such as Robert Allen, Richard Maltby and Miriam Hansen have demonstrated the effects of gender, race, geography and class on the historical interpretation of films.(6)
In the UK work on audiences and reception is flourishing, and empirical work has been combined with more traditional theoretical approaches, as in the seminal work on popular reception of stars by Jackie Stacey.(7) This type of broadly culturalist approach is very much the norm in UK film studies. In Italy, however, where there has never been an academic tradition of cultural studies in the sense in that the UK and the USA have known, there has been relatively little Italian work on the history of technologies, or of exhibition and reception, and a certain critical insularity has prevented the dismantling of what Allen and Gomery critiqued in 1985 as the 'masterpiece tradition', based on aesthetic valuation. Valuable work on the historical audience, often involving oral histories, has been somewhat sidelined, while philological approaches to the history of film texts and genres have prevailed, generally asserting the primacy of the director as supreme auteur.(8) Significantly, Brunetta immediately slides from the macrohistorical paradigm he lays out ('the final analysis shows Italian film history to be relatively unified despite its complex, multisided structure, irregular development and discontinuities', (p. 8)) and a praise for the 'philology of film' that is at the heart of Italian critical practice (p. 6). So for Brunetta the film-text itself is at the core of his project (along with its originator, the director, as we shall see), and his interest in the economic and social conditions in which films are produced and consumed is permanently at war with his view of the great films by auteurs such as Roberto Rossellini, Vittorio De Sica and Federico Fellini as transhistorical objects, consumed by undifferentiated spectators.
The book is divided into five chapters, and aims to give a chronological account of the development of Italian cinema, from its earliest manifestation in popular travelling shows to its current attempts to compete with a media landscape transformed by TV and internet. In the book's first two chapters, on early cinema and cinema under Fascism, Brunetta is quite successful at relating texts, genres, practitioners and technicians to social and industrial changes, writing interestingly, if all too briefly, on the evolution of the travelling cinema or the role of the cinema barker; he is able both to detail Fascism's instrumentalization of cinema through its institutions, and yet shows how Italian Jewish directors and émigrés from Germany and Austria still found work in the film industry of Fascist Italy . He gives a brief but fascinating account of film production in the Republic of Salò, the puppet government set up by the Nazis in 1943 with Mussolini at its head. Although the republic lasted only 18 months, 19 films were put into production, and this interlude remains underexamined.
In later chapters, however, although social, economic and political history are in the background of Brunetta's narrative, its structuring principle is auteurism: his account conceives of directors as social actors largely disengaged from their contexts, even as free-floating geniuses. In addition, one of Brunetta's major blind spots is an obsession with neorealism, the loose grouping of post-war films that documented the period of post-war reconstruction including Roberto Rossellini's Rome Open City (1945) and Paisan (1946) and Vittorio De Sica's Shoeshine (1946) and Umberto D (1952). The overdetermined construction of neorealism as the privileged origin of Italian cinema, as its ground zero, has the effect of relegating all other production of the post-war period to the margins. Brunetta's conception of neorealism as a new beginning acts as the basis for his vision of Italian cinema in genealogical terms. His narrative is full of metaphorical fathers (with Rossellini the supreme father figure), maestri, successors, legacies and patrimonies. The repetition of these metaphors leads to a certain unintentional absurdity: if 'the umbilical cords that connect the neorealist fathers and subsequent generations have never been severed' (p. 157), then Brunetta is ascribing to the male director the function of both siring and birthing, his patriarchal language emphasising the redundancy of any female presence. In fact, men are also responsible for delivering the filmic progeny in this paradigm: Cesare Zavattini, the screenwriter of De Sica's neorealist films, is described, presumably not literally, as 'guide and midwife' (p. 135). It is clear that the repressed of Brunetta's homosocial text is the absence of women, except as the buxom, shapely stars in the 1950s, and a few exceptional female directors.
An example of what is lost to film history and criticism by the privileging of great auteurs and realism as a mode in the post-war period can be seen in Brunetta's observation that post-war cinema 'depicted the dynamics and transformations of Italians' lives – a "public diary" of their attitudes and collective mentality' (p. 126). 'The people' are constantly invoked here, though the concept is never interrogated, nor is it explicitly gendered. Although Brunetta notes the range of genres operative in this period, and the prevalence of melodramas and operatic films with a Resistance or war theme, his statement that 'for a time, everyone hopped on the neorealist bandwagon' (p. 140) overlooks the function of this rich array of genres in representing and working through the experience of occupation and Resistance. In fact, Mary Wood has argued that 'realist cinematic conventions were insufficient for the maximum perception of the complexity of the historical context' in this period, and that the 'affective charge' of melodrama was essential for restoring this complexity.(9) The problem with melodrama, of course – which rendered it suspect to the left-wing critics of the 1940s and '50s, and indeed to today's critics – is that it is assumed to have a female address, and an appeal to the emotions, through the use of suffering female protagonists and family scandals as a way of staging and working through the national trauma. Brunetta has a huge knowledge of film production in this period, and he is able to lay out all the pieces, but his ideological stance prevents him from seeing neorealism as merely a generic variant among many in the period, and one which was ill equipped to represent the experiences of women.
The spectator in this period is constantly invoked: he is universal, transcendent, ungendered and assumed to be acting in the way that Brunetta thinks he acted. For example, Brunetta says that Rossellini 'restored man's greatness to the camera' (p. 121) and repeatedly asserts that the audience recognised themselves in his masterpiece Rome Open City: 'it was a magical, unique moment' (p. 123). Unfortunately we know very little about historical audiences in this period, apart from the fact that they tended to prefer films other than neorealist ones. Brunetta's hyperbole ('all knowledge, every paradigm and rule of films, had been swept away' (p. 125)) leaves unasked questions about the real popularity of neorealism, and about the preferences of audiences for weepies, opera films, comedies and swashbuckling adventure films, particularly once Hollywood films re-entered the Italian market. It also fails to address the question of neorealism itself as a mode that incorporates a wide range of stylistic practices and generic elements, including Hollywood ones.
Throughout the book Brunetta has a keen eye for changes in the film industry, and is especially good on the co-productions of the 1950s and 1960s; he argues for the need to study TV movies in the changing production context of the 1980s onwards, and shows an appreciation of cult genres such as sex comedies, westerns and horror. Again, though, Brunetta's appreciation is hamstrung by his reflectionist view of the relation between film texts and genres and their contexts. So when he argues that studying the popular comedies of the 1960s and 1970s is valuable, his argument is that their value lies precisely in their ability to document social change: '[they] provide us with an overview that could have been used in an annual report of sociological statistics documenting the Italian society' (p. 185). Earlier he had noted that the films of popular realism of the 1950s offer 'a preview of future sociological investigation and census-taking that would be offered later by Italian institutions like Doxa, Istat and Censis' (p. 127). It goes without saying that film does more than document social change, and while Brunetta has perhaps felt it necessary, within a very conservative Italian academy, to assert the sociological worth of film, one feels that he has forgotten Jameson's view that narrative forms themselves are ideological acts.
Brunetta's knowledge is encyclopaedic, even if he could have been better served by his editor at times, as his tendency towards lists (of directors, films, technicians), is a little overwhelming, and probably unhelpful for the casual reader. For example, page 301 is entirely composed of a list of debut films from the 1990s, and it would have been interesting to have fewer titles and some analysis. Brunetta's style – his predilection for the colourful and elaborate metaphor - makes for a difficult translation task, but it has to be said that there are many infelicities here: the suggestion that the popular actors Aldo Fabrizi and Anna Magnani 'break new air' (p. 89) in a 1943 film is puzzling, as is the assertion that they were 'ferryboat captains' (p. 91), and there is a truly staggering passage which runs thus: '"Mamma mia, Italian cinema got smaller!" The average Italian moviegoer might say something like this if she or he were to awake after thirty years of hibernation' (p. 255). Neither has Brunetta's tendency to mix metaphors been resolved in the translation: Italian cinema 'has breathed in and digested the surrounding atmosphere' and 'fed on contemporary political humours' but it 'was traversed by winds and currents that blew and flowed in more than one direction' (p. 9). There are also many typographical errors, a shame from a publisher such as Princeton. The Berlusconi-owned holding company of which film production and distribution arm Medusa is a part is Fininvest, not Finivest; Fellini's 8½ is inexplicably rendered as 8 throughout; De Sica's Ladri di biciclette ('bicycles' plural) is given as Ladri di bicicletta ('bicycle') etc. It is to be hoped these errors will be corrected in a future edition. Finally, the question of the text's addressee is interesting: of the voluminous secondary reading referenced the vast majority is in Italian, and therefore difficult to access for the undergraduate student of film or the casual reader, whilst the reader with a strong reading knowledge of Italian and access to Italian libraries will presumably prefer to read the book in the original. It might have made sense for Princeton to slim down both the text and its references, and offer a comprehensive English-language bibliography, as there are many relevant journal articles and collections in English that Brunetta does not cite.
In one sense it is misguided to take Brunetta's work as the sober work of history he claims it is: despite the author's protestations, it is intended, and written, as a passionate, infuriating, subjective guide to Italian cinema. It is impossible to doubt his belief, his religious faith in the moral and ethical transformative power of a certain kind of Italian cinema; his closing note (in the epilogue, written in 2007, that is, after the main body of the text, which dates from before 2003) that contemporary Italian filmmakers 'are attending an uninterrupted banquet with the mystical body and blood of Rossellini (and that of Zavattini, Olmi, and Pasolini as well)' (p. 320), might raise eyebrows for the seeming equation of Rossellini with Jesus Christ, but this Christological analogy is the logical conclusion of Brunetta's act of faith. To critique his view of the golden age Italian cinema as a 'Renaissance workshop' is beside the point, in a way. You either believe or you don't, and the text's force is as an act of persuasion, of proselytising and conversion. If another film historian were to write the words with which Brunetta closes the body of the text, 'if Italian cinema is to become competitive again, filmmakers have to once again believe that they can fly' (p. 314), with its unconscious evocation of R. Kelly, one might despair at such an idealistic, ahistorical (and cheesy) aspiration. Yet with Brunetta, it makes sense. Ultimately what comes across from his text, is not so much a philology of film, but a theology, in which faith and absurdity exist side by side.
The author has not responded to this review.
- Alan O'Leary, 'After Brunetta: Italian cinema studies in Italy, 2000 to 2007', Italian Studies, special issue on 'Thinking Italian Film', ed. A. O'Leary and C. O'Rawe, 63, 2 (2008), 279. I am grateful to Alan for his comments on this review.Back to (1)
- Ibid. Emphasis in original.Back to (2)
- David Bordwell, 'Contemporary film studies and the vicissitudes of grand theory', in Post-Theory: Reconstructing Film Studies, ed. D. Bordwell and N. Carroll (Madison, WI, 1996), p. 29.Back to (3)
- Robert C. Allen and Douglas Gomery, Film History: Theory and Practice (New York, NY, 1985), p. iv.Back to (4)
- Janet Staiger, Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton, NJ, 1992).Back to (5)
- Robert C. Allen, 'Relocating American film history', Cultural Studies, 20, 1 (2006), 48–88; Richard Maltby, Going to the Movies: Hollywood and the Social Experience of Cinema (Exeter, 2007); Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA, 1991). See also the debate in Cinema Journal, 44, 1(2004) on where film history and empirical research is going.Back to (6)
- Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London, 1994). Stacey's emphasis on oral history has influenced Annette Kuhn's An Everyday Magic: Cinema and Cultural Memory (London, 2002), and current projects such as the AHRC-funded 'A History of Television for Women in Britain: 1947–1989', being carried out by Rachel Moseley, Helen Wheatley and Helen Wood. See also John Sedgwick's articles on economics and exhibition in the UK, and recent articles such as Luke McKernan's, '"Only the Screen was Silent…" memories of children's cinemagoing in London before the First World War', Film Studies, 10 (2007), 1–20.Back to (7)
- On the Italian audience, see the work of Mariagrazia Fanchi, particularly Mariagrazia Fanchi, 'Un genere di storia. Alcune considerazioni su storia di genere e storiografia del cinema', in 'Cinema e Gender Studies', ed. G. Alonge and R. West, edition of La valle dell'Eden, 19 (2007), 183–93; Spettatori : forme di consumo e pubblici del cinema in Italia, 1930-1960, ed. Fanchi and E. Mosconi (Rome, 2002).Back to (8)
- Mary Wood, Italian Cinema (Oxford, 2005), p. 109.Back to (9)


text:
Roadster lease as a way to bump up your reservation #
Roadster lease as a way to bump up your reservation #
Who says that your reservation number is pushed out by Roadster lease participants?
Those who purchase Roadsters can get an R- reservation, which I believe takes priority over regular reservations. But those who lease Roadsters, as far as I know, get no priority.
You can jump ahead of even the Roadster owners if you want. Just need to put the money down for a Signature Series Model S.
I don't think this was inappropriate Dan...this was clearly explained to me at the time I placed my downpayment for the S Car.
What was very inappropriate was the way my wife laughed at me when I suggested that we lease a Roadster to move up on the S Car waiting list! ;)
(I told her that really, we could take the Roadster back when the S Car was ready, but she knows that wouldn't happen...once you've driven a Roadster, it's too late...you're "infected" for life! ;)
As a holder of one such leased vehicle, I would like to set Todd straight and clarify that lessees and owners both jump ahead onto the R list.
hmm..sounds like my decision to reserve or not has now been simplified!
I think the lease line jumpers have to reserve a signature series. (And the lease til your modelS arrives promotion is supposed to end this month, so the # of line jumpers won't be too huge)
Ahimberg, I was advised last week by a Tesla rep that both Signature series reservation holders and Roadster owners / lessees will jump ahead of regular Model S reservation holders.
I'd only write the check if it meant i was guaranteed the car i am buying at a specified time. otherwise, why have someone "borrow" my money and tell me "sorry you were too far down the list", we're sold out. This is quite possible from how it sounds so far.
BTW i was too late to sign up for a test drive at our local event this past weekend. I was imagining how the regenerative braking system worked and would have really liked to ask more questions. is there an option to turn it off? my understanding is that as i let off the accelarator, the car slows itslef down w/o using brakes. If that's the case, coasting on the freeway will not be possible and we'd be losing on efficiency. Therefore, i hope we can decactivate it or the car is smart enough to detect that i am traveling highway speeds and will allow me to simply coast. i look fwd to your replies.
Cheng, I think you need to look at your funds on deposit as a place holder in a constantly moving line...I don't think the "sold out" analogy applies as manufacturing the S Car is an ongoing process...look at it this way...if you don't get a 2012, then you'll be at the front of the line for a 2013.
As 2012 is still a bit away, I'm not sure that Tesla can accurately forecast the number of S Car reservations that will be booked over the next 1.5 years...but, I'd bet that by not "waiting" in line, you'll probably have to wait when / if you place an order. If you don't have a place in line, and demand increases dramatically, you could be waiting a while...it's a gamble either way, but if you really want one, ...
I'm not technical enough to understand the math, physics and efficiencies behind regen braking, but I'd think that when viewing the over all package, recapturing the available energy from regen braking would be more important than the coasting effect.
There are many very technical & qualified members here...I'm sure someone with the proper knowledge & experience can speak to your concern.
Here Cheng, try this link (discussing coasting) to the "Club" website...
Here's a better one Cheng...
You get the effect of coasting by holding the throttle in its neutral position, which is perfectly normal once you get used to it. It's exactly like driving a big rig truck, believe it or not, where backing all the way off the throttle engages the exhaust braking on the engine.
I really like the way the throttle works on the roadster. On my daily commute, I only touch the brakes to hold the car stopped at lights.
Thanks guys. sounds like I like the Tesla setup but be nice to test drive first.
ggr is right. The regen is addictive. I want (and reserved) the Model S, but driving the Roadster is really dangerous. The continuous power surge but also the one pedal driving due to regen is so much fun to drive that I really had to talk some sense into myself to keep me from buying one.
To Ad van der Meer
I don't share your statement about "driving the Roadster is really dangerous".
On the contrary, I consider my Roadster as the safest car I ever drove.
1)Due to low sitting position, close to the road, I can enjoy at lower speeds (say 120 km/h) the same sensations as when driving a 4-door sedan at 160 or 170 km/h.
2)As one has so much power at disposal, one does slow down at every place where another car could come from, so much one knows that it will be so easy to speed up afterwards.
3)A Roadster can be driven as a Lotus Elise, famous for its behaviour on various roads
4)Regen could be dangerous if set up at a very high level. I can't imagine regen with a negative power of 200 kW at high speed when raining. However, I should very much appreciate to get higher regen power ; with my Roadster, I can never reach more than -38 kW, so that, when driving for fun (say faster than usual), one has to use the brakes to complete the deceleraton prior to entering a curve. By the way, the Traction Control is very well balanced : last winter, on the snow with regular summer tires, the TC was limiting the regen at -20 kW.
That's another safety point !
@Jacques; "dangerous" as in "I want to buy this even that I can't afford it".
At least that is how I understood that.
@Jacques: Timo is right. The roadster is not a good economical choice for me, but it is soooooo tempting.
lets say I am looking to be driving the model s by 2013, how far in advance would I neesd to put a deposit down?
Ummm...... now maybe? :D
Seriously, without knowing how long the reservation list is, whether the old NUMMI factory can hold to Tesla's expectations for 20,000 model S in a year, AND IF the factory can produce that many in the FIRST year of doing so, there is no WAY to predict how this will go, or when to submit a reservation with a specific delivery date in mind.
My only suggestion is to reserve as soon as you can, and make sure you specify the delievery date you want. I'm pretty sure it won't be BEFORE the date you specify, and it can easily be later than that if any problems crop up (and they might, noone can say for sure).
Hard to tell as nobody knows when he'll get his Model S even as he already has a production number. Rumors go that production will begin around middle 2012. Signature, owners, leasers and standard reservation will be served before you, so chances are that if you reserve one now you're allready in 2013... Especialy if the beginning of the production will be even later...
But I really don't know, on the other hand what do you loose with your reservation? Only a little fee. If you drop out you'll get your money back. Like I stated in an other post. As long as you believe that tesla survives the risk is minimal.
It is a bit inappropriate, seeing as how I don't fit in a roadster so the option isn't even available to me. (The top of my head is above the top of the car, and my sightline is the windshield frame; even the dealer said it would be unsafe for me to drive one).
I'm looking all over the website for the signature series. What is it and where can I read more about it?
The Signature Series is a larger deposit for the Model S. It bumps you to the front of the line ahead of production (P) and Reservation (R) holders and into the Signature (S) line. The exact details of what the Signature model will have haven't been released.


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Exhibits and Ongoing Events
The Life and Career of Kaneji Domoto
Exhibit - Multimedia | August 19 – December 16, 2019 every day | 210 Wurster Hall
Environmental Design, College of
This exhibition explores the complex story behind the only American Japanese architect and landscape architect at Frank Lloyd Wright's Usonian community, in Westchester County, New York in 1944.
The Languages of Berkeley: An Online Exhibition
Exhibit - Multimedia | September 1, 2019 – August 31, 2020 every day | Free Speech Movement Cafe (Moffitt Library)
Library, Berkeley Language Center
Celebrates the magnificent diversity of languages that advance research, teaching, and learning at the University of California, Berkeley. It is the point of embarkation for an exciting sequential exhibit that will build on one post per week, showcasing an array of digitized works in the original language chosen by those who work with these languages on a daily basis - librarians, professors,... More >
Power and the People: The U.S. Census and Who Counts
Exhibit - Artifacts | September 16, 2019 – March 1, 2020 every day | Doe Library, Bernice Layne Brown Gallery
Since 1790, the U.S. Census has impacted many aspects of our lives. It determines congressional apportionment, decides which communities receive a slice of $500,000,000,000 in federal funds, and provides information essential to policy making. Census questions also reflect the beliefs, concerns and prejudices of their time, starting with the first census which mandated that enslaved people be... More >
You Are On Indian Land: There There (On the Same Page 2019): An Exhibit of Library Collections relating to the Native American community of Oakland
Exhibit - Multimedia | August 26, 2019 – January 31, 2020 every day | Moffitt Undergraduate Library, 3rd floor
Tommy Orange's debut novel, There There, is this year's On the Same Page program reading. The entire campus community is encouraged to read the book and participate in classes and events this Fall.
Oranges debut is an ambitious meditation on identity and its broken alternatives, on myth filtered through the lens of time and poverty and urban life. Its many short chapters are told through a... More >
Show UCB ID to enter Moffitt Library
Pleasure, Poison, Prescription, Prayer: The Worlds of Mind-Altering Substances
Exhibit - Artifacts | March 15 – December 15, 2019 every Sunday, Wednesday, Thursday, Friday & Saturday | 11 a.m.-5 p.m. | Hearst Museum of Anthropology
Phoebe A. Hearst Museum of Anthropology
If you sip a cup of coffee, are you on drugs? If you try psychedelics, are you committing a crime? If you have a sweet tooth, are you a sugar addict?
Since the beginning of human existence, peoples of the world have altered their minds with countless plant-based substances. They have done so for many reasons, ranging from pleasure to health to ceremony, with effects both harmful and benign,... More >


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I'm taking a cryptography introduction course, and we're covering the definition of a secure PRF.
I understand the test goes as follows: A challenger picks a function $f$ such that
$f \leftarrow \left\{ \begin{array}{lr} b=1: k\leftarrow K, f\leftarrow \left(k,\cdot \right ) \\ b=0: Funs \left(X,Y \right ) \end{array} \right.$
Where $Funs(X,Y)$ is the set of all possible PRFs, The entire experiment is defined as $EXP\left(b \right )$, such that the output is the adversary's guess as to whether or not the challenger chose a function at random. A secure PRF is then defined as the conditions where
$\left | Pr\left[EXP\left(0 \right ) =1\right ] - Pr\left[EXP\left(1 \right ) = 1\right ] \right |$ is negligible. Or in other words, when the probability that the attacker's result is zero minus the probability that the attacker's result is one is negligible.
However, what if the adversary's detection method always returns one? This would imply that the cipher is not secure, but that can't be true.
What am I missing here?


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When they were boys, Sam and Dean Winchester lost their mother to a mysterious and demonic supernatural force. Subsequently, their father raised them to be soldiers. He taught them about the paranormal evil that lives in the dark corners and on the back roads of America ... and he taught them how to kill it. Now, the Winchester brothers crisscross the country in their '67 Chevy Impala, battling every kind of supernatural threat they encounter along the way.
|First Air Date
|September 13th, 2005
|Last Air Date
|March 23rd, 2020
|Drama, Mystery, Sci-Fi & Fantasy
|The WB, The CW
|Production Companies
|Kripke Enterprises, Supernatural Films, Wonderland Sound and Vision, Warner Bros. Television
|Number of Seasons
|15 Seasons
|Number of Episodes
|327 Episodes
|Plot Keywords
|monster, angel, supernatural, exorcism, paranormal, demon, ghost
Jensen AcklesDean Winchester
Jared PadaleckiSam Winchester
Alexander CalvertBelphegor
Misha CollinsCastiel


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Nate Berg
Nate Berg is a freelance reporter and a former staff writer for CityLab. He lives in Los Angeles.
Not every great film is available for instant viewing on Netflix, but many very good ones are. Here are 11 new and new-ish documentaries now streaming that offer interesting, frustrating and downright sad stories about cities.
The Pruitt-Igoe Myth
2011, 83 minutes
Directed by Chad Freidrichs
A rich history of the life and legacy of the Pruitt-Igoe housing complex in St. Louis, an urban renewal project that suffered from neglect, vandalism and crime and was eventually torn down (see Mark Byrnes's review of the film here). Despite Pruitt-Igoe being held up as an example of failed public housing and modernist architecture, the film explores misconceptions about the project and the feelings of the people who lived there.
The Big Uneasy
2010, 97 minutes
Directed by Harry Shearer
This documentary follows the two lead investigators behind studies showing that the flooding in post-Hurricane Katrina New Orleans were caused by human errors in infrastructure design, and one whistleblower within the U.S. Army Corps of Engineers seeking to expose the widespread design flaws that led to the disastrous flooding.
Bill Cunningham New York
2010, 84 minutes
Directed by Richard Press
A film about octogenarian and New York Times fashion photographer Bill Cunningham, who rides his bike around New York City taking pictures of clothes and the people – both ordinary and extraordinary – who wear them. A unique look at the changing fashions of one of the world's centers of culture.
The Parking Lot Movie
2010, 70 minutes
Directed by Meghan Eckman
Focusing on a single parking lot in Charlottesville, Virginia, over the course of two years, this film explores the lives of the attendants working there. This documentary adds depth to what might otherwise be overlooked as an uninteresting element of the urban environment.
Waste Land
2010, 99 minutes
Directed by Lucy Walker and Karen Harley
A look at the lives of the Brazilian garbage pickers who collect recyclables and other valuable materials from the recently closed Jardim Gramacho landfill in Rio de Janeiro. Artist Vik Muniz collaborates with the garbage pickers to create massive portraits constructed out of refuse from the dump.
The Art of the Steal
2009, 101 minutes
Directed by Don Argott
The tale of the impressive collection of post-impressionist paintings owned by Dr. Albert Barnes, and how, despite explicit instructions in his will against it, the collection was eventually moved from its semi-private suburban location into a brand new museum (recently opened) in downtown Philadelphia.
The Garden
2008, 79 minutes
Directed by Scott Hamilton Kennedy
The story of a 14-acre urban farm in South Central Los Angeles, the low-income families who farmed it for 12 years, and the struggle they faced when real estate developers decide to redevelop the land.
Trouble the Water
2008, 95 minutes
Directed by Carl Deal and Tia Lessin
Including footage shot by the subjects of the film during the flooding after Hurricane Katrina, this documentary looks at one family's experiences in post-disaster New Orleans. Touching on the political and bureaucratic controversies at the time, the film portrays the complexity of dealing with the situation through the eyes of those most affected by it.
My Winnipeg
2007, 79 minutes
Directed by Guy Maddin
In this unconventional and entertaining film, director Guy Maddin explores the culture of his hometown. It's partially a history of the city but more of an analysis of his own experience growing up and living in Winnipeg. Maddin even sublet his childhood home for a month, and with actors to portray his family, dramatized parts of his early life in the city.
Radiant City
2006, 85 minutes
Directed by Gary Burns and Jim Brown
An amusing and sometimes depressing look at the suburbs – from the cul-de-sac to the big box shopping center to the French-named subdivision. Familiar critiques aside, this film also explores the reality of why so many people choose to live there.
Dark Days
2000, 81 minutes
Directed by Marc Singer
A look at the lives and environment of the homeless people who live in abandoned New York City railroad tunnels.
The short-term rental market is reeling from the coronavirus-driven tourism collapse. Can the industry's dominant player stage a comeback after lockdowns lift?
Renters in apartments and houses share more than just germs with their roommates: Life under coronavirus lockdown means negotiating new social rules.
What do we know so far about the types of places that are more susceptible to the spread of Covid-19? In the U.S., density is just the beginning of the story.
We must prepare for a protracted battle with coronavirus. But there are changes we can make now to prepare locked-down cities for what's next.
Will COVID-19 change how cities are designed? Michele Acuto of the Connected Cities Lab talks about density, urbanization and pandemic preparation.


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Todd Tomlinson necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 22 diseños de 7 diseñadores freelance.
Garfield County Public Library District
We are looking for a fun and inviting visual design for the Library's new Kids and Teens page. What we are looking for with the Kids Page:
· Cartoon setting of a Colorado forest of aspen, pine, and/or spruce trees. It should be from the point of view of someone standing in the midst of the trees. See examples on page 2 of this file.
· 6 cartoon indigenous creatures, each in two poses
· One pose which can be integrated in the forest scene (and show how/where the animal will be placed in the scene).
· Another pose to be placed on its own on a subsequent page as a recurring motif to identify pages within a topic.
· This pose could involve items in addition to the creature (examples: an owl sitting on a branch or a squirrel holding a nut).
· The creatures could be:
· Owl (we want this one for sure)
· Deer or elk
· Snake
· Rabbit
· Bear
· Mountain lion or lynx or bobcat
· Raccoon
· Skunk
· Squirrel
· Weasel
· Bug
· Fish (if there is a stream)
· Porcupine
· Lizard
What we are looking for with the Teens Page:
* Photographic or realistic appearance of a teenager's desk area. It should be from the point of view of someone looking at the desk and surrounding wall area.
* 10-12 items which will be used to link to specific pages (example on p. 2 of this file indicates which pages or content types will be linked to). We used available clip art for the example but seek a more realistic look in a style that will appear to the target audience of 12-19 years old.
* We would like to see these items linking to these content types:
* computer > databases and research help
* Textbooks > homework help, live tutoring
* Calendar (desk or wall) > library events calendar
* Smart phone > library contact info and social networking links
* Gaming controller > games (games in the library collection, online games?)
* Mortarboard > college and career resources (links)
* Books, stereo > teen materials page
* A "white board" where we can change the message on it (in a font like handwriting) and it would link to whatever we are featuring
* The READ poster: due to copyright, we cannot use one of the celebrity READ posters from the ALA but we can create our own and use it online. We'd like this to be a customizable feature, with a few different designs that kids can select as the poster on their "wall."
Children and Teens
Feedback on designs can be found at http://dev01-sl.opusnet.com/garfiel…ual-design.


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04/03/20 at 23:31:49
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Diffusion in RFZ (Read 6612 times)
Seasoned Member
Posts: 105
Diffusion in RFZ
01/22/13 at 01:05:10
Does anyone know why Decware advocates diffusion in the RFZ? Real Traps, Gik and others recommend only absorption in the first reflection points witch makes me think that maybe Real traps and Gik sell a different type of diffusion than Steve uses? I know Real Traps owner indicated that he was not happy replacing his RFZ traps with diffusion in his home. Maybe is purely subjective and most audiophiles like a different sound than pro-audio type people but rarely do I see it recommended to uses diffusion in the RFZ. But then I see these extravagant studios with nothing but diffusion with the assumption there must be absorption behind all that diffusion. I know there has to be something to this if Steve is doing it.
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Chris K
Seasoned Member
Posts: 297
Re: Diffusion in RFZ
Reply #1 -
02/22/13 at 02:13:00
If the picture in this link is any example, extreme though it may be
then diffused reflection is best.
This studio mixing room is at Blackbird studios and was designed by legendary engineer George Massenburg. The extreme depth of the prime number 2D skyline type diffusers that cover the entire right and left walls as well as the center are probably solid hard wood sticks of various prime lengths and sequences allow for coverage in the way down in the bass and diffusion/scattering waaay up in the audible rage. Calculating such a diffuor and assembling it must be a monumental task. I do not think the full coverage is a repeating pattern of square cells made up of severl hundred sticks per pattern but rather an extremely huge prime number sequence to create enough cells (sticks) to make one large diffusor. Cant be certain about that but I also doubt there is any absorption stuffed in the wells of those monstrosities. It is is just so damned good at diffusion that the expanded diffuse ambiance of the room should create the sense of no walls at all yet subtle spacial cues that are only good for the imaging and sound stage. Notice in the corners the absorption and probably bass trapping. Also smaller skyline diffusion hanging from the very tall ceilings. I could just sit in that room in silence and feel the bliss.
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Lonely Raven
Seasoned Member
Jack of all Trades,
Master of None
Posts: 3513
Re: Diffusion in RFZ
Reply #2 -
08/15/13 at 15:36:58
IMHO - most people don't have room enough for proper diffusion. You need something like 15' between the diffusers and your ears for them to really splay out the sound properly. That, and absorbers are so much cheaper and easier to build.
That said, I find that absorbers don't help as much in the time domain and can take too much energy out of the room. With my Zen amp, I have only two watts to work with, so I don't want to burn up that acoustic energy in absorbers, I'd much rather install diffusers to:
#1: Break up that direct reflected sound but keep that energy in the room
#2: Adding a time delay so my ears can discern the direct information from the speakers and the reflections from the solid surfaces (walls)
Absorbers can and should be use in frequencies below what you can logically use diffusion for, and absolutely used for bass traps to get some of that puddled up mud out of the room and lessen the effects of nodes. But if diffusers are not practical or too expensive or whatever else, something (absorbers) are better than nothing!
When the room is setup correctly, you should be able to clearly hear the reverb in the recording, and it starts to wrap around you almost like surround sound. Using traps instead of diffusers can lead to a dead sounding room...granted, allows you to really focus on your speakers, but speakers are trying to reproduce instruments, and instruments don't play in a vacuum, they play in a room with natural reverberation and time delay.
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Emanuel Sefay
Verified Member
Posts: 5
Re: Diffusion in RFZ
Reply #3 -
10/11/13 at 06:22:36
Wow nice picture.
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|You must take care to avoid unnecessary shifts when writing a sentence. A shift is a change from one subject to another or from one verb to another.
Shifts in voice of verbs: Some people like bananas, but strawberries are preferred by others. (Here the subject people is acting on the verb like, but the subject strawberries is acted upon by the verb are preferred.
A better sentence would be: Some people like bananas, but others prefer strawberries.
Directions: The following sentences contain unnecessary shifts from one subject to another or one verb to another. Find the errors, and identify if the error is a shift in subject or verb. Rewrite the sentence to avoid the shifts.


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Calculus Tutor Biloxi Mississippi
Certified Calculus Tutor Biloxi Mississippi. Find Affordable Tutoring for elementary school, middle school, high school and college.
Known as "father of Physics", he can be best described as a mathematical physicist. I will never use it." I usually give a short answer because the question arises at a moment when there is not adequate time to answer it. But this is not gained in your school. If the developmental stages are skipped, students will try to memorize procedures and the understanding is lost. Poor performance in the previous year, tendency to avoid algebra homework; change in behavior, signs of him becoming frustrated, or a teacher's recommendations are genuine indicators so that you can start searching for your child an algebra tutor. They are so often taken for granted. There is simply too much material, even in high school chemistry, to memorize. Admittedly when I studied A-Level Mathematics there were times when I honestly thought that I was going mad! The boot camp provides this as well as everything the student needs to know to begin building his or her college list. Srinivasa Ramanujan Iyengar, the greatest Indian mathematician of 20th century, contributed immensely in fields like number theory, mathematical analysis, string theory, and crystallography. Always remember, exponent is first operation. Embedding Algebra For Young Learners My students have told me often that in the upper elementary school years, 4th or 5th grade, they started to learn Algebra. Also known as expository preaching, this method of instruction presents clear and comprehensive meaning to biblical text. Extra curricular learning is becoming more and more popular and when it comes to algebra in particular, home assignments are very common. Here, there will be more than one input and just one output. These two states are represented by a difference in voltage. Now, if the two values you wish to pick one from, are the same, here, X and X, whatever you pick, you are going to fetch X. It comes loaded with more than 2300 inbuilt features that are hard to miss, especially when you are going from algebra to advanced physics. He took his education in Elphinstone High School. Same goes for algebra. There have been actions put in place to stop this kind of unlicensed creativity because it borders on copyright infringement. And if a student has not mastered many grammar rules over the years, he or she will often find themselves struggling when writing an English essay or history paper. A bad score in the subject leads to poor academic performance. When students balance chemical equations – particularly on a test – there is not time to look up items like molecular weight for common elements like oxygen and hydrogen. These calculators employ technology that allows you to flip your plotted graphs 360 degrees, providing a more well-rounded understanding of the problem. However, their problems are a little more difficult. He married second time in 1903, having three sons and three daughters. This may take time, but once they get a helping hand for completing their homework and teaching this intricate subject, then they may no more have the fear of the subject.
[ic_youtube keyword="Calculus Tutor"]
[ic_bing_related keyword="Calculus Tutor"]
Tags: Biloxi, Calculus, Mississippi, Tutor


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Beautifully located at the top of the hills of Magagnosc, this south-facing entirely renovated modern villa to the highest standards offers panoramic views of the countryside and most brigh and light, luxury living space.
|Property type
|263 m2
Cannes country side is composed of different villages such as Biot, Mougins, Mouans-Sartoux or Valbonne. The specificities of these villages are based on their ancestral know-how in terms of handicrafts, art, gastronomy and art of living as well as floral cultures. Mostly built on rocky peaks, each one offers a housing estate and an environment conducive to the happiness of their owners.
Carlton International is a prestige Real-Estate consultancy based in the South of France for the last 15 years, with offices in Antibes, in the countryside behind Cannes and in St Tropez. Throughout this time, our consultants have negotiated property transactions at the highest end of the market, for an exclusive and International clientele. Opportunities abound in the region for a principal or secondary residence, investment portfolio , or personal business venture.
Carlton International proposes an extensive range of Luxury Properties for sale including country manor houses, chateaux, vineyards, farmhouses, villas of character, exclusive hotels, land and penthouse apartments. For holidays and congresses, our luxury villa rental department will recommend a property suited to your specific requirements and will provide all the services you would expect from a luxury hotel.
A true 'playground of the rich and famous', the South of France enjoys a sophisticated lifestyle, beautiful surroundings and a benign climate year round. The region boasts country and coastal property in stunning locations such as Eze, Villefranche, Cannes, Cap d'Antibes and St. Tropez - surrounded by beaches, marinas, golf courses and is only ninety minutes from Nice International airport to southern ski resorts.


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So I was surfing some of the #menswear websites the other week and came across a posting recommending various single blade knifes for men to carry.
Here's a link to the post: http://www.valetmag.com/personal-sho...ves-041316.php
This started me thinking. Do you guys carry knives like this? My Dad used to carry small Swiss Army knife on him at all times, but it is something I never got in to doing myself.


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Despite the numerous methods of treatment now available, most people still won't speak to their doctor about their erectile dysfunction problem. Why deal with it in...
Obesity is rapidly increasing and the percentage of adults who are obese has doubled since the mid-1980's. Our weight loss treatments are proven to help manage your...
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We provide complete discretion for treatments of conditions that some patients may find embarrassing to discuss with their doctor. These include issues such as impotence , STIs (such as gonorrhoea or chlamydia ), excessive facial hair, haemorrhoids and many more. From taking the free online consultation to delivery, our tamperproof packaging ensures that your details and treatment are are secure and private.
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Our medication is sourced by our pharmacies from the original manufacturers, therefore you can be rest assured that you would not be using a fake treatment. If you do have any questions about the treatments offered or our service, you can reach us Monday to Friday between 08:00-17:00 by phone, Live Chat or email.
This can be done online or over the phone and will take approximately five minutes.It will include medical details regarding the condition and personal details for billing and delivery.
*Orders before 4.30pm will be delivered the next working day across the UK via Royal Mail.More about OnlineClinic
In a sense, OnlineClinic is an online pharmacy that offers comprehensive and proven medications, just like your local chemist. However, the range of services we offer exceeds the usual face-to-face pharmacy experience. For example, we offer an online consultation with a certified doctor; the same process as your doctor's surgery without needing to book and wait for an appointment in-person. We also offer a free delivery service around the UK instead of requiring you to pick up your medication, which ultimately saves you time and effort. In short, OnlineClinic is the full doctor's and pharmacy experience rolled into one convenient package.
The treatments we offer at OnlineClinic are all proven, meaning the relevant pharmaceutical bodies in the UK have rigorously tested them. This means there are no products that are available over-the-counter and you will require a prescription to obtain them, which is available during your consultation.
We offer proven treatments for a number of common ailments including erectile dysfunction, sexually transmitted infections, contraception (including the morning after pill and weight loss).
This website is a reputable online pharmacy as it is clearly marked with compulsory registrations related to medical quality and care in the UK. This includes the MHRA, GMC. We also included a consultation with necessary questions relevant to your particular condition, which is also required in the UK for your safety.
All medication will be delivered in tamper proof packaging complete with the full patient leaflet, which confirms that the medication is proven and highly effective.
Our pharmacy is based in London, UK and is accredited by the General Pharmaceutical Council; the body responsible for the regulation of the pharmaceutical market in England, Scotland, Wales and Northern Ireland.


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The local pit rescue in Fredericksburg, Va in hosting a pit bull awarness day at a local training facility. While still trying to work out details, they know they'd like to do some demos of pit bulls doing various things (agility, obedience, Rally-O, etc). They would really like to do an agility demo, but no one knows of any one in the area who does it with their bullies. I figured this was a great place to start looking for people who would be close enough. If you, or someone you know, does agility, obedience, S&R, therapy work, detection (bomb/narcotics), ect, please let me know so that I can pass on the info to the rescue and/or the venue. THANK YOU!!!
Venue: colonialk9.com
Rescue: http://www.petfinder.com/shelters/pitbullpatriots.html or http://bullypaws.org/


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The Berry Barn
- 830 Valley Road, Saskatoon, SK, S7K 3J6
The panoramic view of the South Saskatchewan River is breathtaking with the splendid array of gardens in a relaxed country setting. Visit the country style indoor eatery and enjoy some home cooked meals and scrumptious Saskatoon Berry pie. Complete with a gift shop filled with Saskatoon Berry preserves and a variety of giftware.


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Golfers get in an early fall game out at Phalen Golf Course. The City of St. Paul will look for a private partner for the Phalen and Como Golf Courses. (Linda Baumeister/Review)
If all goes according to plan, St. Paul Parks and Recreation will find a private partner for Phalen and Como golf courses in time for the 2014 golf season.
The St. Paul City Council voted on Wednesday, Nov. 6, to let the parks department go forward with a drafting of a request for proposals.
The measure passed by one vote -- three of seven council members, including East Sider Dan Bostrom, voted against moving forward with an RFP, while the other four voted in favor.
Golfers get in an early fall game out at Phalen Golf Course.
City officials say St. Paul's four municipal golf courses have long been a black hole for city funds.
Though the courses were once self-sustaining, since 2008 the four courses have gone a total of $5 million into the red, said Brad Meyer, spokesperson for St. Paul Parks and Recreation. The city needs to take action, he said.
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The first fire started in the Dimond Canyon Park area shortly before 2 p.m., near Park Boulevard and Estates Drive. That fire quickly grew to four alarms and over 90 firefighters were on scene.
The toughest part about fighting these fires is the steep canyon crews have to climb down to get to the fire. It took about 300 feet of hose just to get down to the bottom of the canyon. When firefighters got to the bottom, they found the area was full of poison oak. Fire crews took hand lines and surrounded the fire; then it took CAL FIRE two airdrops of water to get the fire under control.
photo submitted via uReport
The first two fires were about half a mile apart. Around 3:30 p.m. fire crews found a third small fire up on a hill near a house, nowhere near the first two fires. Additionally, were two very small spot fires that were started as the result of an ember blowing off of one of the other fires.
Fire officials are calling the three main fires very suspicious in nature. They are asking people to be on the lookout and to immediately report any suspicious activity to police.
They have no suspect description and the fire investigator needs to officially determine that these fires are suspicious or that they are arson.
Fire trucks descended onto the nearby Montclair golf driving range on Monterey Boulevard to try to put out the flames from there, golf course manager Cliff Lee said.
Lee said the flames appeared to just be several hundred feet below the driving range.
"There's a bunch of smoke. It's pretty close, you can tell," he said.
photo submitted by Carlos La Roche via uReport
He said employees and customers have not been evacuated so "everyone's rubbernecking."
Oakland police officers are currently assisting the Oakland Fire Department by providing traffic control. Drivers are being asked to avoid the area if possible and use alternate routes.
Stay with abc7news.com and watch ABC7 News online at 4 p.m., 5 p.m., and 6 p.m. for the latest details.
Bay City News contributed to this report.


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DURP's international programs reflect a strong belief that the understanding of international issues and planning practice in other countries should not be the exclusive focus of students seeking to work outside the U.S. or in international development. Rather, the increasing economic, social, political and institutional connections between countries and cities and regions across the globe require that even planners working purely domestically understand the implications of globalization for their own communities as well as appreciate the rich experiences from around the world that can inform local domestic practice.
DURP offers the Master of Urban Planning Transnational Planning Stream as a supplement to other MUP concentrations. Opportunities for studying aboard are available at the undergraduate level through the campus Study Abroad program. DURP offers graduate students the opportunity to study and research abroad through the NEURUS program. There are several short courses available during breaks and summer for both undergraduate and graduate credit.


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Colon fights through back ailment; Mejia coming along
NEW YORK -- Everything appears to be in working order. Mets manager Terry Collins came to the park Saturday concerned about two of his starting pitchers, but both appear to be OK.
Bartolo Colon, set to start Saturday's game, has shaken off a back ailment, and Jenrry Mejia, slated for Monday, is recovering from a blister on the middle finger of his right hand. Collins had Daisuke Matsuzaka ready as a contingency plan, but the rotation remained intact for the weekend.
"Bartolo feels fine right now. We're going to have Daisuke out there, too, [in case] he warms up and has any issues," said Collins. "We'll have somebody ready. [Bartolo] had a bad outing in Anaheim. I don't know how bad his back was during the game. He never said anything until the game was over."
Colon, 1-2 with a 6.00 ERA through three starts, has been fairly durable for the last few seasons. The 41-year-old has made at least 24 starts in each of the last three seasons, and the Mets are counting on him to remain healthy and provide a steady presence in the middle of the rotation.
"He's a strike-throwing machine," said Collins of Colon. "You're going to have to swing the bats to beat him. He doesn't walk anybody. Don't get carried away with the body: He's an outstanding athlete. I know as we continue to get deeper into the season, he's going to pitch some big games for us. He gets outs, he knows how to pitch. He's got one pitch that he can throw four different ways."
Collins said he didn't have an update on Mejia before Saturday's game, but he hoped that the 24-year-old would be able to start Monday. Matsuzaka has yet to pitch for the Mets this season, but he made two starts for Triple-A Las Vegas and is stretched out if New York needs him to join the rotation.


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- Applied Anthropology: Those applicants with applied anthropological objectives should emphasize the theoretical and methodological impact of their research for the discipline as opposed to its applied value only.
- Primatology: Applicants whose research focuses on primatology should ensure that their proposals emphasize the specific ways in which their research relates to humanity's cultural and/or biological origins, development, and/or modern variation. The Foundation does not fund basic research in primatology or research that is primarily orientated towards primate conservation.
- Linguistics: Linguists should also be aware that the Foundation does not fund salvage work on endangered languages (e.g., preparation of dictionaries and/or grammars).


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