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One of the best Q&As on AS yet. Very informative
Q&A with Barry Diament of Soundkeeper Recordings
Some of you already know about Barry Diament from his CD mastering days at Atlantic Records where he was the mastering engineer for too many classic CD releases to do justice to with a short list (here's one longer list and I'll cherry pick Led Zeppelin II, Physical Graffiti, and the majority of the Bob Marley and The Wailers catalog to give you a peak at the tip of the iceberg). And some of you may know Barry from his label Soundkeeper Recordings or his audio recording, production, consulting, mastering, and editing services offered through Barry Diament Audio.
You may also recall our Soundkeeper Recordings Format Comparisons post that talks about their free downloads of the same recordings in various levels of resolution (16/44, 24/96, and 24/192) so you can listen for yourself. And others still may have seen Barry's often informative comments on various forums.
Barry Diament was kind enough to agree to this Q&A and as you'll see, his answers are thorough and illuminating.
You have a very interesting resume that includes being one of the first CD Mastering Engineers. Can you talk a bit about your history as a recording engineer and bring us up to date with your Soundkeeper Recordings label?
First, I want to say Thank You for your interest, Michael. I'm honored to be on AudioStream.
I started recording when I was eleven, playing with my brother's Concord reel-to-reel deck. While recording the weekly jams I had with a few friends, I found that I could play drums and then, using the sound-with-sound feature, add a guitar part later. I'd found "overdubbing" without knowing what it was.
During my college years, I was reading all the audio magazines I could get my hands on, from Audio to Stereo Review to High Fidelity, later finding some of the British magazines, such as Hi-Fi News in a local magazine store. Then came the discovery of Stereophile and The Absolute Sound, both of which (in addition to Bert Whyte's columns in Audio) became a sort of audio "school", in addition to the other reading and experimenting I was doing.
"While the studio experience was wonderful, I noticed early on that what I heard in the control room did not sound like what I heard out in the room with the musicians."
After college, I got my first studio job as an assistant engineer, setting up microphones and operating the tape machines during recording sessions. Once I was promoted to senior (then chief) engineer, I was doing recording, overdubbing and mixing and later learned to cut vinyl in the in-house mastering room. While the studio experience was wonderful, I noticed early on that what I heard in the control room did not sound like what I heard out in the room with the musicians. So began my fascination with monitoring and the realization that this was, in my view, the single most important factor in the studio. After all, if one could not hear what they were doing, nothing else really mattered.
Then I started to ask what I call "The Questions", things I was never taught and which, to my knowledge, are not taught in the real "audio engineering schools" that have arisen in the intervening years. Questions like "Why this microphone?" and "Why place it here?"
When I heard an editor's position opened up at Atlantic Records, I jumped at the chance and luckily for me, landed the job. My specific task was to make long songs shorter (to create "single" versions of album length songs, radio stations preferring to keep songs not much longer than three minutes) and to make short songs longer (to create the "dance" versions that were popular in the clubs).
"In January of 1983, Atlantic purchased the gear to create CD masters, built a mastering room and I was made the "CD mastering department"."
In the mid-late '70s, I'd heard talk of a new future format for recorded music called the Compact Disc. I remember a cardboard mock-up someone had given me, of a rainbow colored disc only about 5 inches in diameter, in what seemed like a miniature LP jacket. By 1982, Atlantic's sister company, Warner Brothers, was already creating CD masters for the Warner family of labels (Warner, Atlantic, Elektra, etc.). In January of 1983, Atlantic purchased the gear to create CD masters, built a mastering room and I was made the "CD mastering department". To my knowledge, at the time, only Sony in Japan, Polygram in Germany and Warner in Los Angeles and perhaps one or two other facilities had CD mastering engineers.
I remember hearing my first CDs then and thinking that the removal of hiss, crackles and wow and flutter (speed irregularities) was a good thing but the sound of the instruments themselves was not the great improvement it was promoted as being. In fact, I found my vinyl records to much more closely represent what I was used to hearing in the studio.
Over the years, some significant improvements in CD sound quality followed, from better players, more successfully able to reproduce the sound of the digital CD master to better CD mastering gear. When Atlantic installed Apogee's retrofit filters in the Sony mastering gear, there was a nice step up in sonics but I still felt there was a long way to go.
In order to do the best job I could, I set about making some improvements in the mastering room, starting with the monitoring. I had the studio replace the little box speakers in the room with a pair of Dahlquist DQ-10s, later followed by DQ-20s. I treated the reflection points on the walls with absorbent material and brought my own cables to work every day in order to bypass the console, switching, patch bay and other standard accoutrements of a typical mastering room. Typically, I would wire directly from the output of the Studer reel-to-reel deck to the input of the Sony 1630 A-D converters. If I felt some EQ was necessary, I'd add only the EQ, with nothing else in the signal path.
"By the mid-1990's I realized that many clients were starting to evaluate my work using the level meters instead of the loudspeakers."
In 1987, I left Atlantic to form BDA and worked primarily as an independent CD mastering engineer. I worked out of a few different studios, choosing them based on my assessment of the monitoring accuracy. By the mid-1990's I realized that many clients were starting to evaluate my work using the level meters instead of the loudspeakers. At this point, I had to stop and ask myself just what I sought to accomplish as an audio engineer.
Now, I enjoy loudness when it is appropriate but in my experience, if you want to shake the walls with AC/DC (or with Mahler), the best way to achieve this is with the playback volume control. Any other way, such as arbitrarily increasing the level on the recording itself involves a host of sonic trade-offs. First among them, is the sense of Life that comes from musical dynamics. Since my goals as an engineer are sourced in my love of music, I didn't want to participate in the ongoing Loudness Wars. All the truly great sounding records and CDs in my collection had much lower average levels than what the majors were releasing. I wanted to preserve all the musical Life in every source I mastered too and never used compression myself. While some say it increases "punch", the sonic evidence tells a quite different story. Besides, how does one increase punch by reducing dynamics, where the punch "lives"? So, I started accepting only those jobs where the client's prime interest was the musical presentation and the preservation of musical dynamics.
I also started to think more about the Questions I mentioned earlier. I asked myself if I ever wanted to listen to a great piano player with my head under the lid of a grand piano and my ears just inches above the hammers. Or if I wanted to listen to a ripping guitar solo with my ear up against the grill cloth of a Marshall (amplifier) stack. Or a great horn player with my ear in the bell of the horn. How about a great vocalist with my ear an inch from their lips? This in fact, is where the mics in a typical studio recording "listen" from. I realized that those recordings I found truly amazing sonically used considerably fewer microphones and none were ever placed as close to what they were capturing as is done in a typical studio recording.
I came to realize that 90-95% of a recording's ultimate sound quality has already been determined by the time the signals are leaving the microphones. This was the genesis of Soundkeeper Recordings. I knew then that my greatest interest in audio and recording is in making records that give the listener the feeling they are in the presence of the performance, in the room where the performance took place.
To be clear, there is a very large library of recorded music that I love, which was made using the typical studio techniques involving multiple, closely placed microphones. Over the years, the recording art has evolved to the point where musical magic can be created which bears little relationship to the original performance. Wonderful and magical as many of these recordings are, they were made to sound like "records"; my goal is to explore the idea of records that sound like performances. Two different approaches, each with its own rewards.
Soundkeeper Recordings are made with all the musicians playing live, in real time. In order to keep the signals as coherent as possible, there is only one microphone per playback channel. The mics are arranged in a stereo array and are separated by a baffle of my own design. Musical balances are achieved by moving players and instruments physically, rather than moving faders on a mixing console. The recordings are captured in stereo with no overdubs or further processing. What leaves the microphones is essentially the finished recording. (Because I record with a lot of headroom, final levels are adjusted in the mastering room.) The results sound very much like what I hear when standing at the position of the microphone array at the recording sessions.
Provenance is a main concern for many HD download customers. Some people would like this provenance information to include things like what generation master tape was used for a given reissue. This is certainly a new requirement as I'm not aware of many LPs or CDs that provide this information. In your experience, how often is it the case that an album, regardless of format, was created from the original master tape and why is this important?
The first issue of an album is generally created from the original master. In the case of huge sellers, there will often be subsequent masterings. This is particularly true for vinyl because the vinyl lacquer created in the mastering room is only good for the production of so many "mothers" used for creating of the final pressings.
"What this means is that with hit albums, there is no guarantee a given purchased copy was mastered from the original master tapes."
In vinyl mastering, it has been common practice to make a separate tape recording during the initial mastering stage, which contains the same signal sent to the cutting lathe. In other words, this separate tape recording would capture the level adjustments, EQ and any other processing the mastering engineer uses while cutting the lacquer. The labels would keep this "EQ'd copy" (or "EQ'd limited copy") and use these when subsequent lacquers are required. These could be cut "flat" (i.e., with no further alteration) and reflect the changes made during the original mastering. What this means is that with hit albums, there is no guarantee a given purchased copy was mastered from the original master tapes.
Aside from EQ'd copies created during mastering, sometimes the label is not in possession of the original mixed tapes. This is something I encountered a lot while at Atlantic. The originals might be in a musician's private library or they might be in an overseas tape library. The label receives a "flat" copy of the original tape for use in creating the records or CDs they sell.
Is this important? There is no hard answer. A well made analog tape copy will exhibit a slight increase in background hiss and perhaps a very slight loss of transient speed. However, in my experience, these are of much smaller magnitude than the changes the mastering engineer is going to make. The question is much like asking whether purchasing produce from a gourmet shop will produce a better meal than purchasing it from a supermarket. If all other things are equal, I believe the answer would likely be yes. But all other things are rarely equal. If two different chefs prepare meals from the same ingredients, the results will often be quite different. Personally, I'd rather choose the chef than the ingredients. Put another way, I'd rather listen to a record George Piros mastered from a third generation copy than some other engineer might have mastered from the original studio mixes.
"Put another way, I'd rather listen to a record George Piros mastered from a third generation copy than some other engineer might have mastered from the original studio mixes."
To the issue of provenance, I believe what many folks really want to know is less about what mic cable was used in the original recording and more about whether the resolution of the download they are purchasing is truly the resolution it is purported to be. Is it really 24/96 or really 24/192? Or is it merely 16/44 (CD resolution) delivered in a high resolution "package"?
On your Soundkeeper Recordings site, you recommend CD-Rs over CDs for those buyers who will play back their music on a transport or player yet you also recommend the CD for those buyers that intend to rip their music to hard drive. Could you explain why a CD-R is better than a CD when spinning a disc and why this difference doesn't matter when ripping and playing back from hard drive?
I wish I could explain why. I've read a number of theories and some of them may or may not make sense.
From my earliest days in CD mastering, I always noticed that the finished CDs from different replication facilities all sound different from each other and none sounds indistinguishable from the CD master used to make it. Often, CDs made on different production lines within the same plant don't sound like each other either. In all cases, there is a loss of "focus" and fine detail, usually subtle, sometimes not so subtle.
When it came time to choose a plant to do Soundkeeper's CDs, I spoke with a few dozen facilities. The one I ultimately chose was the only one which, without any prompting from me, did not claim their CDs sound exactly like the masters. It turns out, their CDs are the closest in my experience. I can still distinguish between the CD and the master from which it was made but with their discs, I need a synchronized playback against the master to discern the differences.
This plant cuts the glass master (the first step in CD production) in real time, instead of the more typical 4x or faster used by most other facilities nowadays. They also use a ~9 second injection molding cycle, rather than the more common ~4 second cycle. Whether these account for why their discs are more faithful, I don't know. Some say procedures like this make for better formed "pits" in the disc, making it easier for the player to read the disc with less "jitter" (i.e., timing errors). I don't know if this is the case but I do know I like the results.
With a well made CD-R (burned at relatively slow speed on a high quality blank), I find the results of playback in a CD transport or player sound closer to the CD master than even the best pressings in my experience.
I think something similar occurs with processes such as SHM, Blu-Spec and HQCD, where the processes are different from usual and sometimes the materials in the disc itself are different. I recently compared some of these with their plain CD counterparts. I was pretty surprised by the degree of difference I heard and found it to be so obvious, I would have bet I was listening to two different masterings, with different EQ!
To "prove" this, I extracted both the "special" disc and the plain CD to computer hard drive so I could perform a "null" test. In a null test, two digital files are synchronized (to the sample) and mixed together. The polarity of one of the files is reversed. What results is that everything the two files have in common, i.e., what is the same in the files, is cancelled (or "nulled"), leaving only what is different between the files. To my surprise, the result of the null test was dead silence. Listening to the two files from the computer resulted in both sounding indistinguishable from each other. It was a slightly clearer version of the "better" disc heard from the CD player. Whether commercial CD, "special" material or process CD or a fine CD-R, my experience has consistently been that extraction to computer and playback from there (as a raw PCM file in .aif or .wav format) gets me the true sound of the master.
"What I do know is that as an audio enthusiast, I've always wanted to hear "the master" at home. With computer audio, this is finally a reality."
What is the difference between playback from a transport or player and playback from the computer? To create a CD, those "ones and zeros" of digital code must be further encoded, using a scheme referred to as "8:14 modulation". This is used to create the nine different length "pits" and "land" (the space between the pits) on the finished disc. Among other things, the player must spin the disc at the correct speed, track the spiral of pits, keeping the laser properly focused, read the disc, decode the 8:14 modulation, decode the resulting binary code, apply any necessary error correction, convert it to stereo analog signals and feed it to the outputs, often using a common power supply for all these functions. The computer, given something like a raw PCM file in .aif or .wav format, has a much simpler job. Whether all this accounts for the audible differences, I don't know for sure. What I do know is that as an audio enthusiast, I've always wanted to hear "the master" at home. With computer audio, this is finally a reality.
With this in mind, if computer playback is the goal, the advantages CD-R has in transports and players are no longer there, hence, my recommendation of the less expensive CD to Soundkeeper customers who listen via their computers.
You have been vocal about your preference for recording, as well as delivering, your Soundkeeper Recordings in 24-bit/192kHz format. Why 24/192?
The reason is because I feel properly done 24/192 crosses a very important threshold. Over the years, I've used all sorts of analog recorders and digital recorders but the output of these devices was always quite different sounding from the signal they received at their input.
Even the best 24/96 digital I've heard, while certainly much better than 16/44 CD in terms of fidelity the input signal, still sounds very different to me than the input that is coming directly from the microphones.
"For the first time in my experience, those reservations I have always had about digital, where I felt there were some things the best analog did better, simply evaporated."
When I first heard properly done 24/192, it was a jaw dropper. For the first time in my experience, those reservations I have always had about digital, where I felt there were some things the best analog did better, simply evaporated. This is, to my ears, a bigger jump up in quality over 24/96 than that was over 16/44. It no longer feels like a great digital recorder or a great analog recorder. It feels like the recorder has been effectively removed from the equation and I am listening directly to the mic feed.
I mention "properly done 24/192" because I've heard a number of converters with these numbers on their spec sheet, which actually sound worse to me at this rate than they do at 24/96. This, I attribute to the significantly increased demands made by the higher rates on clocking accuracy and for wide band performance from the analog stages.
When the higher rates are well executed, the results are simply magical. Though I hear it throughout the range, perhaps surprisingly, I find many of its benefits particularly audible in the bass. The only downside I've found so far is that I can no longer blame the gear for any flaws in my recordings. Of those, I must take full ownership.
There is continued discussion and controversy over dynamic range compression. Mainly, how do we know if a given recording has been compressed to the point of not being worth listening to or buying. Some people are using sites like the "Unofficial Dynamic Range Database" to gauge the level of dynamic compression used in a given recording and to help inform their purchase decisions. Do you have any advice for how to interpret things like a "DR Value" and generally does loudness, which you've written about, automatically equate to a poor sounding recording?
I very much applaud the efforts of the folks behind the Dynamic Range Database. I have long felt that preservation of musical dynamics (as opposed to their eradication in the ongoing Loudness Wars) is one of the last frontiers in recorded sound.
That said, I would hesitate to assign quality to a recording based on a number. While a low number will certainly indicate what many, including myself, would deem an undesirable curtailing of dynamics, a high number, in my view, is no guarantee of quality. It is important to remember tests like this are looking at only one aspect of what is a complex reality. For example, who cares if the dynamic range is high if the treble has been boosted to the point of being able to loosen dental fillings?
"Ultimately, in order to evaluate a recording, particularly how any individual might feel about that recording, I don't know of any substitute for actually listening."
As to whether loudness automatically equates to a poor sounding recording, I think this is a matter of degree. I have some recordings I consider good sounding but which are still compromised, in my opinion, by dynamic compression. I can only wonder how they'd sound if their dynamics were left unhindered. Personally, I think they'd be better but I should add that these recordings were not at all eviscerated to the point that many others are nowadays.
Ultimately, in order to evaluate a recording, particularly how any individual might feel about that recording, I don't know of any substitute for actually listening.
Beyond dynamic range and provenance, are there other important factors people should factor in when making music purchase decisions with an ear toward sound quality?
Keeping in mind that it is possible to have a high DR rating, with the source being the original recording itself and still end up with something that doesn't sound very good, we're back to listening as the only real way to tell.
I think it would be a mistake to interpret a DR rating of 20 as, in and of itself, being better than a rating of 19. If they are two versions of the same recording, I'd want to know the recording and mastering engineer for each, as that would tell me more than the numbers ever could.
Still, in the end, the recording has no other purpose than to be listened to, so I'd rather hear a sample in order to know if I want to buy it.
Some audiophiles have a stated preference for a direct-from-master approach, meaning no EQ applied during the final mastering process. Is this the ideal?
In most cases, I would say it is not. While I understand and appreciate the sentiment, this is invariably suggested by folks who have not heard many (perhaps any) masters.
When I first started as an engineer, having been an audiophile first, I too believed EQ is bad and that all masters should be transferred "flat" (with no alteration). Then I learned how most records are really made and got to hear how many masters really sound.
One must consider the microphones used in most recordings and the colorations they bring to the results. Combine this with where the mics are placed (generally in places where the listener would not want to place their ear) and the fact that the signal will then be sent over long lengths of not-so-great cables, through dozens and dozens of switches and patch points and then "adjusted" to make the result, played back on not-so-great monitoring, sound "right", is it any surprise that most recordings need help?
"Another thing to keep in mind is that there is EQ and there is EQ; I think it took me 15 years to learn how to use it invisibly."
Put another way, if I've got a master that sounds thin, with a treble hyped to the point of keeping insects away and I can make the results sound less painful with EQ, I would find EQ to be quite a good thing. Another thing to keep in mind is that there is EQ and there is EQ; I think it took me 15 years to learn how to use it invisibly. The idea is, for example, to bring out the "bite" in a horn section, not to bring out 5 kHz. All too often, when we hear an EQ'd program, we hear the EQ more than we hear what it was trying to accomplish program-wise.
All that said, with some recordings, there is no need for EQ. I've worked with mixes that came in sounding so right, they needed absolutely nothing. And with some recordings, which were made with the intention of capturing life - usually the minimally mic'd, "purist" recordings - there is also no need for EQ. In such cases, if no minor level adjustments are necessary, a straight from the master approach is the one I'd choose.
I've seen you mention George Piros, the mastering engineer, on a number of occasions and was wondering if you could tell us a little about your experiences with him and why he's made such a lasting impression.
I had the very good fortune to work with George when we were both at Atlantic. He would often tell me of his days with Bob Fine and Wilma Cozart and the work they all did on the Mercury recordings, which I only later came to hear and then to love so much.
George is one of my engineering heroes, being one of the only mastering engineers I ever met who did not routinely add a compressor or limiter to his signal path. In fact, I never saw him patch one into his mastering channel.
I spent many an afternoon in his mastering room, watching him work and discussing audio and music. George always called it as he heard it, no matter who he was speaking with. I loved his directness and his passion. And no matter what, he always served the music.
One memory that will always stay with me came from a time shortly before George retired. I was walking past the outside of the padded, double-door "airlock" outside George's room and heard some rocking music coming from inside. I entered the room and saw George bent over the lathe, peering into the microscope, looking at a groove he was cutting in a test lacquer... while AC/DC played at a level that could peel the paint from the walls.
Through George, I also got to meet Bert Whyte and Joe Grado, both of whom came up to George's mastering room to work with him and share audio stories.
In addition to being involved on the recording and mastering side, you are also an audiophile. Do you think this helps inform some the choices you make in the recording studio?
It has always been key in everything I've done as an engineer. From the realization of the critical importance of monitors and their setup to all the other components in the chain, being an audiophile has helped me develop as an engineer.
"It is why, when on an AES panel of CD mastering engineers in the early '80s, mine may have been the only voice in the room to (shyly at the time) declare my vinyl records still brought me closer to the music."
It has shaped my sensibilities in terms of what I want to achieve in my work and is the reason I refused to take part in the Loudness Wars. It is why, when on an AES panel of CD mastering engineers in the early '80s, mine may have been the only voice in the room to (shyly at the time) declare my vinyl records still brought me closer to the music.
And it is what led me to form Soundkeeper Recordings, where I believe I've done my best work to date.
Are there an upcoming projects you'd like to share with us?
With Paul Beaudry & Pathways' "Americas" released just last month, I'm still in the "promo" phase for that project but there are a few new ones under consideration, which might come to pass later this year and see release in the next.
One is a reggae project - perhaps the world's first "purist" reggae recording. I've also proposed a project with a young alto saxophone player I heard last month, who really entranced me with his playing. I'm always on the lookout for artists whose music moves me and who are interested in trying the "recording without a net" approach.
Thanks for the Q&A.
I've always enjoyed reading Barry's opinions which seem to be methodical and well thought out.
Since he uses Metric Halo ULN-8 and has a high regard for it, I'm wondering if there will be a review of the Metric Halo ULN/LIO 8? Maybe you can tell us how accurate or enjoyable you find it?
Perhaps Barry could shed some light on the subject of accuracy vs enjoyment. As an audiophile does he listen to music differently than when he's recording in the studio?
Hi Larry,
In my experience, not everyone will always choose accuracy. I choose it myself because it is what I find most interesting (and I need it for my work) but I can understand folks deriving their listening pleasure from other approaches.
For example, I find that while most of the better converters today sound very good, that is exactly what I don't like about many of them. Some will "enhance detail", regardless of the input signal. Others will sound "silky smooth" even with programs that are not so smooth. Many of these receive rave reviews in the print and on-line press.
For my work and for my own listening, I'd rather have gear that gets out of the way, to the extent possible and let's me hear the input, for better or worse (usually, it is for both ;-}).
Your question about whether I listen differently when working is an interesting one. During recording or mastering (or mixing or editing), there is certainly another part of the brain that is called into action. I know this because once the job is done and some time passes, there is a freshness (perhaps related to relaxation) with which I'll hear the same program. Still, sometimes the analytical part of listening kicks in automatically and I have to actively "turn it off" if I'm going to enjoy certain recordings. To a degree, I think this may be true of any audiophile.
Best regards,
I have not made up my mind about the gist of this article yet..
It would be interesting to get Barry's take on it..
Hi remlab,
As Michael has pointed out, I've expressed my feelings about 24/192 in the Q&A.
I find such "articles" a bit funny sometimes because my experience with 24/192 (in a good design) has been that at long last, the promise of digital has been fulfilled. For the first time in my experience, I've got a recording device that produces results I have not yet been able to distinguish from listening to the direct mic feed.
To be clear, as I mentioned in the Q&A, I've heard a number of devices spec'd for "24/192" that, to my ears, do not deliver and in fact, sound worse at this rate than they do at lower rates. I consider this a problem with the individual design and not with the format. (I've tasted bad pizza too but I do not blame the tomatoes. ;-})
So reading an article or "white paper" telling me this is somehow overkill or that it is *worse* feels much like someone telling me there are no colors in a rainbow.
Best regards,
Thank you for responding so fast. The author of that article did seem to be hell bent on attaining his hi rez audio playback as inexpensively as possible, which obviously tells us where he's coming from. I also found it odd that a guy who developes audio codecs for a living has had no previous experience with high resolution audio. If I were him, I'd have been doing comparative listening tests with every format I could get my hands on from the very beggining, in order to validate my work. Hmm..
Another very enjoyable interview, and I always like hearing what Mr. Diament has to say. It's a real treat to have a bit of "access" to industry insiders from a publication that's not involved in production.
Michael, there's something that's concerned me about the DR questioning in the interviews. Perhaps this is a misinterpretation on my part but I've rarely had the sense that a complaint about DR wasn't meant within the context of available alternative formats / releases.
In particular it seems LPs of new titles have a reputation for being more dynamic than the digitally-distributed versions regardless of bit rate, sample rate, lossy or lossless. Never heard it, but "Stadium Arcadium" (Red Hot Chili Peppers) is supposedly one of the poster childs for this phenomenon, where the LP is "much more" dynamic than the CD.
I recently got a taste of this. I bought Best Coast's "The Only Place" LP --- presumably sourced from digital, as most stuff is these days --- and a friend let me listen to his 24/96 copy at my home he bought online. The former presented everything more dynamically and rhythmically diverse, and it was noticable listening from another room. The latter is supposedly DR=6. There are too many variables present in anyone's analog and digital playback setups to spend a lot of time analyzing what I heard and so, I won't.
My point here is to see if it's less about "what the artist wanted" and instead learn why there would be any real differences among formats. I did read (sorry, more hearsay, I know) about a recording that was placed into two production paths: LP and everything else. The LP got mastered "normally" and all the digital versions (iTunes/Amazon lossy, CD and hi res) got dynamically compressed more. Perhaps there are some producers out there who'd be willing to expound upon that very broad assertion, or shoot it full of holes.
JD McPherson's awesomely fun Signs and Signifiers is heralded by both the studio where it was recorded (HiStyle) and the label who released it (Rounder Records) as having been recorded with analog tape. JD and his bassist/producer/HiStyle Studio owner Jimmy Sutton vocally prefer it.
Rounder is part of the Concord Music Group, and CMG's Paul Blakemore mastered the LP; someone else mastered the CD.
From the LP's inner gatefold:
Engineered and Mastered by Alex Hall
Mastered for LP by Paul Blakemore at CMG Mastering
What follows is more curiosity related to provenance, less so about notions of "quality" or format differences. Fair warning. Some will begin to wince at the rabbit hole I fell down as they read it:
CMG Mastering is located in another city from both the recording studio and from wherever the tape was stored, so the question is, was the tape sent to CMG, was a hard disk copy, or were files FTP'd to CMG?
In other words I don't assume Blakemore used the analog tapes to master, but maybe he did. No mention about any of that on the LP.
You need a preview head and either digital delay or a transport with extra capstains to create an analog delay so that the lathe's cutter knows what to expect. Some mastering houses can (and will) still do that but I don't know about CMG. Obviously, those are the kinds of things Barry and Paul would know.
And I did send Mr. Blakemore a note via his web site asking him all of this but haven't heard back. Somebody call Fremer and delegate this sleuthing!
Hi deckeda,
It is not at all unusual for a master tape to be shipped to the mastering facility. Services like FedEx overnight make this easy.
You said:
"You need a preview head and either digital delay or a transport with extra capstains to create an analog delay so that the lathe's cutter knows what to expect."
This should be "you need a preview head OR either digital delay..." Any mastering house that cuts for vinyl from analog will have a deck with a separate preview head. The lathe's computer will receive the preview signal, while the cutting head receives its signal from the playback head.
A digital delay would be needed for cutting a lacquer from a digital souce. In this case, the real-time signal would feed the lathe's computer and the delayed signal would feed the cutter head.
Best regards,
Hi Michael,
There may be several reasons for differences between mastering for vinyl and mastering for digital.
First, the producer, artist or label may choose a different engineer for each. Assuming each is presented with an original (i.e., unaltered) source, every engineer has different sensibilities and a different approach.
Another reason might be that some engineers approach each format differently. I believe the intent is to "compensate" for each medium in some way. For example, a great many vinyl cutters will mono the bass and limit the peaks. Some will filter the bass below a given frequency or perhaps filter the top end. All of these make cutting the lacquer easier. (To my knowledge, George Piros never did any of these. Neither have I.)
On the digital side, I've spoke with mastering engineers who, recognizing that the finished CD, played on a transport or player, does not sound like the CD master, will also attempt to "compensate" by using certain processes.
My own feeling is that such "compensations" exact a sonic price. Further, I don't believe they are necessary simply because the best sounding examples I've heard on vinyl, CD or any other format were mastered without without fear of the format. In other words, each format is going to do what it is going to do. Taking the sound further from the ideal does not result in the finished product being closer.
Lastly, those mastering engineers who participate in the Loudness Wars can push digital a lot harder than they can push analog.
To be clear, all of the above, as everything I've said, is just my own perspective. In my experience, if you ask three audio folks a question, there will always be at least four different answers. ;-}
Best regards,
Is it OK to assume that when not filtering bass or treble etc., that the engineers check for any potentially troublesome spikes or other such things?
Hi dalethorn,
I think any good engineer will check the program for issues that should be brought to the attention of the producer and/or simply fixed.
Best regards,
This is to Barry
I always wanted to try your hires recordings. However your offering is physical media only. Being from overseas this makes it inconvenient and costly for me to buy.
Is there any particular reason why a web based business like yours is avoiding download purchase? I mean even the draconian mmainstream labels ate doing it . It puzzles me why you are missing that important market sector.
Hi agentsmittie,
Actually, there are several reasons we don't offer downloads. Since I'm asked this quite often, I've added it to the Soundkeeper Recordings FAQ page here.
Best regards,
Very informative, indeed. Thank you, Barry and Michael.
Great interview,
I would recommend the book "Mastering Audio" by Bob Katz as a great way to better understand audio, mastering, sample rates...this is a very well written book by someone I respect.


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text:
Detroit tops Illinois-Chicago 74-68
DETROIT -- Juwan Howard, Jr., scored 25 points and Detroit beat Illinois-Chicago 74-68 on Wednesday night.
Trailing 54-52, Howard scored eight points during a 9-1 run by Detroit (10-13, 3-5 Horizon League), which took a 61-54 lead with 8:20 to play. The Flames immediately answered with a 9-3 spurt of its own, pulling within one with 4:11 left. Marc Brown scored UIC's final seven points during that stretch.
Anton Wilson's 3-pointer with 3:25 remaining extended Detroit's lead, which it would not relinquish, to 67-63. Wilson scored nine of his 16 points in the final 4:31.
Evan Bruinsma added 15 points and nine rebounds for the Titans, who shot 49.1 percent (28 of 57) from the floor.
Brown paced the Flames (5-17, 0-8) with 24 points -- just one off his career-high. Kelsey Barlow added 18 points and seven boards while Jake Wiegand finished with 13 points and eight rebounds.


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I'm trying to write a simple script to automate setting up a new e-mail from a particular account (not the PM default account) to a particular sender. The latter part works fine, and the e-mail opens for editing. The intent is assigning it to a button.
However, I cannot change the "from" field. Tried "setaccount", "addheader from", "addfrom", all to no avail. Always shows up with the default account.
How do I create an new e-mail which originates from other than the PM default account.


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wow them mage changes ALMOST lasted a whole day.
wow them mage changes ALMOST lasted a whole day.
"The speed of light is faster than the speed of sound.
That's why so many people look smart until they start talking."
FC-0404-6893-4293 Fire safari Larvesta/Growlithe/Braixen IGN: X Archimand, Y Shina.
- Glyph to change their travel form into a stag, 2 player mount
- several new looks for their other forms
- probably some more..
- Illusion spell, ability to turn into nearly every NPC/PC in game
- 6 different polymorph forms
- fun glyph to change your Portal: Dalaran to port people to Dalaran Crater
- probably many more..
- Arctic wolf glyph, different skin, same polygon count and same animation as they were 8 years ago
- A glyph that adds placeholders of inactive totems
No, turning into an Ascandant(?) for 10 seconds is not a fun ability.
Typhoon (New) Summons a violent Typhoon that strikes targets in front of the caster within 30 yards, knocking them back and dazing them for 6 sec. Useable in all shapeshift forms.
So... what's new?
In wotlk you had charge on a 20second cd, and intercept on 25seconds.
I could charge and intercept then have both ready at nearly the same time.
It asked me to optimize my files prbly means were close to a release build.
Use charge 1 at 0 sec and charge 2 at 10 sec, you'll get charge 3 at 20 sec and charge 4 at 30 sec.
Use charge 1 at 0 and charge 2 at 3, and you'll get charge 3 at 20 and charge 4 at 23.
There are still going to be quite a few 'big' beta builds after this one, don't worry.
Ghostcrawler already told priests that they're going to get a crap ton of mana cost reductions, as well as a change to Inner Focus. Hunter numbers are also going to be seeing buffs acrossed the board. Warriors/Dks/Monks haven't even gotten their sweeping damage tweaks/nerfs yet either.
Once we see that stuff, then we will be very close to launch.
EDIT: Just tried it on the beta, seems you're correct. The second cooldown for Charge does not begin until the first one finishes. I'm hoping this is a bug, in all honesty.
Last edited by Hanto; 2012-08-10 at 08:53 AM.
It may not look like much on paper, but the Priest changes are HUGE. Cannot be understated. 10% off of everything you do. Imagine if Sinister strike cost 10 less energy. Or if Heroic strike cost 10 less Rage. Its pretty big.Minor class changes as reducing mana costs arent 'big' beta builds
The point is, its a discount off something that is central to the class. The numbers are just an example.You're comparing 10% with 25% and 33% respectivly. lol.
Oh look, another beta build with even more hunter nerfs . Oh and some minor buffs.
Last edited by Ickabob; 2012-08-10 at 10:03 AM.


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When the Senate passed the long-delayed $50.5 billion Hurricane Sandy relief package Monday, 36 Republicans voted against the bill. But of the 32 no-votes from Senators who are not brand-new members, at least 31 came from Republicans who had previously supported emergency aid efforts following disasters in their own states.
While opponents complained that the bill contained too much unrelated "pork," each of the 30 of them who had been present earlier this month when the Senate passed the much-smaller $9 billion Sandy relief bill also voted no. All five top members of the Senate Republican leadership voted no on both.
Most incredible among the no voters were Senators Kelly Ayotte (R-NH) and Pat Toomey (R-PA). Those two had not just backed disaster aid in the past — they actually sought disaster aid for their own states for relief from Hurricane Sandy. And Sen. John Boozman (R-AR) endorsed disaster relief for snow storms damages in Arkansas just four days before casting his "nay" vote.
The "hypocritical" list includes:
1. Kelly Ayotte (R-NH): Requested disaster aid after Hurricane Sandy.2. John Barrasso (R-WY), Republican Policy Committee Chair: Requested disaster aid after flooding.3. Roy Blunt (R-MO), Republican Conference Vice Chair: Demanded the Senate be called back from recess to pass disaster aid during a drought and boasts: "When a disaster surpasses the ability of states and communities to rebuild, Senator Blunt believes the federal government should prioritize spending to help the people whose lives and livelihoods are impacted. During his time in the Senate, he has fought tirelessly to ensure that Missouri gets its fair share of those federal resources specifically dedicated to disaster recovery."4. John Boozman (R-AR): Requested disaster aid after snow storms in January 2013.5. Richard Burr (R-NC): Requested disaster aid after severe storms.6. Saxby Chambliss (R-GA): Requested disaster aid after flooding.7. Dan Coats (R-IN): Requested disaster aid after tornadoes. 8. Tom Coburn (R-OK): Requested disaster aid after winter storms and for extreme drought.9. Bob Corker (R-TN): Requested disaster aid after flooding and asked for supplemental emergency flood relief. 10. John Cornyn (R-TX), Republican Minority Whip: Demanded drought relief aid and requested disaster aid for wildfires.11. Mike Crapo (R-ID): Boasted of obtaining a FEMA fire safety grant and pushed for a bill providing emergency drought relief.12. Mike Enzi (R-WY): Requested disaster relief after flooding.13. Lindsey Graham (R-SC): Requested disaster relief after freezing and boasted of obtaining emergency drought relief.14. Chuck Grassley (R-IA): Requested disaster relief after severe hail storms.15. Orrin Hatch (R-UT): Requested disaster relief after flooding.16. James Inhofe (R-OK): Boasted of obtaining disaster relief after severe storms and drought.17. Johnny Isakson (R-GA): Requested disaster aid after flooding.18. Mike Johanns (R-NE): Requested disaster relief after flooding and blasted Democrats for "inaction on disaster relief" for drought and wildfires.19. Ron Johnson (R-WI): Requested disaster relief after a blizzard. 20. Mark Kirk (R-IL): Appealed after FEMA denied assistance following severe storms and tornadoes.21. Mike Lee (R-UT): After calling federal disaster relief unconstitutional, endorsed relief aid after flooding in Utah.22. John McCain (R-AZ): Endorsed disaster relief after flooding.23. Mitch McConnell (R-KY), Republican Minority Leader: Requested disaster relief during a drought and after tornadoes.24. Jerry Moran (R-KS): Requested disaster relief after tornadoes.25. Rand Paul (R-KY): Requested disaster relief during a drought and after tornadoes.26. Rob Portman (R-OH): Endorsed disaster relief during a drought and after storms.27. Pat Roberts (R-KS): Boasted of obtaining disaster relief after drought and wildfires and criticized the Bush administration for inadequate emergency relief after a blizzard.28. Marco Rubio (R-FL): Requested disaster relief after severe freezing.29. Jeff Sessions (R-AL): Requested disaster relief after tornadoes and during a drought.30. John Thune (R-SD), Republican Conference Chair: Requested disaster relief after flooding and snow storms.31. Pat Toomey (R-PA): Requested disaster relief for Hurricane Sandy before it even hit landfall.
Not one of the opponents has co-sponsored Sen. Harry Reid's (D-NV) "Extreme Weather Prevention and Resilience Act" which would encourage Congress to "prepare and protect communities from extreme weather, sea-level rise, drought, flooding, wildfire, and other changing conditions exacerbated by carbon pollution" and "reducing pollution, promoting the use of clean energy sources, and improving energy efficiency."
ThinkProgrss previously reported that at least 37 House Republicans who opposed Sandy relief had also supported disaster aid for their home states.


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Im not a cook., so its out for something to eat. Id rather deliver & play strip cribbage. You dont know how to play?! Another thing we can do.... I'll teach ya how to "play"
I'm a very active person so i like the outdoors. I'm not the high maintenance type.
Anything fun that will allow us to laugh the whole night while getting to know each other.
Something simple and active so you can talk a little and get to know each other
Something active! Go for a ride, bowling, etc!
I love any live sporting event!
Dinner & drinks along with playing some pool
I want to go paint balling on a first date. I have never been and it would be really fun.
How about a game of pool something to snack on and something to drink
I am typically up for anything,( except cleaning fish I will do it if I have to but it's not my first choice).. I just want to experience life and enjoy the people that do it with me.
going somewhere that we can talk and get to know each other
Meet somewhere not too busy where we can talk and get to know one another.
Bowling, Dinner and a movie, or take me for a ride!
Dinner and drinks, shoot pool.
my idea is to ride to lunch or dinner then ride some more


text:
Setting the Mahmud
RSBS Special Correspondent and potential Grammy host, Mr. Johanna Mahmud reports:
I've lost my…
Rooster Cogburn, my John Mclane, my Jules Winnfield.
I lost Whitney this year AND my all-time favorite Cub, Aramis Ramirez. Armariezz. THAT'S WHAT I CALLED HIM. Didn't call him A-RAM OR ARAMIS. I always called him Armariezz. THAT WAS HIS NAME. I wish Whitney and Aramis had things to sing together to the Brew Crew but she's got better things to do now than hang out in MlilaAAAAuwaaakayyy…
Since I can't hang with Armariezz anymore then I wanna hang with Adrien Brody, Andre 3 Million and Gael García Bernal from that Gillette commercial. That's a bad@$$ club!
So much hipper than when they had Federer, Henri and Tiger. Can't believe it happened.
–Johanna Mahmud
Follow Johanna on Twitter!


text:
Unit stopped working suddently. I Still can heard disks spinning, but there is a repetitive beep signal that I can heard every second or so.
Is there a chance to recover data in disks, if I do migrate them to a new enclosure?
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PBR Washed Ripped Hat$26.95
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At BeerTees.com we realize the importance of accessorizing, maybe it's the metro-sexual side of us, but nothing accessorizes a beer t-shirt better than a matching beer or liquor hat to go with it. And we've got you covered with Baseball Caps, Cowboy Hats, Beanies, Trucker Hats and more all from your favorite brewery or distillery.


text:
RV Forum logo wear - click HERE
What do I look for?
😎. Well most of them do..... just dont know which is the best bet!
I am debating between a used Travato and a used Galleria. I prefer the floor plan of the Galleria, but am uncomfortable with the stove.I dont like the beds in the Travato G (need twin beds)I dont like cooking arrangements in the Galleria.We frequently dry camp, so I do like the generator.The Paseo is probably out of our range.
Did you ever get a Travato K? We love ours. At your price range you know you can get a new one, right? They run about $75000 new (forget the MSRP as you can get 30% off that.) We love the rear bath on ours - so much easier to clean, and I like natural light in there. It's about the largest bathroom that you can get in a B.What do you not like about a rear bath?
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Arthur S. Leonard
Robert F. Wagner Professor of Labor and Employment Law Editor, LGBT Law Notes
When Arthur Leonard first came to New York Law School in 1982, only one state banned discrimination based on sexual orientation, gay sex was illegal in half the country, and there were only a handful of lawyers actively litigating sexual orientation discrimination cases.
Today, he reports proudly, the situation has radically changed. "The field has expanded dramatically—the issue of sexual orientation discrimination is being litigated all over," says Professor Leonard, who has been instrumental in chronicling the legal aspects of the lesbian and gay community with his publication of the widely respected LGBT Law Notes. The only publication of its kind in the country, it is extensively cited in law review articles and books as a key source.
Using law to help win equality has been a guiding passion of Professor Leonard's since he was a 10-year-old who decided that Abraham Lincoln was his ideal. "Here was an example of someone who taught himself law, became a star attorney, and helped people. To me, he was the perfect lawyer as hero."
At Cornell, Professor Leonard majored in labor relations and was editor of the Industrial & Labor Relations Forum. He was also a student composer and bass player, but decided to attend Harvard Law School, graduating in 1977. After five years in a New York law firm, he decided to enter academic life.
"Teaching has given me an opportunity to help shape the law," says Professor Leonard, who in 1985 wrote an influential law review article on AIDS discrimination that helped form the nation's legal response to the AIDS epidemic. "I found I could play a more constructive role as a legal educator than as a practitioner."
Over the past 30 years, Professor Leonard has written numerous articles on employment law, AIDS law, and lesbian and gay law. A frequent national spokesperson on sexual orientation law, and an expert on the rapidly emerging area of gay family law, he is a contributing writer for Gay City News (formerly LGNY), New York's weekly lesbian and gay newspaper, and has written for several other lesbian and gay newspapers in New York City. He also blogs on LGBT and AIDS legal issues.
Professor Leonard has held a variety of influential and activist positions in civic and legal organizations, including trustee of Lambda Legal, trustee of the Center for Lesbian and Gay Studies at the City University of New York, chair of the Section on Gay and Lesbian Legal Issues of the Association of American Law Schools, and chair of the Sex and Law Committee of the Association of the Bar of the City of New York. He is chair of the Human Resources Committee and a trustee of the Jewish Board of Family and Children's Services of New York.
He has testified on the New York City gay rights bill, organized forums that helped change rules on domestic partnership benefits, and helped produce oft-cited studies of the court system and legal profession that demonstrated the need for equality of opportunity and treatment for minorities.
At NYLS, he advises the LGBT student group and has been an effective advocate for change on lesbian and gay issues. In 2000, Professor Leonard was honored by the Law School at a symposium commemorating the 20th anniversary of the now-celebrated LGBT Law Notes, which had begun as a typed, one-page sheet that he sent out to a handful of colleagues. In 2010, the Law School and the LGBT Law Association Foundation honored him again on the publication's 30th anniversary.
Professor Leonard received the prestigious 2005 Dan Bradley Lifetime Achievement Award from the National Lesbian and Gay Law Association in recognition of his significant contributions to the advance of LGBT rights under the law.
You can also follow him on Twitter at @asleonard1.
Professor Leonard is the founding editor and writer of the widely cited newsletter, Lesbian/Gay Law Notes.
Sexuality Law, Casebook, Carolina Academic Press, 2005; 2d edition, 2009 (with Patricia Cain).
AIDS Cases and Materials. 3rd ed. Carolina Academic Press, 2002 (with W.E. Adams, Jr., M.A. Bobinski, M.L. Closen & R.M. Jarvis).
Homosexuality & the Constitution. Garland, 1997 (Editor and Introduction to each volume).
AIDS Law in a Nutshell. 2nd ed. West, 1996; 1st ed., West, 1990 (with R.M. Jarvis, M.L. Closen & D.H. Hermann).
AIDS Law and Policy: Cases and Materials. John Marshall Publishing, 1995 (with M.A. Bobinski, M.L. Closen, D.H.J. Hermann, S.H. Isaacman, R.M. Jarvis, R.R. Rivera, G.P. Schultz, M.E. Wojcik).
Sexuality & the Law: An Encyclopedia of Major Legal Cases. Garland Press, 1993.
"Legal Recognition of Same-Sex Partners Under US State or Local Law." Chapter 7 in Legal Recognition of Same-Sex Partnerships: A Study of National, European and International Law, at 133-152, edited by R. Wintemute I M. Andenaes. Hart Publishing, 2001.
"From Bowers v. Hardwick to Romer v. Evans: Lesbian and Gay Rights in the U.S. Supreme Court." Chapter 4 in Creating Change: Sexuality, Public Policy and Civil Rights, at 57–77, edited by J. D'Emilio, W. Turner & U. Vaid. St. Martin's Press, 2000.
"United States AIDS Law: Pragmatism & Politics." Chapter 1 in Legal Responses to AIDS in International Perspective, at 1–62, edited by S. Frankowski. Kluwer Law International, 1998.
"Employee Benefits for Domestic Partnership Families." Chapter 24 in Proceedings of New York University 49th Annual Conference on Labor, at 455–481. Kluwer Law International, 1997.
"Equal Protection and Lesbian and Gay Rights." Chapter 34 in A Queer World: The Center for Lesbian and Gay Studies Reader, at 452–464, edited by M. Duberman. New York University Press, 1997.
"AIDS/HIV Workplace Issues: Outline and Resource Materials." In AIDS/HIV Legal Challenges for the 90's, at 209–260. Advanced Legal Studies, Suffolk University Law School, 1995.
"Sexual Orientation Discrimination: A Growing Issue in State and Local Law." Chapter 8 in Contemporary Issues in Labor and Employment Law, at 179–221, edited by B. Stein. Proceedings of New York University 46th Annual National Conference on Labor. Little Brown, 1994.
"Discrimination." Chapter 13 in AIDS Law Today: A New Guide for the Public, at 297–318, edited by S. Burris, H. Dalton, J. Miller & The Yale AIDS Law Project. Yale University Press, 1993.
"HIV and the United States Workplace Law." Chapter 10 in International Law and AIDS, at 263–338, edited by L. Gostin & L. Porter. American Bar Association Press, 1992.
"Discrimination in Business and Employment." Chapter 5 in Aids : Cases and Materials, at 263–338, edited by M.L. Closen. John Marshall Publishing, 1989.
"The Legal Position of Lesbians and Gay Men in the United States." In Second International Lesbian and Gay Association Pink Book, at 99–108. University of Utrecht, Netherlands, 1988.
"AIDS as a Handicapping Condition Under Federal and State Employment Discrimination Laws." Chapter 12 in Proceedings of New York University 40th Annual National Conference on Labor, at 12-1 to 12-48, edited by B. Stein. Matthew Bender, 1987.
"AIDS in the Workplace." Chapter 8 in AIDS and the Law: A Guide for the Public, at 109–125, edited by S. Burris, H. Dalton & The Yale AIDS Law Project. Yale University Press, 1987.
Introduction: Trial by Jury or Trial by Motion? Summary Judgment, Iqbal, and Employment Discrimination, 57 New York Law School Law Review 659 (2012-2013).
"Gender Stereotyping: Expanding the Boundaries of Title VII" (Proceedings of the 2006 Annual Meeting, Association of American Law Schools, Section on Employment Discrimination Law), 10 Employee Rights and Employment Policy Journal 271-301 (2006) (with M.A.Travis, J.C. Williams, & M.A. Cherry).
"Thoughts on Lawrence v. Texas" (Symposium: Readings on Lawrence v. Texas), 11 Widener Law Review 171-187 (2005).
"The Impact of International Human Rights Developments on Sexual Minority Rights" (New York Law School Faculty Presentation Day II), 49 New York Law School Law Review 525-535 (2004-2005).
"Sexual Minority Rights in the Workplace" (Twenty-First Annual Carl Warns Labor and Employment Institute), 43 Brandeis Law Journal 145-164 (2004).
Lawrence v. Texas and the New Law of Gay Rights (based on a lecture given at Ohio Northern Law School), 30 Ohio Northern University Law Review 189–210 (2004).
Ten Propositions About Legal Recognition of Same-Sex Partners, 30 Capital University Law Review 343–362 (2002).
"Boy Scouts of America v. Dale: The 'Gay Rights Activist' as Constitutional Pariah (Symposium: After the Gay '90s: The New Law and Politics of Sexual Orientation)." 12 Stanford Law & Policy Review 27–35 (2001).
"Chronicling a Movement: 20 Years of Lesbian/Gay Law Notes (Symposium: Chronicling a Movement: A Symposium to Recognize the Twentieth Anniversary of the Lesbian/Gay Law Notes edited by Professor Arthur S. Leonard)." 17 New York Law School Journal of Human Rights 415–564 (2000).
"Introduction: A Retrospective on the Lesbian/Gay Law Notes (Symposium: Chronicling a Movement: A Symposium to Recognize the Twentieth Anniversary of the Lesbian/Gay Law Notes edited by Professor Arthur S. Leonard)." 17 New York Law School Journal of Human Rights 403–414 (2000).
"Going for the Brass Ring: The Case For Same-Sex Marriage." Book Review of The Case For Same-Sex Marriage: From Sexual Liberty to Civilized Commitment, by William N. Eskridge, Jr. 82 Cornell Law Review 572–593 (1997).
"Introduction (Symposium: Job Restrictions and Disclosure Requirements for HIV-Infected Health Care Professionals: Whose Privacy Is It Anyway?)." 41 New York Law School Law Review 1–3 (1996).
"Lesbian and Gay Families and the Law: A Progress Report." 21 Fordham Urban Law Journal 927–972 (1994).
"Sexual Orientation and the Workplace: A Rapidly Developing Field." 44 Labor Law Journal 574–583 (1993).
"A Proposal to Reform the Process for Confirming Justices of the United States Supreme Court (Colloquium: The Judicial Nomination and Confirmation Process)." 7 St. John's Journal of Legal Commentary 193–202 (1991).
"Ethical Challenges of HIV Infection in the Workplace (Symposium on AIDS)." 5 Notre Dame Journal of Law, Ethics & Public Policy 53–73 (1990).
"AIDS, Employment and Unemployment (Symposium: Current Legal Issues in AIDS)." 49 Ohio State Law Journal 929–964 (1989). Reprinted in AIDS in the Workplace: Resource Materials. 3rd ed., at H-1 (Bureau of National Affairs, 1989).
"Watkins v. United States Army and the Employment Rights of Lesbians and Gay Men." 40 Labor Law Journal 438–445 (1989).
"Foreword: The Legal Challenge of AIDS (A Symposium on AIDS)." 12 Nova Law Review 961–968 (1988).
"A New Common Law of Employment Termination." 66 North Carolina Law Review 631–686 (1988).
"AIDS and Employment: Bibliographic Resources." 3 The Labor Lawyer 299–309 (1987).
"AIDS and Employment Law Revisited (Law, Social Policy, and Contagious Disease: A Symposium on Acquired Immune Deficiency Syndrome (AIDS))." 14 Hofstra Law Review 11–51 (1985).
"Employment Discrimination Against Persons with AIDS (Symposium: the Legal System and Homosexuality: Approbation, Accommodation, or Reprobation)." 10 University of Dayton Law Review 681–703 (1985).
"Post-Contractual Arbitrability after Nolde Brothers: A Problem of Conceptual Clarity." 28 New York Law School Law Review 257–294 (1983).
"Specific Performance of Collective Bargaining Agreements." 52 Fordham Law Review 193–218 (1983).
"Collective Bargaining on Issues of Health and Safety in the Public Sector: The Experience under New York's Taylor Law." 31 Buffalo Law Review 165–190 (1982).
Blog, ArtLeonardObservations (January 2011 -). http://www.artleonardobservations.com
Blog, Leonard Link (January 2006–2012).
Editor, Lesbian/Gay Law Notes. (Bar Association for Human Rights of Greater New York, 1983–). http://www.qrd.org/qrd/www/usa/legal/lgln
Legal Columnist, Gay City News. (Community Media, New York, 2002–).
Legal Columnist, POZ (Strubco, Inc., New York, 1998–2000).
Legal Reporter, LGNY (Lesbian & Gay New York, 1997–2002).
Essay in Eight Blocks Away: Memoirs of September 11, 2001 at 40–43 (New York Law School, 2002).
Letter to the editor regarding an op-ed by former New York City mayor Rudolph Giuliani, The New York Times (December 2005)
Gay Rights Workplace Revolution, 29 Human Rights: Journal of the Section on Invidual Rights and Responsibility 14–16, 25 (Summer 2003).
Legal Challenges after Lawrence, 10 Gay & Lesbian Review 21–22 (November–December 2003).
"Court Issues Unprecedented Ruling on Sexual Orientation." 8 Employment Testing Law & Policy Reporter 38 (March 1999).
"Supreme Court Begins to Define ADA Coverage: Bragdon v. Abbott." 7 Employment Testing Law & Policy Reporter 113 (August 1998).
"The Transformation of Gay Family Law." 17 In Brief 8–9 (Spring/Summer 1999).
"Dutchess County Judge: Gay Father Abandoned Children." LGNY, at 18, 22 (June 18, 1998).
"Federal Court Orders Reinstatement of Gay Teacher." LGNY, at 18, 22 (June 18, 1998).
"Federal Court Upholds HIV Confidentiality in Prison." LGNY, at 6 (July 2, 1998).
"Indelicate Balance: Chipping Away the ADA Leaves PWA's on Thin Ice." POZ, at 30 (July 1998).
"Mayor Giuliani Proposes His Domestic Partnership Policy." 4 CityLaw 49, 51–53 (May/June 1998).
"NY Court Rules Calling Someone Gay is Defamatory." LGNY, at 18, 22 (June 18, 1998).
"South African Court Strikes Down Sodomy Law." 9 HIV/AIDS Legal Link, at 15 (June 4, 1998).
"Are Medically Controllable Conditions 'Disabilities' Under the ADA?" 6 Employment Testing Law & Policy Reporter 33 (March 1997).
"Court Finds Asymptomatic HIV Infection Covered Under ADA." 6 Employment Testing Law & Policy Reporter 55 (April 1997).
"Supreme Court Rejects Anti-Gay Colorado Ballot Measure." 5 Employment Testing Law & Policy Reporter 135 (September 1996).
Moderator, "Symposium Dialogue (Symposium: Job Restrictions and Disclosure Requirements for HIV-Infected Health Care Professionals: Whose Privacy Is It Anyway?)." 41 New York Law School Law Review 5–51 (1996).
"HIV-Infected Health Care Workers and Employment Discrimination Law." 51 Record of the Association of the Bar of the City of New York 246–258 (April 1996) (Subcommittee Chair/Principal Drafter, Ad Hoc Committee on AIDS, Association of the Bar of the City of New York). Reprinted in 41 New York Law School Law Review 151–162 (1996).
"Off-Duty Conduct Laws Provide Privacy Rights for Employees." 5 Employment Testing: Law and Policy Reporter 49–54 (April 1996).
"States Offer Workplace Protection for Lawful Off-Duty Consumption." 5 Employment Testing: Law and Policy Reporter 104 (July 1996).
"New Defense Department Regulations Preserve 'Sub-Element' Exemption." 1995 The SALT Equalizer 15 (August 1995).
"Congressional Pressure Mounts on Law School Discrimination Policies." 1995 The SALT Equalizer 6–7 (April 1995).
"Sexual Orientation Discrimination and Popular Democracy: Courts Invalidate Anti-Gay Initiatives." 4(3) Employment Testing Law and Policy Reporter 33–40 (March 1995).
"Courts Reject Voter Initiatives to Ban Laws That Protect Gays." 3(2) Employment Testing: Law and Policy Reporter 24–31, 35 (February 1994).
"New York High Court Says Schools Can Bar Military Recruiters; Congressional Reaction Threatened." 1994 The SALT Equalizer 3–4 (August 1994).
"Researching AIDS-Related Legal Questions, Part III." in Noter Up, at 15–20. Foundation Press (1994).
"AIDS Legal Bibliography." 2nd ed. (University of Texas Tarlton Law Library, 1993).
"California Courts Limit Laws on Sexual Orientation Bias." 2(9) Employment Testing: Law & Policy Reporter 145–148, 160 (September 1993).
"Report on the Experience of Lesbians and Gay Men in the Legal Profession." 48 Record of the Association of the Bar of the City of New York 843–890 (1993).
"Legal Constraints on Employment Screening for Sexual Orientation." 1(10) Employment Testing: Law & Policy Reporter 154 (October 1992).
"Homophobia, Heterosexism and Judicial Decision Making." 1 Journal of Gay & Lesbian Psychotherapy 65–91 (1991).
Columnist, "Out/Law." Outweek Magazine (1989–1991).
AIDS Legal Bibliography in AIDS in the Workplace: Resource Materials. 3rd ed., at I-1 to I-41. Bureau of National Affairs 1989.
Columnist, "The Law," New York Native (1986–1989).
"Report From the Legal Front: Gay/Lesbian Rights." 251 The Nation 12 (1989). Reprinted in Racism and Sexism (P. Rothenberg, ed., St. Martin's Press, 1992); and Voices of Dissent: Critical Readings in American Politics (W.F. Grover, ed., Harper Collins, 1992).
"AIDS Legal Bibliography." (University of Texas Tarlton Law Library, 1988).
"Employment Discrimination Against Persons with AIDS." 19 Clearinghouse Review 1292–1302 (1986).
Book Review of Sexual Politics, Sexual Communities: The Making of a Homosexual Minority in the United States 1940–1970, by John D'Emilio. 1 New York Law School Human Rights Annual 305–309 (1983).
Professor Arthur S. Leonard discusses whether the fight for marriage equality has entered its end game.


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Posts Tagged 'voter registration'
Florida 2011 Election Laws in the News and Voter Information 2012
Greetings good people of Lantana.
Are you aware that there are Primary elections to be held August 14, 2012, as well as Presidential elections on November 6, 2012? Get ready for them now!
Why? Because this year Floridian voters will likely witness significant developments in where, when, and how they can vote. The Florida Legislature passed new voter laws in 2011– Title IX, Ch. 97-107/Electors and Elections. View this statute at On-line Sunshine — where all laws and statutes passed by the Florida Legislature since 1997 may be found.
*Are you a citizen who has registered to vote, but have not voted for a while and don't know where your precinct is?
*Are you registered to vote, but uncertain if your district may be re-districted and altered later this year?
Florida has now completed its electoral re-districting and those districts have been pre-cleared by the U.S. Department of Justice. Maps can be viewed at FloridaRedistricting.org. Palm Beach County, as well as other South Florida county voting districts have changed significantly since 2010 — locally, state-wide, and congressionally. There are lots of new maps, but I found helpful "Maps and Block Equivalencies for New Congressional and Legislative Districts" — this is being provided to Supervisors of Elections across the state.
I did this because my neighborhood in Lantana has now been re-districted for congressional and state-wide elections. Confirm for yourself your districts, and get a sense of how they have been re-drawn. (Napoleon supposedly claimed that geography was destiny, but he may have not have been able to foresee that modern election maps can and do change from time to time). My district is likely to have different candidates to vote for in all the races than in 2010.
The Town of Lantana also maintains a local municipal elections page, as Lantana has five elected officials — see www.lantana.org.
*Are you a U.S. citizen unsure of how to register to vote in Palm Beach County?
Register directly with the Palm Beach County Supervisor of Elections or register with the help of one of the State of Florida's registered third party voter registration organizations. The State of Florida's list of these third party organizations is available on the State of Florida Department of State Division of Elections website.
*Are you a citizen wanting to change your address, name, or party affiliation in Palm Beach County?
You can do all of these, but only in advance; see the Palm Beach County Supervisor of Elections Voter F.A.Q. page.
*Are you registered to vote in Palm Beach County, but are wondering if your name may be on a purge list?
Contact the County Supervisor for more information. Voters who had been identified as ineligible by the State are supposed to receive advance notification and be given the opportunity to produce proof of eligibility to Supervisors.
Courtesy of the Florida Division of Elections, voters can look up their voter registration status in Florida. (Note: I initially checked twice and was not successful at retrieving my status. When I entered my information (name and birthdate), I had to type in some additional script to verify that I was a live person and not a spammer. On my third attempt, I was able to retrieve my voter status. My advice to users — try this lookup feature a couple of times, slowly and carefully.)
In addition, I was able to find out if my absentee ballot status and also the location of my precinct where I can go to vote.
*Are you registered to vote, but prefer to vote early and are unsure when the early voting period ends? *Are you registered to vote by absentee ballot, but are unsure of your status?
See again the Palm Beach County Supervisor of Elections website on Election Information or the State Division of Elections on Early Voting, as the early voting window has also been shortened in Florida with the new 2011 law.
More updates and links will be provided as the elections near. Local newspapers will also publish election guides — be sure to watch for them.
The U.S. Department of Justice issued a warning to Florida to halt purge efforts, claiming the 1965 Voting Rights Act and the 1993 National Voter Registration Act (NRVA) are being violated. (See Reuters article of June 2, 2012, "Florida Weighs Warning Against Voter Purge".)
Palm Beach County Supervisor of Elections Susan Bucher recently halted completion of purge efforts, as did other County Supervisors. (See "Governor Rick Scott's voter purge on hold" in the Sun Sentinel, June 1, 2012, and Ignored by Obama DHS: Florida's Request for Citizenship Database to Review Voting Lists" by Jim Turner, Sunshine State News, June 1, 2012)
Update 6/6/2012:
Note: All 67 County Supervisors of Elections in Florida suspended purge efforts. See the Palm Beach Post article of June 2, 2012, Voter Purge Gets pushback from elections supervisors, U.S. Justice.
Update on 6/24/2012:
Note: Lawsuits filed against Florida and the Federal Government. See the Palm Beach Post article of June 11, 2012, Feds, Florida in Dueling Lawsuits over Voter Purge.
Update on 8/13/2012
Apparently the State has still been unable to access the Department of Homeland Security's SAVE database while it continues to purge ineligible voters from its rolls, according to Sunshine State News on August 9, 2012: Florida Still Can't Access DHS Citizenship Database.


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Okra Catfish Stew
1. Place large stock pot over medium high heat for 1 minute; add oil. Add onion; cook 3 minutes or until translucent.2. Add tomatoes, tomato juice, okra, bay leaves, thyme, oregano and potatoes. Bring to a simmer and cook 10 minutes.
Serves 10
Recipe provided by The Catfish Institute.


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Transfer your old VHS tapes to DVD @ Your Library
Now you can preserve old memories here at the Library!
Roselle Public Library patrons can now convert home videos to DVD for free! Preserve your precious memories and make it easier to share those memories with children and grandchildren. Library staff will help you get started and walk you through the process using the Library's in-house equipment so you can transfer home videos to DVD by yourself.
Copyright restrictions apply. Discs are available to purchase.
Call the Reference Desk (630.529.1641 x*211) for more information or to make an appointment to use the VHS to DVD transfer station.
Roselle Public Library is located at 40 S. Park Street, Roselle, IL 60172.
Labels: Roselle Public Library, services, VHS to DVD


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Important Consumer Information as required by the Higher Education Opportunity Act of 2008. This page contains a comprehensive list of sources of information for the public, current/prospective students and their families, and university employees.
The following information is made readily available to ensure compliance with federal law concerning consumer reporting by higher education institutions.
Additional information on topics such as: student conduct code, safe zones, academic grievance procedures, the student handbook and student medical leave can be found at www.oit.edu/student-affairs.


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Cry Baby Ranch is the culmination of a lifetime of entrepreneurship from Founder and CEO Roxanne Thurman. Roxanne started her first business at age six, and sold tadpoles door-to-door in dusty West Texas for a penny apiece.
The store opened as a pop up shop (before pop ups were a thing) in Larimer Square for six weeks starting in Thanksgiving 1989. Surprisingly, people recognized Cry Baby. The New York Times was the first publication to write about the shop. Cry Baby's vintage and collectable products triggered nostalgia, evoking memories of childhood.
Roxanne realized she had to find product to sell or start charging admission to the museum. So, she began her partnerships with other designers and vendors in the industry.
Every year, people descended on Denver for the National Western Stock Show. There, Roxanne saw an opportunity to unite her great customers, designers and vendors in a fun environment filled with margaritas, munchies and friendship. So began Cry Baby's famous annual party.
Cry Baby has continued that festive spirit for 28 years, and along the way gotten to know many wonderful people. It's this emphasis on relationships, quality customer service, and one-of-a-kind goods that energizes the store today.


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Schools are the most important government function in California. They determine the state's future as a society and as an economy. They consume far more resources than any other government service.
And the financing of schools is an incomprehensible mess that needs immediate reform -- and is not getting it.
That is the very tough conclusion of a new report on school finance from the non-partisan Legislative Analyst's Office.
U.S. & World
News from around the country and around the globe
The report surveyed school districts around the state and found that many are using stimulus funds, borrowing and various accounting manuevers to pay the bills.
But the report comes to a thundering conclusion in describing the state's famously-difficult-to-understand system of school finance as in need of reform. The LAO takes a shot at Gov. Brown for failing to address the problem immediately:
"The state's K–12 finance system is riddled with problems—characterized by various research groups as overly complex, irrational, inequitable, inefficient, and highly centralized. Though the state's current categorical flexibility provisions have temporarily decentralized some decision making, they have done little to make the K–12 finance system more rational, equitable, and efficient. Rather than address these fundamental problems, the Governor proposes to extend most flexibility provisions by two years. While such action would help school districts in building and balancing their budgets over the next few years, it postpones important decisions that the state ultimately must confront."
The LAO's solution is straightforward: consolidate all existing funding sources for schools into a few block grants for districts. This would be far simpler and easier to understand, and would allow districts to have more certainty about the money they receive.


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Michael Jackson Instrumental Solos for Flute is a special order item. Please allow up to 2 weeks for delivery to home or store.
This book is a special order item. Please allow 7-10 business days for delivery.
The hits that made Michael Jackson the "King of Pop" are now available as a part of our instrumental series!
These arrangements are completely compatible with each other and can be played together or as solos. Each book contains a carefully edited part that is appropriate for the Level 2--3 player, as well as a fully orchestrated accompaniment CD.
Titles: Beat It * Billie Jean * Black or White * Don't Stop Til You Get Enough * Human Nature * I Just Can't Stop Loving You * The Way You Make Me Feel * She's Out of My Life * Will You Be There (Theme from Free Willy) * Man in the Mirror * Thriller * You Are Not Alone.
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Far from being the staid lectures academics attend, symposia in ancient Greece were wine-stravaganzas. The kind of cups the Greeks drank from turns out to say a lot about them.
At these symposia, drinking was mandatory. At first they were just for the elite, and the cups were just meant to get the wine to their mouths. As Greek society opened up and egalitarianism set in, symposia were held by everyone — so the styles of wine glasses expanded, since everyone was looking for the new, trendy thing. Apparently it took 200 years for the Greeks to get sick of 'stemmed vessels' and towards the end of the classical period, designer knock-offs plagued the market. In another 2000 years, I wonder what archeologists will make of the wide-mouth trend.
Find out the complete history of chugging at Physorg.


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On the practice range
The great thing about shot shaping is that learning how to do it is good fun. The practice range is where you'll discover how to manipulate the clubface angle and swing path to hit a host of different shots and ultimately that will help you become a more complete golfer.
Place a stick on the line of your final target as shown here. Then place a second stick on the ground pointing to the left of the target for a fade or right for a draw. As you address the ball, set your body along the line of the stick on the ground and point the clubface more towards the target (do not point the clubface directly at the target). Now simply hit a series of shots aiming to start the ball either to the right or left of the target line stick, shaping the ball around it. Remember that to do this you need to swing the club along the line of your body and the difference between this angle and the angle of the clubface is what creates the shape. Have some fun with this in practice and I promise your game will reap the rewards.
To shape your shots consistently, you need the correct golf clubs. There are certain models that are designed to help you do just that, offering superb feel and distance control. For some simple, impartial advice on the right clubs for your game, please come and see me in the pro shop.
Click here to book your lesson.


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A few inches of fresh snow dusted Colorado on Christmas Eve, giving us a white Christmas the next morning. It was a peaceful and beautiful day.
For our Christmas Eve dinner, Jamie and I made Beef Wellington (recipe by Tyler Florence) with herbed fingerling potatoes. The tenderloin beef was succulent and buttery, although I'm not sure I'm sold on the idea of the prosciutto and puff pastry wrapped around it. I think I prefer a more simple preparation, like a nice sear on the steak giving it a fantastic crust. Jamie also made pork and lamb-stuffed Cabbage Rolls, called Holupki, a Polish dish his grandma used to make every Christmas. They were rich from the lamb but light-tasting from a touch of vinegar.
There were a few not-so-peaceful moments where I was afraid our kitchen was going to burn down - while Jamie was making the sauce for the beef wellington, he poured half a cup of bourbon into a pan, said "stand back" to unsuspecting me, and proceeded to light it on fire! This trick may not be that hazardous in a professional kitchen, but our stove sits just inches beneath the microwave and a few upper cabinets, and the flames shot up 3 feet high, instantly setting off the smoke detector. It all happened so fast that I didn't have time to take a picture - I was too worried about our kitchen going up in flames - but the sauce did taste fantastic.
And for dessert, I made a rich, moist and dark Chocolate Cherry Trifle, soaked in Grand Marnier. The homemade chocolate cake was so dark it was almost black, and the finished trifle tasted so luxurious with the chocolate, Grand Marnier, sweet cherries and cool whipped cream.
That night, I set out milk and cookies - chocolate chip pecan shortbread - for Santa, and the next morning I was happy to see that he'd sampled them. That Christmas morning we slept in late before opening presents, making Cinnamon Rolls with a Salted Caramel frosting, and then spending the afternoon watching our favorite Christmas movies.
Christmas is my favorite holiday, and it always makes me a little sad when it's over, but I know I have next year to look forward to...
I hope you all had a beautiful, peaceful and happy holiday.
Dark Chocolate Cherry Trifle with Grand Marnier
printable recipe
- Dark Chocolate Cake, cooled (recipe below)
- 1/4 cup Grand Marnier (orange liqueur)
- 1/2 cup dark chocolate, finely chopped (or mini chocolate chips)
- Cherry Filling, cooled (recipe below)
- 1 1/2 cups heavy whipping cream
- 3 tablespoons powdered sugar
Note: For an alcohol-free version, toss the cake with coffee or a flavored syrup instead of the Grand Marnier.
Set out a large glass trifle bowl.
In a large bowl, crumble the chocolate cake with a fork, then drizzle with the Grand Marnier. Toss with the fork to moisten evenly. Set aside.
Whip the whipping cream with the powdered sugar until medium peaks form.
Spoon 1/3 of the chocolate cake into the bottom of the trifle bowl. Sprinkle with 1/2 of the chopped chocolate. Top with 1/2 of the cherry filling. Top with 1/3 of the whipped cream. Repeat. Spoon the rest of the chocolate cake on top, then the rest of the whipped cream. Garnish with a few cake crumbs, chocolate curls or chopped chocolate.
Refrigerate until ready to serve.
Dark Chocolate Cake
- 2 cups all-purpose flour
- 1 3/4 cups granulated sugar
- 3/4 cup unsweetened cocoa powder, "Special Dark" cocoa
- 1 tablespoon espresso powder
- 1 1/2 teaspoons baking soda
- 1 1/2 teaspoons baking powder
- 1 teaspoon salt
- 2 eggs, room temperature
- 1 cup milk, room temperature
- 1/2 cup vegetable oil
- 1 tablespoon vanilla
- 1 cup boiling water
Preheat the oven to 350. Spray a 9x13 pan with non-stick spray. Set aside.
In the bowl of your electric mixer, combine the flour, sugar, cocoa, espresso powder, baking soda, baking powder and salt. Add the eggs, milk, oil and vanilla. Mix on low speed for 30 seconds to combine then beat for three minutes on medium speed. Scrape the bowl down and gently stir in the boiling water - the batter will be very thin.
Pour batter into the pan and bake for 28-33 minutes, or until the center of each cake springs back when gently touched. Set the pan on a wire rack, cover with a clean kitchen towel and cool completely.
Cherry Filling
- 2 pounds frozen sweet black cherries
- 1 cup granulated sugar
- 4 tablespoons corn starch
- 1/8 teaspoon salt
- 4 tablespoons water
- 3 tablespoons Grand Marnier (optional)
In a large saucepan, combine the cherries, sugar, corn starch, salt and water. Simmer over medium low heat to dissolve the sugar and thaw the cherries. When the mixture is juicy, increase heat to medium. Bring to a boil, stirring constantly, and boil for 1-2 minutes until thick like pie filling. Remove from the heat and stir in the Grand Marnier.
Cool completely before assembling the trifle.
Recipe from Curly Girl Kitchen


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The Pax Axis
It was only the other day, on a visit to Tokyo, that I realized something familiar had disappeared from the Japanese landscape: the blind and maimed veterans of the Japanese Imperial Army, who had fought and lost the war in China, Southeast Asia, and the Pacific. Until about ten years ago they were still to be seen, in their white kimonos and dark glasses, standing on their crude artificial limbs of wood, steel, and leather, playing melancholy old army tunes on their battered accordions, in the halls of railway stations or in front of Shinto shrines or in public parks, hoping to pick up some spare change. Young people, smartly dressed in the latest Western fashions, mostly passed them by without a glance, as though these broken men didn't exist, as though they were ghosts visible only to themselves. Older people would sometimes slip them a few coins, a little furtively, like paying an embarrassing relative to stay out of sight. Japan had moved on, was getting rich. The ghostlike figures in their white kimonos brought back memories that nobody wanted.
Officially Japan no longer has an army. Article Nine of the Japanese constitution, a document drawn up under the stern eyes of the American occupying forces in 1946, states that "the Japanese people forever renounce war as a sovereign right of the nation." And in order to accomplish this aim, "land, sea, and air forces, as well as other war potential, will never be maintained."
Instead, Japan has the so-called Self-Defense Forces. The same Americans—though not always literally the same people—who had wanted the Japanese to be permanently disarmed, as an exemplary nation of peace, changed their minds in 1950, on the eve of the Korean War, and decided that Japan should defend itself after all. A National Police Reserve was created. The Japanese left called this unconstitutional. They were overruled. The first US–Japan Security Treaty was signed. Richard Nixon, on a visit to Japan in 1953, said that Article Nine had been a mistake. Japanese conservatives agreed, but were unable to convince the public. The cold war heated up, business began to boom, and the socialists lost more and more ground. The Self-Defense Forces were legalized, though some still regard them as unconstitutional, and the Americans continued to occupy bases all over Japan.
In fact, Japan never regained its full sovereignty. The US took care of security, while the Japanese took care of business, a cozy deal for the Japanese corporations, and the conservative Liberal Democratic party that represented their interests. The LDP and the equally conservative bureaucracy, staffed by many of the same men who had administered Japan during the war, consolidated their grip on power. The left, which had emerged from the war with great dreams of strong trade unions, social reforms, liberal politics, and unarmed peace—dreams which the Americans had done everything at first to encourage—felt betrayed, and retreated into a pacifism that was anti-American, pro-Chinese, pro–North Korean, pro-anything-socialist-and-non-Western.
The old Axis partner,…
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PINELLAS PARK, Fla. – A video of a topless woman vandalizing a Tampa Bay-area McDonald's has gone viral.
Pinellas Park police say the incident happened March 24, but the video went viral on Tuesday.
The video shows a woman, clad only in bikini bottoms, inside the McDonald's. It shows the woman going behind the counter, overturning cash registers, throwing food and eating soft-serve ice cream and french fries.
Pinellas Park police say the woman was 41-year-old Sandra Suarez.
When officers arrived, Suarez told them she was horny and then resisted arrest, police said.
"She tried to kiss, bite, lick. My understanding is that none of the officers were injured as a result of the arrest," police spokesman Adam Geissenberger said.
Suarez was booked into the Pinellas County jail on charges of criminal mischief and resisting arrest. She was released March 29 on $7,000 bail.
She has retained a public defender and couldn't immediately be reached for comment.
Franchise owner Juan Illas said in a statement that the employees who released the video have been fired.


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General Liability Insurance in Southford, CT,
With the day-to-day uncertainties of business management, general liability insurance is something you cannot do without. Accidents happen – on site, off site, with employees and with customers – no matter how much you've planned.
Sate Wide General Liability insurance in Southford, CT can help cover medical expenses, attorney fees and damages you are legally responsible for. It can also offer protection against situations that may not have even crossed your mind.
Contact us for a quote today.


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all three days (Sunday/Mon/Tues) at periodic times
Information Technology Section (ITS) members have again assembled an assortment of popular games sure to become hits in your library. Come at your convenience to play, learn more about this increasingly popular option, and take advantage of the opportunity for a hands-on trial.
photo credit: Brian Herzog
Personal Thoughts and Impressions: My FAVORITE part of the conference!! I must have spent a good 45 minutes in that room trying to not stink at Rock Star (the screen on the far left). I play most of my video games on the PC and tend to gravitate towards long, adventure/quest-type games, so it was quite a treat to get to see some of the more popular games and consoles first hand.
The room had three type of game setups. On the left hand side, there was a PlayStation 2 with a Rock Star game loaded, complete with wireless guitar, wireless microphone, and drum set. In the middle was a Wii and various games and accessories. On the right hand side was a Xbox 360 with Guitar Hero loaded and a wireless guitar. I spent nearly all my time in there playing Rock Star, but I did watch a bowling game and a race car game being played on the Wii and listened in on a few discussions as well.
I hope this demo will be presented again at next year's conference.
Excerpts from handout compiled by Scott Kehoe:
Who's Got Game (some statistics)
- 53% of all American adults play video games
81% of all 18-29 year olds play video games
76% of teens play online games
66% of parents with children under 18 play games
Gamer Profile
55% male
56% urbanites
57% college educated
62% annual income $50,000+
no significant ethnic differences among game player
Online Bibliography:
Buying Games and Equipment:
GameStop – http://www.gamestop.com
- sell all consoles, games and accessories
- also sell USED games and equipment — can buy more equipment with less money
- take trade-ins — when games stop becoming popular, trade it in and get something else
Online Bibliography:
Library Success: A Best Practices Wiki
Goto: Programming/Gaming
Pew Internet & American Life Project – http://www.pewinternet.org – contains data on how Americans use the internet and their computers.
Goto: http://www.pewinternet.org/topics/gaming.aspx Or search site with keyword: gaming
Entertainment Software Association – http://www.theesa.com – video game industry professionals
Promotes video games and responsible for rating video games
Book Bibliography:
Game On! Gaming at the Library / Beth Gallaway
Neal-Schuman Publishers, Inc., 2009
Gaming in Academic Libraries: Collections, Marketing, & Information Literacy / Amy Harris & Scott E. Rice (Editors)
Association of College and Research Libraries, 2008
Filed under: nela2009 |


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Maka Batiashvili
Falling, 2009
Oil on Canvas
70 cm x 100 cm
Oil on Canvas
70 cm x 100 cm
Maka Batiashvili's exuberant work depicts scenes from the everyday. Through the subject matter, Batiashvili poses questions around the existential issues of life and death. In her work the everyday life resembles a playground, where various scenes are being performed. Ostensibly unmediated figures and the intense color scheme in Batiashvili's work share stylistic tendencies with the early modernist painting traditions of Georgia and Europe. Batiashvili's practice is an interesting cross between the traditional and the contemporary painting.
Maka Batiashili works in painting, book illustration, video art, documentary film. Her inspiration is derived from the moments of mundane reality that usually turn into important visual images. The artist grasps moments from the ordinary situations, which find participants on the verge, where keeping balance is required. Key concept for Maka is a person surrounded with the emotional environment and ...
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