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preparing for 1.12 release
0 lines of code changed in 1 file:
Fix for bug #2081472: short int encoding for food value in payment altars.
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Face/animation related plugin functions.
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Server support for Metaserver2 - brought back from trunk:
acinclude.m4: Add LIBCURL_CHECK_CONFIG macro, used by configure.
configure.ac: Add check for pthread, LIBCURL. Extra
logic to display if we will build with metaserver2 support
lib/Makefile.am: add metaserver2 to list of files to install.
*/Makefile.in: rebuilt
lib/metaserver2: Settings file for metaserver2 support.
server/init.c: Add call to metaserver2_init() during startup.
include/metaserver2.h: Header file include metaserver2 related data.
include/autoconf.h.in: Rebuilt
include/sockproto.h: Rebuilt with new metaserver2 functions.
socket/metaserver.c: metaserver2 update logic added.
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acinclude.m4: Use -I./${srcdir} for crossedit check - otherwise, when
building in alternate directory, doesn't fine files correctly.
configure.*: Add new makefiles.
check-fragment.am, test/unit/crossedit/Makefile.am,
test/unit/common/Makefile.am,test/toolkit/Makefile.am: Add support for buildin
g in alternate directory, which
make distclean does - using relative directories to find files
does not work. Some files should also be in the buildir, not srcdir.
Have Makefiels remove .autrun.xml with distclean
Makefile.am: Remove to config files on make distclean
test/include/Makefile.*, test/templates/Makefile.*: Add missing Makefiles
test/unit/Makefile.am: remove .autorun.xml file as part of distclean
test/unit/server/Makefile.am: Remove LDFLAGS from Makefile.am - automake
says don't mess with those - use AM_LDFLAGS instead. Remove
.autrun.xml file with distclean
test/Makefile.am: Add include, templates to subdir list. Have
make clean remove log files, .autorun.xml file.
crossedit/Makefile.am: Fix indentation of stubs.c (use tab, not spaces)
other files: Rebuilt as part of running autogen.sh
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text:
Check out Katy Lasdow's write-up of her visit to the Boston Tea Party Ships & Museum. After forking over twenty-five bucks, sitting through a mock town meeting, pretending to dump tea chests from the deck of a replicated ship, and watching two holographic women talk about the coming war, she got to see a grand total of one original artifact.
"When does a museum stop being a museum," Lasdow rightly asks, "and become something else?"
My former boss used to say, "A museum is a communication device." I agree. A museum should do more than collect and display artifacts; it should use the tools at its disposal to contextualize those artifacts. The days when an exhibit consisted of a conglomeration of artifacts, labels, and pictures are over. But the use of artifacts and other objects to communicate and instruct is still the distinguishing feature of museums. That's what separates the museum exhibit from other means of communication and instruction.
There's no magic ratio of artifacts to gizmos that works for each and every exhibit, but when there's only one artifact in the whole building, one wonders why they decided to call it a museum in the first place, whatever the quality of the information being conveyed or the nobility of the planners' intentions.
To read a couple of my older posts along these same lines. click here and here.

subset: commoncrawl


text:
Lucchese Handmade 1883 Black Crocodile Belly Cowboy Boots - Medium Toe
- Lucchese Handmade 1883 Black Crocodile Belly Cowboy Boots - Medium Toe
- Item # 034B12
$755.00 Final Price
United States
Additional Information
Features & Description
- The ultimate in handmade exotic boots, Lucchese.
- Genuine black crocodile belly leather vamp
- Leather lining, insole, heel, & sole - the finest
- Walk in ultimate comfort with a cushion insole
- Medium toe profile
- 12.5" upper
Lucchese boots are 100% handmade. They are the choice of those who know and appreciate the finer things in life - not because of cost, but because of a distinct, unmatched quality. Every inch of every pair of Lucchese boots are created from only the finest grade leathers, and every step of construction is carefully completed at the hands of skilled craftsmen. This legendary boot features a black crocodile belly leather foot under a 12 1/2" smooth black leather shaft. Distinctive, puffed shaft stitching. Leather lining. Single stitched welt. Medium toe silhouette and 1 3/4" cowboy heel. Imported.


text:
|Previous Page | Table of Contents | Next Page
Does a small company need a tax ID number?
Is an employer identification number the same as a tax identification number?
Under what circumstances am I required to change my employer identification number (EIN)?
Do businesses have to obtain the taxpayer identification number (TIN) from vendors and keep it somewhere on file?
|Previous Page | Table of Contents | Top of Page | Next Page


text:
The knives are out.
Padma Lakshmi's baby daddy has reportedly taken the "Top Chef" host to court for full custody of their 11-month-old daughter, Krishna.
Venture capitalist Michael Dell filed suit Tuesday in Manhattan's Supreme Court, claiming Lakshmi has limited his visits with Krishna to just seven hours a week, the New York Post reported.
U.S. & World
Dell's lawyer, Bill Zabel, told the paper his client had "tried his best" to keep the dispute out of the courts, but Dell's ex-flame had given him "no other choice."
"Adam Dell, above all else, wants to have an active and substantial role in the upbringing of his daughter with Padma Lakshmi," Zabel told the Post. "Unfortunately, Ms. Lakshmi has severely limited his time with their daughter and has refused to negotiate a reasonable co-parenting agreement. "
A source close to Dell told People mag that even though the 41-year-old brother of Dell Inc. mogul Michael Dell filed for full custody he hoped to come to a shared custody agreement.
Dell and Lakshmi reportedly dated briefly in 2009 and he was outed as Krishna's father in the tabloids. He is said to divide his time between Austin and New York.
Lakshmi famously kept mum on the identity of her baby's biological father throughout her pregnancy. She now dates IMG head Teddy Forstmann.
"It appears to us that Mr. Dell remains more interested in garnering media attention than working out details to see Krishna or in her welfare," her rep told the Post.
Selected Reading: New York Post, People, E!


text:
Drugs used to control the AIDS virus can also be used to protect uninfected people, researchers concluded on Tuesday in a "last-word" review of the data.
Their report, released in the Cochrane Library, bolsters calls for policies backing distribution of the drugs to people most at risk from the virus -- including gay and bisexual men, drug users, and women in some African-American communities as well as across the developing world.
The findings also underscore the debate over how best to use scarce resources to fight the pandemic of human immunodeficiency virus or HIV, which infects 33 million people globally, including more than a million in the United States. It has killed 25 million people. There is no cure and no vaccine.
But studies are showing hope on several fronts.
"We think we are at the beginning of the end of the AIDS epidemic," Dr. Diane Havlir, an AIDS specialist at the University of California, San Francisco, and one of the organizers of a giant, international AIDS conference being held in Washington, D.C. later this month, told reporters on Tuesday. "Over the past three years, there has been a series of breakthroughs in interventions that can dramatically curb the rate of infections with HIV."
Work on a vaccine is promising, it's been shown clearly that circumcising men protects them from infection, and it's also obvious that treating infected people not only keeps them alive and healthy, but it helps prevent them from infecting others. Work is also progressing on a microbicide -- a gel that women could use to protect themselves from infected husbands and partners. And now research is also showing that giving people a once-a-day dose of the pills used to treat HIV can keep them from becoming infected in the first place.
The studies on this last approach, called pre-exposure prophylaxis or PrEP, have been mixed. So Charles Okwundu of Stellenbosch University in South Africa and colleagues studied the studies.
They looked at experiments involving more than 9,800 people around the world at high risk of becoming infected with HIV, including gay or bisexual men and sex workers. The drug tenofovir alone -- sold under the brand name Truvada by Gilead Sciences -- cut the risk of HIV infection by nearly two-thirds, while trials using Truvada with a second drug called emtricitabine, brand name Emtriva, cut the risk by 49 percent, they reported in the Cochrane Library, a journal that seeks to find the "last word" on studies.
It's not clear why using two drugs seemed to be less effective than using just one, but the trials were done very differently and using different groups of people.
"Our findings suggest that antiretroviral drugs can reduce the risk of HIV infection for people in high risk groups," Okwundu said in a statement. "However, in the search for highly reliable HIV prevention strategies, it is important to determine how pre-exposure prophylaxis can best be combined with existing programs, as no strategy is likely to be 100 percent effective."
Okwundu's team noted controversy over using PrEP.
"One concern is the long-term side effects of antiretroviral drugs used over many years by uninfected individuals," they noted.
These include possible kidney damage and bone loss. In addition, if people don't take the drugs consistently, they could develop what is known as resistant virus -- infections that defy the use of drugs. This can hurt the patients themselves, and they can also pass this resistant and hard-to-treat virus to others.
"There also are concerns that PrEP will lead to an increase in high-risk behavior," Okwundu's team adds. "If PrEP is not completely effective, even a partial reduction in use of safer sex could lead to an increased rate of HIV transmission."
And the drugs are expensive -- Truvada costs more than $1,000 a month in the United States, although Gilead allows for much cheaper generic versions to be made and distributed in the developing world.
Despite the concerns, in May a panel of Food and Drug Administration advisers recommended that the FDA approve the pills for this use. Already, doctors can and often do prescribe the pills as they like, but FDA approval would clear the way for U.S. insurance companies to pay for it and for the company to promote the drug for this use.
Related stories on Vitals:
- FDA approves first rapid, at-home HIV test
- Experimental AIDS therapy may be the beginning of the end
Melissa Harris-Perry sat down with former House Speaker Nancy Pelosi on Friday to discuss - among many issues - the congresswoman's work in combating the HIV crisis. Christopher MacDonald Dennis, dean of multicultural life at Macalester College, joins Harris-Perry to talk about what HIV and AIDS looks like in America today.


text:
Bloomberg reporters have spent the past 20 minutes Tweeting a romantic saga that unfolded in the news organization's headquarters on Manhattan's Upper East Side: an unidentified man proposing to his girlfriend.
UPDATE: Here's video of the event via Bloomberg's Devin Banerjee:
(All photos via Bloomberg's Edmund Lee)
Here's the story. First, the run-up. The woman has no idea what's coming.
Then the ask:
Finally: she says yes!
Meanwhile, apparently all of Bloomberg LP stopped what they were doing to watch:


text:
Maunaloa, on the west end of Molokai was, according to legend, the first place Hawaiians received hula instruction. Maunaloa town is being revitalized with plantation-style architecture reminiscent of the gentle and leisurely lifestyle of Old Hawaii. Surrounded by open pastureland that overlook panoramic ocean vistas, Maunaloa vacation rentals offer a spectacular setting.
East of Maunaloa and in the centre of the island is Kaunakakai (Beach Landing) This tiny port town is the economic and government centre of Molokai. However, it has no 'night life', as there are no bars or nightspots. Papohaku Beach, one of the largest white sand beaches on the islands is within easy reach of Maunaloa on the western shore of Molokai. Close to Papohaku is the 18 hole championship golf course at Kaluakoi.
Molokai's population is low and includes the highest percentage of people of native Hawaiian ancestry of any of the islands. Because of their friendliness to visitors, Molokai is known as "the Friendly Isle." It is considered by many to be culturally the most Hawaiian of the six major islands. It doesn't matter if you choose Molokai accommodations in the western section, or prefer home rentals in the east; you are never far from adventure as the island is just the right size to drive in one day.
The least developed of the Hawaiian Islands, Molokai is only 20 minutes by air from Hawaii's most populous islands, Maui and Oahu. It is a quiet island that offers a unique introduction to the gentle rhythm of South Seas life.
While staying at Maunaloa you can easily tour the whole island. Winding country roads beckon sightseers via off road tour and taxi services or you can explore in your own rental vehicle. In contrast to the western beach and golf course atmosphere much of the island's eastern end is dense wilderness, thrusting mountains and deep, green valleys.
Kalaupapa Peninsula offers a wonderful day hike on the well maintained 2.9 mile mule trail complete with 26 switchbacks. Horseback riding and mountain biking are available at the Mokokai Ranch.
Other Related Travel Articles:
Thank You - OwnerDirect.com has successfully received your feedback.


text:
Bit & Spur Restaurant and Saloon
One of the best restaurants in the vicinity of Utah's Zion National Park.
Bit & Spur Restaurant and Saloon
1212 Zion Park Blvd.
Springdale, United States
- Bit & Spur Restaurant and Saloon website
About this Hotel
Price From $12
The Bit & Spur is one of the best restaurants in the vicinity of Utah's Zion National Park: The locally brewed beer is top-notch, and Mexican-inspired basics like the house burrito and fresh fruit margaritas satisfy after a long hike, especially if you've snagged a patio seat. Ingredients are high-quality, and the vibe is festive and always friendly. Still, food quality can be erratic, and the prices are higher than they need to be—the seasonal menu, especially, trends towards expensive options (this spring's bistek asado dish goes for $30, and the special tamales are priced at $21). Keep it simple and you'll walk away happy, and full: Grab a good beer or a margarita, try well-regarded favorites like the tacos or burritos, and down it all on the back patio while contemplating the West Temple Mountains. That's hard to beat after an attempt at nearby Angel's Landing, a legendary hike to one of the best summit views in the National Park system.
Price check: The chicken, beef, or pork burrito goes for $12.50. Fajitas go for a pricey $18.25. A children's menu is available: The child's portion for a taco or enchilada plate is $6.25.
Thanks for sharing: Reader Lois was the first to tip us off.


text:
Congratulations on being cat of the day Aragon. You certainly are one special pussycat and deserve the award. Even I can't drink out of the tap yet!
You sound such a lovely bundle of fluff and very clever.
I hope you enjoy your day of international fame.
COTD 1 March 2014


text:
The Johnsons, along with their six-year-old son, Ole, and four-year-old daughter, Ellen Julie (Julia), arrived in America in 1866 from Nord-Troendelag, Norway. They first stayed in Goodhue County, Minnesota for a couple of years before deciding to settle on newly available land along the Minnesota River to the west. In order to "prove up" his homestead, Baard Johnson built a two-room cabin on the property in Norwegian cotter style, with a decorative Scandinavian gable over the small entryway. I believe it is the same cabin that still stands on the property today, though the land has not been owned by family members since about 1901.
After Baard Johnson died in 1872, his widow, Bertina, remarried and began another family. It was soon after this marriage that a new and larger farmhouse was built on the property, but it was located farther from the creek and closer to the road. When Bertina and her second family moved to Duluth in eastern Minnesota so that her husband could pursue a career as an attorney, she offered the homestead to Ole, her eldest son, as his rightful inheritance.
The farmhouse Ole Johnson inherited, and probably helped build, had an L-shaped floor plan commonly used on the Midwestern prairie at that time. Downstairs was a kitchen with an entrance off a back porch, a parlor with tall windows to let in as much light as possible, a front porch, and a bedroom that drew some warmth from the kitchen. The upstairs consisted of two unheated bedrooms that could get quite chilly in winter. Ole Johnson's mother, Bertina, must have brought some of her children into the world in that back bedroom behind the kitchen, as would his wife, Malla (Larson), probably attended by her sister-in-lay, Julia (Johnson) Larson.
|House on the Johnson farm in 1941. Granite Falls Township, Chippewa County,
Minnesota. (Photographer: Doris Johnson)
The kitchen of any 19th century farmhouse was the hub from which family members and others constantly came and went between endless rounds of chores. Children and hired help lingered at the farm table as long as they dared, drawn by the comfort of the trusty black stove and compelling aromas of freshly baked bread, warm lefse and butter, or a simmering venison stew. At most hours of the day, Malla Johnson could be found there, busy with cooking and canning, washing, knitting and darning, churning, chatting, and preparing baths, as well as nurturing, while her husband, Ole, took care of the farm and farm buildings.
The photograph above was taken by my mother while she still lived in Minnesota. During the summer of 1941, a group of relatives went to visit the old homestead property. Years later, the old house was torn down because it was in a state of disrepair and had begun to be used as a "party house" by local youth.
I like to dream about owning one of the houses my great grandfather built, either this one, or the one he built some 35 years later, near the village of Leonard in Clearwater County, Minnesota. It is sad that more houses of this character and age have not been preserved for the sake of history.
I doubt that future generations will ever look at a house I've lived in and think quite the same nostalgic thoughts, for there was something very special about the first immigrant generations in America. Their homes were simple and functional, and their way of life, well, there was nothing cushy about it. My farming ancestors sweated for each gain and every meal on the table. Early American pioneers experienced a connection to land and community that we do not often find in modern times. They had an intense appreciation of the acreage they acquired to plow, sew, and reap, and to form as one willed. After the limited availability and nearly impossible prospects of land ownership in Norway, new life and opportunity in America was a dream come true for my great great grandparents.
If I were given a time machine, the first place I would want to visit would be the 1870s homestead on the southwest Minnesota prairie, where this house was built. Hand me an apron, tie back my hair, and sink me up to my elbows in flour on the rough hewn table by the cast iron stove. I'll try not to mind too much when my arms become solidly black and blue from chicken pecks while collecting eggs, just like Malla. In the spirit of my ancestors, I would carry out my days uncomplaining, knowing that my work and sacrifice would bring a universe of opportunities for my children, and their children. And, so it has. How lucky we are that we no longer have to work so hard in order to live, and yet, how we yearn for the straightforward, sincere toil of our ancestors, and their infinite hope.


text: Markus Posch schrieb: > nyk wrote: > >>On Wed, Apr 13, 2005 at 09:34:27PM +0200, Markus Posch wrote: >> >> >>>nyk schrieb: >>> >>> >>>>On Wed, Apr 13, 2005 at 09:51:36AM +0200, Markus Posch wrote: >>>> >>>> >>>> >>>>>Hy @all. >>>>> >>>>>Now I had installet the release of kubuntu 5.04. >>>>> >>>>>but there is still this problem: >>>>> >>>>>when i connect the dec 3000 i got this in dmesg: >>>>> >>>>>Apr 13 09:15:46 localhost kernel: usb 3-1: new full speed USB device >>>>>using uhci_hcd and address 2 >>>>>Apr 13 09:15:57 localhost usb.agent[8890]: ttusb_dec: loaded >>>>>successfully >>>>>Apr 13 09:15:57 localhost kernel: ttusb_dec: Firmware >>>>>1.15<3>ttusb_dec_boot_dsp: Firmware (dvb-ttusb-dec-3000s.fw) unavailable. >>>>>Apr 13 09:15:57 localhost kernel: usb_unlink_urb() is deprecated for >>>>>synchronous unlinks. Use usb_kill_urb() instead. >>>>>Apr 13 09:15:57 localhost last message repeated 3 times >>>>>Apr 13 09:15:57 localhost kernel: usbcore: registered new driver ttusb-dec >>>>> >>>>>the firmware has the right name and is placd in /usr/lib/hotplug/firmware. >>>>> >>>>>the script dvb.sh and the rules are added. >>>>> >>>>>but there is still no adapter and no frontent in /dev. >>>> >>>> >>>>Make sure udev is up to date. >>>> >>>>Make sure your kernel has CONFIG_FW_LOADER=m or CONFIG_FW_LOADER=y >>>> >>>>It might also help to modprobe the modules (modprobe ttusb_dec) before >>>>plugging in the dec. Try unplugging and re-plugging in the dec. >>>> >>>>hth >>> >>>thanks, >>> >>>how can i see the my version of udev? (i think on the newest kubuntu is >>>should be the right one) >>> >>>today i saw the strangest thing. >>> >>>i called a friend who is working in the same firm. he said i should copy >>>the firmware to /lib/firmware. >>>i made this, connected the dec => firmware loadet. >>> >>>ok. i go home from the firm, connected the dec => same error again?????? >>> >>>i connected and disconnectet again and again, but the error is always >>>the same. >>> >>>now i am confused more then before. >>> >> >>AIUI ubuntu has the same file layout as debian, so the firmware should >>be in /usr/lib/hotplug/firmware. The only other thing I can think of is >>that the permissions of the firmware file are wrong... is the file world >>readable - that would make sure the hotplug process can read the file... >> >>nyk > > hallo again, > > now i installed the newest version of gentoo (only to try). > > but no way to get the dec working. > the dec is now build into the kernel and not a module. > > but there was an interessting message in dmesg when i connect the dec. > > Apr 26 07:28:37 localhost wait_for_sysfs[27603]: either wait_for_sysfs > (udev 045) needs an update to handle the device > '/devices/pci0000:00/0000:00:1d.1/usb3/3-1/3-1:1.0' properly (no bus > device link) or the sysfs-support of your device's driver needs to be > fixed, please report to <linux-hotplug-devel at lists.sourceforge.net> > Apr 26 09:28:42 localhost ttusb_dec: Firmware 1.15<3>ttusb_dec_boot_dsp: > Firmware (dvb-ttusb-dec-3000s.fw) unavailable. > > I think there is a problem with my usb. > > Anyone any idea? > > > greets > markus > > > _______________________________________________ > linux-dvb mailing list > linux-dvb at linuxtv.org > http://www.linuxtv.org/cgi-bin/mailman/listinfo/linux-dvb > no i got an pcmcia2usb adapter because i thought that my usb controller was the problem. but there is still the same problem. the only different is that the atapter use ohci and not uhci but the error is the same. i have no idea anymore. please help!!!! greets markus


text:
- "Anha vos oziyenek shafkea, zhey qoy qoyi.
(I will not fail you, blood of my blood.)"
- ―Rakharo to Daenerys Targaryen
Rakharo was a loyal Dothraki bodyguard to Daenerys Targaryen. Following the birth of her dragons he was named a bloodrider by his Khaleesi. He was killed by a rival khalasar while scouting the Red Waste.
Rakharo is a Dothraki warrior who is skilled in combat. He is young, but extremely capable in battle. He was trained by his father, who was a bloodrider in the retinue of a famous khal, Khal Bharbo. He is descended from a long line of bloodriders. He protected Daenerys from her brother's vicious temper and was one of the first to declare her "blood of my blood."[1]
Season 1
Khal Drogo assigns Rakharo to be the bodyguard of Daenerys Targaryen, Drogo's khaleesi. Their marriage was brokered by her brother Viserys in exchange for Drogo's assistance in reclaiming the Iron Throne for House Targaryen. Drogo takes the khalasar east to Vaes Dothrak. Rakharo discreetly follows Daenerys when she briefly leaves the column to walk in some nearby trees and witnesses her brother Viserys unleashing his rage upon her. Rakharo disables Viserys by whipping him around the throat. At Daenerys's request he spares Viserys, but forces him to walk back to the khalasar by taking his horse. Later, he and Ser Jorah Mormont discuss the relative merits of Dothraki and Westerosi weapons and armor before he gets into a petty argument with Daenerys's handmaiden Irri over what to prepare for dinner. Irri reveals that Daenerys is pregnant and demands the slaughter of a goat.[2]
Viserys continues to press Drogo to fulfil his promise immediately and drunkenly threatens Daenerys in front of the khalasar. Rakharo watches as Drogo kills Viserys using a crown of molten gold.[3] Rakharo apprehends an assassin who attempts to poison Daenerys in the markets of Vaes Dothrak after he is exposed by Ser Jorah.[4]
The assassination attempt causes Drogo to vow to take the Iron Throne for Daenerys. He takes the khalasar south to raid the Lhazareen people to obtain slaves in order to fund the invasion. Rakharo accompanies Daenerys during the Khalasar's raid on a Lhazareen village. Daenerys objects to the dothraki's treatment of the slaves. Rakharo stops the dothraki raping the women. Daenerys' actions provoke dissent and lead to a fight between Drogo and Mago. Drogo easily kills Mago but allows Mago to inflict a small wound while initiating the fight.[5] Drogo's wound festers and he falls from his horse during the journey to sell the Lhazareen slaves. Rakharo stays loyal to Daenerys and carries out her commands even when the other Dothraki begin to blame her for Drogo's decline into illness. Qotho attacks Daenerys and Jorah intervenes, killing Qotho. Daenerys goes into premature labor.[6] Daenerys son dies and Drogo is left in a vegetative state. The Lhazareen maegi Mirri Maz Duur takes responsibility. Daenerys ends Drogo's misery and then builds a funeral pyre for him. She orders Rakharo to place her dragon eggs on the pyre and Jorah to bind Duur within the flames. Daenerys steps into the inferno as her people watch. They stand vigil through the night and in the morning they find her amongst the ashes with three newly hatched dragons. Rakharo joins Ser Jorah in declaring his loyalty to her.[7]
Season 2
Rakharo becomes one of Daenerys bloodriders along with Aggo and Kovarro. Daenerys leads what remains of her khalasar deep into the Red Waste to avoid attack from rival khalasars or retribution from the Lhazareen. Facing starvation she sends Rakharo, Aggo and Kovarro to scout in three different directions, using the last remaining horses. Rakharo is sent North East. Daenerys says goodbye to him personally and tells him that he has never failed her. He says that it is a bad time to start.[8]
Rakharo's horse returns to the khalasar without him. Jorah Mormont approaches the horse to find Rakharo's decapitated head in a bag (along with his cut braid of hair, to mark his defeat), speculating he might have been killed by Khals Pono or Jhaqo to show their contempt for a female leading a khalasar. Irri, who was in love with Rakharo[1], is distraught because, according to Dothraki belief, his spirit won't be able to move on to the Night Lands - the afterlife - to ride with his ancestors.[9]
|Season One appearances
|Winter Is Coming
|The Kingsroad
|Lord Snow
|Cripples, Bastards, and Broken Things
|The Wolf and the Lion
|A Golden Crown
|You Win or You Die
|The Pointy End
|Fire and Blood
|Season Two appearances
|The North Remembers
|The Night Lands
|What Is Dead May Never Die
|Garden of Bones
|The Ghost of Harrenhal
|The Old Gods and the New
|A Man Without Honor
|The Prince of Winterfell
|Valar Morghulis
Image gallery
Behind the Scenes
In discussing the ending of Season 4, David Benioff and Dan Weiss revealed that they did not want to kill off Rakharo, but that the actor was planning to leave the show for other projects anyway. Rather than have his character simply disappear, they decided to give him a proper send-off.
In the books
In the A Song of Ice and Fire novels Jhogo is sixteen years old at the start of the series and favors a combination of the whip and arakh in battle. He is a warrior in Khal Drogo's khalasar and is assigned to Daenerys Targaryen as bodyguard by her new husband.
The character of Rakharo is similar, but is older and more seasoned than Jhogo. He has a long, curving mustache and wields the arakh alone in combat. Based on his repeated use of the whip, the Rakharo of the TV series appears to be predominantly based on the Jhogo character from the books.
Following Khal Drogo's death, Rakharo and the other two bloodriders Jhogo and Aggo are among the few who remain with Daenerys. Before entering the funeral pyre, Daenerys gives Rakharo the great arakh that was her bride gift and names him her ko. Rakharo accepts the arakh with reservations, saying "You are khaleesi. I shall ride at your side to Vaes Dothrak beneath the Mother of Mountains, and keep you safe from harm until you take your place with the crones of the dosh khaleen. No more can I promise." However, once Daenerys comes out of the pyre alive and with the born dragons, Rakharo is the third of the bloodriders to declare "Blood of my blood", and since then he is totally loyal to Daenerys.
Rakharo survives his scouting mission in the Red Waste. In the book it is Doreah who dies on the journey, contracting a wasting disease. So far, Rakharo, Aggo and Jhogo are alive and well.
Daenerys's handmaidens Irri and Jhiqui have a crush on Rakharo. Daenerys hear them argue over who he would prefer, but orders them to stop fighting over the blood of her blood.
Following Daenerys's departure from Meereen, Rakharo and Aggo (in the show - Jorah and Daario) and the rest of Daenerys's khalasar have been dispatched across the river to search for their lost queen at the Dothraki sea.
See also
- Jhogo on A Wiki of Ice and Fire (spoilers from the books)
- Rakharo on A Wiki of Ice and Fire (spoilers from the books)


text:
Date: about 1976
Address: 90 North 100 East
The old Logan Library building was built in 1932 and operated for many years as the Cache County Library. The architect was Mr. Leslie Hodgson.
Picture ID: 63
Source: Logan Library Photo Collection-Buildings
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- We Need to Talk About Kevin (2011) - I gulped down Lionel Shriver's bestselling novel a few years ago, but for all that I couldn't put the book down, I also couldn't get around my core difficulty with it--that a story purporting to discuss the difficulties of motherhood and the way that women feel pressured into it oversimplified itself by deciding that the title character was born evil. Lynne Ramsay's adaptation of Shriver's novel addresses and defuses this difficulty by leaning into it, suggesting at almost every turn that Kevin, who just before his sixteenth birthday shot half a dozen students at his school, and his mother Eva (a magnificent Tilda Swinton), who narrates the novel and is the film's main character, are inhuman and perhaps even demonic. By stepping away from Eva's point of view, so dominant in the book, Ramsay let's us see that Eva is not only as bad at being a mother as Kevin was at being a human being, but that they have more in common with one another than they do with anyone around them.
The film returns again and again to images of damnation. The opening scene introduces us to Eva as part of a writhing mass of bodies slathered in thick red tomato paste (establishing the film's slightly overdone fascination with the color red, which also appears in jam, paint, and of course blood). In a later scene, set after the shooting has occurred, Eva drives home on Halloween and flinches repeatedly as her headlights illuminate children in monstrous costumes, creating the sense of that she is surrounded by ghouls. But these images are also complicated--Eva is in ecstasy, not agony, at the tomato festival, and the costumed children are entirely innocuous while Eva's own normal-seeming child was the true monster. Most importantly, the film's most stifling sense of damnation is actually to be found in those scenes that establish Eva's comfortable, middle class life before Kevin destroys it--a life that Eva only tolerates because of her love for her painfully conventional husband Franklin (John C. Reilly, who on paper is an obvious choice for this role but somehow doesn't work here, perhaps because it's hard to imagine him and Swinton as a couple, and the film doesn't work hard enough to establish their relationship), and that Kevin reviles. Ramsay's adaptation thus shows us Eva and Kevin as, simultaneously, devils whose presence poisons their quiet suburban community, and lost souls wandering through a hell of their own making.
The film is impressionistic, cutting sharply between past and present, hazy recollection and cold fact. Even more interesting is Ramsay's choice to cut away from the most dramatic and gruesome moments of the story, chiefly the murders at the school, alluding to them only obliquely, or concentrating on their lead-up and aftermath without showing the event itself. Both of these choices may mean that people who have not read the book will find themselves a bit lost (though as someone who did read the book I thought the film's main weakness as an adaptation was that losing the structure of Eva's letters to Franklin had the effect of defanging the story's final twist), but they, and Swinton's performance as someone who is both pitiable and offputting, help to create a troubling and deeply affecting movie.
- Margin Call (2011) - I went into this film expecting a fictionalized take on the early hours of the financial crisis, and nominally that is what Margin Call delivers. But the film takes it as a given that anyone watching it understands at least the basics of how the crisis came about, and the characters--analysts, traders, and executives at a brokerage house who realize what's coming just before the bubble pops--refer to the technical details in only the most oblique, generalized ways. The film's emphasis is instead on the characters' emotional reactions to the catastrophe that they are about to experience--and in many ways, cause--which seems like a reasonable choice until one realizes just how narrow a gamut these reactions run. Margin Call shows us its characters acting shocked at the realization that the party is over, shifting blame and trying to justify their failures, feeling sorry for themselves for the soft, cushioned fall (complete with gold parachute) they're about to experience, and justifying the choice to dump the firm's toxic assets on an unsuspecting Street before the crash happens. Often these beats are well done, and the cast--anchored by Kevin Spacey as a grizzled veteran who struggles, and ultimately triumphs, over his conscience, Paul Bettany as his nihilistic underling, and Zachary Quinto as the analyst who first realizes what's coming--delivers some great moments, for example a late scene in which Spacey essentially bribes a room full of junior traders into wrecking their credibility and careers by knowingly selling a worthless product in order to save a company that plans to fire them all by the end of the day. But ultimately there's just not enough material here to support a two hour film, and the film ends up repeating itself, delivering slight variations on the same scene again and again. Even worse are the moments in which the film reaches for cheap sentimentality--when the characters lament the more productive, more constructive lives they might have led had they not gone into the business of making money, or when it borrows significance from history by having the characters muse ominously about the coming disaster and the people who are about to be destroyed by it. There are moments of genuine sharpness in the film--right before they begin their fire sale, Quinto's character asks Spacey if he's spoken to his son. Later we find out that the son is a trader for a rival firm who is badly burned by his father's actions. But too often Margin Call chooses to hammer in its points, and seems to do so less because of their significance than because it ultimately doesn't have enough to say to fill its running time.
- The Artist (2011) - Every year there's at least one film that starts out as a plucky underdog buoyed by accolades on the festival circuit, parlays them into name recognition, and rides a wave of momentum all the way to the major league movie awards. And every year around this time those of us who don't go to film festivals finally get to see that film and, almost invariably, leave the movie theater scratching our heads, wondering why such a slight, inoffensive work is gaining such enthusiastic acclaim. This year that film is The Artist, currently a shoe-in for the best picture Oscar. It's not that The Artist is bad. It's a very sweet, very enjoyable, if slightly overlong movie, and its handling of its central gimmick, the fact that it is a black and white, silent movie, is skillful and intelligent. Writer-director Michel Hazanavicius effortlessly eases a modern audience into the conventions of silent cinema in an early scene in which matinee idol George Valentin (Jean Dujardin, perfectly channeling the smarmy charm of silent film icons like Rudolph Valentino or Douglas Fairbanks) waits nervously for the audience's reaction to his latest picture. The credits roll but the soundtrack doesn't change from its background music, which we assume means a deafening silence from the audience. Then George smiles in relief and the camera shows us the audience clapping enthusiastically, driving home the point that in this movie we can only rely on our eyes. For the rest of the film Hazanavicius and his actors remain true to the conventions of silent film--the exaggerated gestures, the operatic emotions, and of course the title cards--without veering too far into over the top clowning and mugging. (It is, however, amusing to note that as much as Hazanavicius expects to go along with these outdated conventions, he does not expect us to tolerate a fixed camera. The film features plenty of tracking and crane shots, which would not have been possible in the 1920s.)
After about half an hour of this, however, the novelty of The Artist's gimmick wears off. What's left is a cross between Singin' in the Rain and A Star is Born, in which the advent of talkies kills George's career just as his love interest Peppy Miller (Bérénice Bejo, who as the saying goes does everything Dujardin does, backwards and in heels, and pretty much walks away with the movie) becomes a star. But The Artist has little to add to these classics, and its version of their story is curiously eager to indulge George's self-absorption. He spends the film either basking in his own wonderfulness or, once his career tanks, wallowing in self-pity, while Peppy is made to feel guilty both for her success and for her efforts to help George--which, we are told, wound his pride. One senses that Hazanavicius wants us to view the end of the silent film era as a tragedy on a scale that justifies George's depression and his unwillingness to either accept the end of his career or adapt to new standards, but The Artist, for all its technical accomplishments, doesn't do enough to sell this argument. On the contrary, its most effective scenes are the ones that utilize modern sound techniques--a nightmare in which everything around George makes noise but he still can't talk, or the movie's final scene--and drive home just how much this technology has contributed to our enjoyment of cinema.
- Take Shelter (2011) - I thought this film would be a companion piece to Melancholia, but instead it feels like a counterpoint. Melancholia establishes, almost from its outset, that it can be read as either a genre work or an allegory, and draws its strength from the way those two readings clash against each other. Take Shelter keeps its genre closet to its chest, and most of the tension of the film is drawn from our uncertainty about which reading protocol to apply to it. Curtis (Michael Shannon) and Sam (Jessica Chastain) are a working class couple with a young daughter whose life seems charmed--Curtis has a steady job, they have a nice house and take yearly vacations at the beach, but most of all they love and cherish one another. Then Curtis starts having terrible nightmares about a storm that will destroy his home, turn his friends and neighbors against him, and endanger his family. Even as considers the possibility of mental illness, Curtis is so overcome by these visions (which soon start creeping into his waking life) that he begins building a storm shelter in his back yard, and soon becomes obsessed with it, alienating and terrifying Sam and their daughter.
It's pretty easy to read Take Shelter as an allegory. The film places a huge emphasis on Curtis's role as a provider, and in its early, happy segments, his good life is largely defined by being financially secure--Curtis and Sam are up to date on their loan payments, and the insurance that has just kicked in from his job will pay for their daughter's cochlear implant. Curtis's visions of calamity are also strongly shadowed by a more mundane, and more present, financial calamity that he courts by building the storm shelter--he takes out a risky loan to pay for the shelter, and when he loses his job because of it the money for the surgery is lost. Especially in this present moment, it's tempting to take the film as a depiction of the state of the American working class, poised on a knife's edge and ready to plunge into poverty at the slightest setback--to which Curtis's anxieties seem like a reasonable reaction. Though there is some truth to this reading, it also feels a little glib, and doesn't quite account for the film's Donnie Darko-ish sense of portent. We're left, therefore, with a sense of unease as Take Shelter proceeds towards its conclusion, not knowing what to root for. If Curtis us merely delusional then the film might come off as mocking a character who despite his obsessive behavior is deeply sympathetic, but to reveal that he was right would be an equal mockery of the ultimately blameless (and entirely reasonable) people around him. Take Shelter's final fifteen minutes, and its solution to this dilemma, reveal the film as neither a genre work nor a psychological drama, but a love story. In all his visions Curtis faces calamities without Sam (in one of them she even attacks him), and in his waking life he conceals from her, for as long as he can, both his dreams and his reactions to them. This is due partly to machismo, partly to a fear that Sam will leave him, but mainly because there is a lesson that Curtis needs to learn. The film's final minutes reveal that both his and Sam's greatest asset is their devotion to one another--even, and especially, when they don't trust each other's judgment. It is that devotion, Take Shelter concludes, that will allow them to endure any calamity they encounter.
- Another Earth (2011) - 2011 seems to have been the year of the genre-tinged psychological drama in which troubled characters look up at the sky and see a slowly-approaching menace, but perhaps because of the way it incorporates the fantastic into its world, Another Earth is the only one of these films to have been generally discussed as a science fiction film. Unlike Melancholia, there's no incongruence here between the fantastic and mimetic aspects of the film--the appearance of a second Earth, seemingly populated with our doubles, in the solar system is handled in a low-key but largely realistic fashion and folded into the film's story. And unlike Take Shelter, the film doesn't leave space for a symbolic or allegorical reading that would defuse the strangeness of its central concept. Earth 2 symbolizes many things to the film's characters, most importantly a chance for heroine Rhoda (a magnificent Brit Marling, who also co-wrote the script) to escape her feelings of guilt and shame over a car accident that left a woman and child dead, but the film makes clear that this is a meaning Rhoda and others are imposing on what is actually a perfectly real, perfectly ordinary--but for the circumstances of its appearance--planet.
There's no way around reading Another Earth as a science fiction film, which is actually a bit of a shame, because the film is weakest when viewed through a genre lens. The filmmakers don't seem very interested in developing their premise in SFnal directions, touching only lightly on the social and scientific implications of Earth 2, and it's only at the very end of the film that the presence of this fantastic element in their lives opens doors that a naturalistic story couldn't. The film works a lot better, though, if you take it as a drama with just a sprinkling of science fiction. Before the accident derailed her life, Rhoda was an aspiring scientist, and Marling ably conveys, with a minimum of dialogue, Rhoda's unquenchable scientific curiosity, as well as her belief that she no longer deserves to pursue an interest that gave her so much joy, creating an unusual and compelling character. The relationship she strikes up with John (William Mapother), the man whose family she killed, is more than a little by the numbers, but well drawn despite this, and just as the film seems to paint itself into a corner frequented by so many other indie films about grief and misery, the fantastic element of Earth 2 offers the characters, and the film, another out. Of the three films to play with the intersection of genre and realism in 2011, Another Earth is probably the least successful, but it is nevertheless worth watching for Rhoda, and for Marling's performance.
- Haywire (2011) - In my corner of the internet this film has been touted mainly as an action film that not only has a solo female lead, but whose lead is played by an actress who looks like she might be able to throw a punch, and actually knows how to do so. Which is all true, but what the emphasis on heroine Mallory Kane, a private security contractor who is framed and sets out to find out who is responsible and why, and her portrayer, MMA fighter Gina Carano, obscures is that Haywire is also a Steven Soderbergh film, and that his pedigree guarantees certain things. So, like most of Soderbergh's films, Haywire is low-key and a little light on plot, quite deliberately averse to the melodramatic tropes of its genre, stylish, and a little bit empty. The film is essentially a series of set pieces, in each of which Mallory squares off against a male antagonist who either wants to kill her or bed her, but will usually plump for the former just to be safe. These are all well done, but they peak relatively early in a sequence in which Mallory is matched against Michael Fassbender, playing a British intelligence agent named Paul. It's clear that Paul is relying on his own considerable charms, and on the fact that she's been dragooned into playing the slightly unfamiliar role of high-society eye candy, to destabilize Mallory, which is in fact what happens. But it soon becomes equally clear that Paul has underestimated Mallory's resilience and adaptability. Her momentary discomfort, however, gives the character a hint of humanity that she lacks in the rest of the film, in which her competence starts shading into detachment. By the end of the film, it's not even entirely clear why Mallory is working so hard to find all the men who framed her--she doesn't really seem that angry at them. This isn't the first time that Soderbergh has jettisoned the emotional component of his film in order to stress style, but he usually compensates for this with a more substantial, wittier story than Haywire delivers. It's nice to see a character like Mallory Kane on screen, but here's hoping that next time she gets a story that's worthy of her.
Wednesday, February 22, 2012
Recent Movie Roundup 16
The films of 2011 are coming in hard and fast this February, a deluge before the pre-spring effects films of 2012 show up. There are still a few of last year's films yet to come, but here are my thoughts on the most recent batch.
Posted by Abigail Nussbaum at 9:25 PM No comments:
Labels: recent movie roundups
Friday, February 10, 2012
Review: Chronicle
My review of the found footage superhero film Chronicle appears today at Strange Horizons. I was initially dubious about mashing together two such tired concepts, but despite some weaknesses on the character front Chronicle revitalizes a subgenre I'd long since thought had lost its sense of immediacy. Definitely worth a look.
Posted by Abigail Nussbaum at 10:27 AM 1 comment:
Labels: self-promotion, superheroes
Thursday, February 09, 2012
This is Getting to Be a Tradition
The 2011 Locus poll is open, and for the fourth year running Locus is giving non-subscribers half a vote for every subscriber vote (actually it's for the fifth year running, but in 2008 the change was made retroactively, after the votes had been received and tallied). I wrote about this at greater length in 2010 and 2011, so I'll just be brief this year: I don't plan to vote for an award whose organizers think I'm only worth half a vote, and if you're not a Locus subscriber, I don't think you should vote in the poll either.
I should also say that I've been considering purchasing a Locus subscription for my Kindle, but that much like last year, the fact that this miserable voting system hasn't yet been rolled back leaves me utterly disinclined to give Locus my money.
In happier, but still Locus-related news, Liz has a great list of links to the stories on the Locus recommended reading list that are available online.
I should also say that I've been considering purchasing a Locus subscription for my Kindle, but that much like last year, the fact that this miserable voting system hasn't yet been rolled back leaves me utterly disinclined to give Locus my money.
In happier, but still Locus-related news, Liz has a great list of links to the stories on the Locus recommended reading list that are available online.
Posted by Abigail Nussbaum at 10:23 AM No comments:
Labels: awards discussion, shorts
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A growing number of philanthropic families are looking to family offices to manage their charitable giving, according to a new study released by the National Center for Family Philanthropy.
Families are leveraging the strengths of philanthropy and the family office for greater effect in the community and more satisfaction for themselves, the report found. It also noted that both benefits and challenges attend use of the family office structure.
Family Office Exchange, a partner in the study that was sponsored by Threshold Group, has estimated that some 5,000 single-family offices operate in the U.S., and a large percentage support philanthropic activity.
Researchers surveyed family offices with charitable foundations and conducted personal interviews with some of them.
The report identified several distinct advantages for enhancing a family's philanthropy through a family office structure:
- Integration of functions and services
- Economies of scale, particularly when the family office supports multiple giving vehicles or foundations
- Efficiency for family members and external vendors
- Expanded capacity for mission-related investments by the foundation
- Alignment of the family's shared values as they relate to governance, financial and investment management, and family leadership development.
"We found that managing philanthropy through the family office can be a very effective approach for families, particularly if there are multiple branches to the family and if they are using a number of charitable vehicles," Virginia Esposito, president of the National Center, said in a statement.
The study also found that both family office leaders and foundation staff members highly valued next-generation education, though neither side spent much time in this area. The National Center recommended that both the philanthropic sector and family offices invest more focus and resources in educating and training the next generation for leadership.
Respondents also reported challenges associated with managing philanthropy through a family office structure:
- Different cultures of business and philanthropy that can cause miscommunication and misunderstandings
- Varying measures of success and different terminology that can lead to tension
- Them/us mentality resulting from competing interests and priorities, and lack of respect for charitable goals and endeavors
- Competition for the attention and resources of family members
- Complicated and counterintuitive IRS restrictions on interactions.
"To get it right, families must pay careful attention to structure and governance, to understanding the goals and values of the family, and to effective communications," Esposito said.
One finding surprised researchers: the extent to which family office staffers were involved in the family's philanthropic activity. The majority of respondents said the family office was involved in helping the foundation find a strategic focus, leverage the impact of its giving and measure the effectiveness of its grants.


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Anaphylaxis is a severe allergic reaction that affects the entire
body (systemic). It can occur within a few seconds or minutes after a person is
exposed to a substance (allergen or antigen).
Symptoms and signs of a severe allergic reaction may
The sooner symptoms occur after exposure to the substance, the more
severe the anaphylactic reaction is likely to be. An anaphylactic reaction may
occur with the first exposure to an allergen, with every exposure, or after
several exposures. An anaphylactic reaction can be life-threatening and is a
medical emergency. Emergency care is always needed for an anaphylactic
Last Revised:
April 29, 2011
Healthwise Staff
Medical Review:
William H. Blahd, Jr., MD, FACEP - Emergency Medicine & H. Michael O'Connor, MD - Emergency Medicine
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Does the game industry have a Hollywood complex? BioShock designer Ken Levine seems to think so.
"I think there's a sense in the entertainment fields that video games are seen as the junior varsity," Levine tells Develop. "There's this feeling of 'oh one day you can come up to our league'."
Back in the late 1980s, Ken Levine hoped to break into the film industry as a screenwriter, but fell short. He instead went on to make video games and shook things up with his groundbreaking title BioShock.
Levine points out that the game's industry doors are wide-open to film directors. "Guillermo del Toro — who by the way is an amazing film director — recently signed a deal with THQ to make video games," says Levine. "And I'm thinking... he's never made a video game."
The game designer does concede that perhaps the film director could have a "genius" for making games. "But games are really, really hard to make well," he adds. "In our industry there's too many people star-struck of the movie world, jumping into deals with some big movie director just because they're big film directors."
Filmmakers are no stranger to video games. Levine says he was even offered the chance to make a game with a big movie director, but turned the project down.
"What's the point of having two creative leads together, and why would I want a film director to help me make a game, any more than they would want me to help out with their films?"
They wouldn't, which makes it odd that they "help out" on games. If they create, design or whatever, then that's a different story all together. And the skill sets, while different, do not have to be mutually exclusive.
We're too star-struck by Hollywood, says Levine [Develop] [Pic]


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The question can be re-phrased as: Why do you think accuracy is important in genealogy? Does it really matter which county an ancestor was born in? Why do you care if the date was October 15 or 16? And so forth. Do you really need 20 sources for the same person, won't one or two work just as well? All of these and similar questions are variations on a theme that all you need to do is identify the ancestor and come up with a little bit of information and you are on your way to the next generation and the next and back into the dim past.
I care because it hurts my soul to see inaccurate information. I have an internal nature that rebels against incompleteness in genealogy and wrong information. So, you can probably guess that online family trees, in general, can cause a major anxiety attack. The famous mountain climber, George Mallory, was asked why he was going to climb Mount Everest and he answered, "Because it's there." That was enough and it is a good reason for why I do genealogy, because it is an unfinished challenge. Mallory had more to say about mountain climbing. Here is a quote that applies to my thoughts on genealogy:
So, if you cannot understand that there is something in man which responds to the challenge of this mountain and goes out to meet it, that the struggle is the struggle of life itself upward and forever upward, then you won't see why we go. What we get from this adventure is just sheer joy. And joy is, after all, the end of life. We do not live to eat and make money. We eat and make money to be able to enjoy life. That is what life means and what life is for.All you have to do is substitute the word "genealogy" in the previous quote and you will see why I care. Which is more difficult to understand? Climbing mountains or doing genealogy? I have done both and prefer genealogy, especially now that my mountain climbing is somewhat limited by my previous accumulated injuries from climbing and skiing.
But I need to take on genealogy on my own terms. Genealogy is not a game or a race to win, it is an adsorbing pursuit that taxes the abilities of the most talented. I have said before, if genealogy really was fun, easy or simple, I would have lost interest in it along with many of the other fun and simple things I have abandoned. Genealogy has to require a more substantial effort to be worth that effort. Genealogy has a connection to the spiritual side of human beings that becomes obvious to those who immerse themselves in the experience.
If I have a choice, I will choose to do genealogy and if I have a further choice, I will keep obsessively correcting and adding sources until I pass on to the next world.


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Speaking to ABC's "This Week," Biden said he believes the vice president's role is to provide "the best, sagest, most accurate, most insightful advice and recommendations he or she can make to a president to help them make some of the very, very important decisions that have to be made."
On Sunday, Obama's transition team announced the new "White House Task Force on Working Families" — a major initiative targeted at "raising the living standards of middle-class, working families in America."
Vice President-elect Joe Biden will chair a new task force aimed at helping working families.
Other members of the task force will include the secretaries of labor, health and human services, and commerce, as well as the directors of the National Economic Council, the Office of Management and Budget, and the Domestic Policy Counsel, and the chair of the Council of Economic Advisors.
In an interview with ABC's "This Week," Biden said it's a "discrete job that's going to last only for a certain period of time."
"The one thing that we use as a yardstick of economic success of our administration: Is the middle class growing? Is the middle class getting better? Is the middle class no longer being left behind? And we'll look at everything from college affordability to after-school programs, the things that affect people's daily lives. I will be the guy honchoing that policy," he said.
Biden said he will have the authority to get a consensus among the task force — but will use his relationship with the president if a consensus isn't reached.
"If in fact there is no consensus, [I'd] go to the president of the United States and say, 'Mr. President, I think we should be doing this, cabinet member so-and-so thinks that. You're going to have to resolve what it is we think we should do.' "
From Ed Hornick and Josh Levs
Read the rest:
Obama Creates Task Force for Working Families
Biden: "Working Families Czar"


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*All biblical references in the article below are taken from the KJV
No matter what religion or lack there of people claim to have, almost everyone except the most stout atheists profess to having a belief in angels. I've experienced these professions of faith in majestic supernatural creatures when I go to give talks at art galleries, churches and teen events.
Just to let you know about my background, I am a Bible believer that the Holy Scriptures are inspired (God-breathed) word of God (Father, Yeshua [Jesus], and the Holy Spirit [three in one]) and I come at beliefs in the supernatural from the explanations and glimpses allowed us through the Holy Scriptures. There are over 400 angel references documented throughout the Holy Scriptures.
So what do we know about angels?
They are creatures in that they were created. They have a starting point, and possibly for some (the fallen ones) an ending point.
They populate heaven, are used as worship leaders, choirs, praise teams, warriors, guardians, messengers, helpers, and protectors. There is an archangel, Michael. (Jude 1:9, Rev 12:7) They can appear as light, bronzed, or in common human form. They exist to serve God. They are smarter, more beautiful, stronger, and longer lived than humans. Yet they are to be our caretakers.
There are several types of angels with different duties. The more common ones like Seraphim, and Cherubim (who are warriors and not little baby cherubs), wheels etc… are the ones most people are familiar with.
What do we know about our interactions with angels?
We should not pray to angels. They are a creation like us. (Ps 8:5, Hbr 2:7, Hbr 2:9)
Angels can eat and drink. They appear in human form and we can entertain them and not know they have been among us. (Hbr 13:2) They are often sent to rescue us. (Dan 6:22, Exd 23:20)Most people are familiar with the story of someone left in a house fire not able to find their way out, when suddenly a fireman or person shows them the way out. Then once outside, they find out no one was sent in to rescue them.
If an angel appears to you, and shows himself in any of his glory or comes quoting scripture, it could be a fallen angel sent to lead you astray.(Luke 4:2, Luke 4:10) Evil angels can and do appear as angels of light. This is one reason you must learn your scripture well. So you can develop discernment. One reason the Bible warns we are not to dabble in medium ship is you are attracting demons, not dead people. The dead sleep. (Job 14:12, John 11:13, 2 Sam 7:12, 1 Kings: 1:21, Acts 26:23, 1The 4:16)
It's for your own safety and well being. Evil (fallen) angels are detestable to God. (Rev 20:10, Matt 25:41, Rev 12:9)
So why would we seek out to friend his/our enemy?
The beginning of wisdom is understanding. Would you go to the zoo and jump in the lions den to play with them? Of course not.
But that is exactly what people are doing when they consort with supernatural creatures not sent by God. The spirit of God is not in them to protect them. If the spirit of God was in them (in the name of Yeshua, through the power of the Holy Spirit) they would have no desire but to cast them out, not talk and fraternize with them. You are as an empty house they can choose to possess and destroy. (Matt 12:45, Luke 11:26)
Some demons require not only a believer's faith to be cast out, but prayer and fasting. (Matthew 17:21, Mark 9:29)
As the author of the Angel in the Shadows series, (which has been optioned for a major movie) I run into people who have angel encounters. I urge them to get in a solid Bible believing church and to pray that God put his angels around you to guard and keep you in all his ways.
To learn more about angels and how they work in our lives, read the Angel series consisting (so far) of Angel in the Shadows, Book 1, Angel in the Storm, Book 2, and Angel in the Ice, Book 3 (out first week in February 2012) by Lisa Grace.


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Undergraduates at MIT have been known to spend countless hours conceiving and creating marketable innovations in labs and classrooms. Sometimes, however, they may struggle with turning their ideas into commercial reality.
"One reason is that these students tend to focus all their time on inventing, as opposed to exploring the journey that awaits a startup founder," says Ken Zolot, a seasoned entrepreneur and a senior lecturer in the Department of Electrical Engineering and Computer Science.
For the past four years, Zolot has led course 6.933 (The Founder's Journey), in which engineering undergraduates — along with some students from other disciplines — focus on entrepreneurship and business strategy. Along the way, Zolot says, the course aims to "demystify and inspire entrepreneurship" so students will be equipped to continue with entrepreneurial pursuits — and maybe bring their inventions to fruition.
MIT offers many other entrepreneurship classes for undergraduates — many of them in the MIT Sloan School of Management — but Zolot's course is uniquely geared toward students studying engineering and the sciences.
For the course, student teams develop startup concepts, refining those ideas through a variety of class projects throughout the semester. They also receive advice from other MIT professors, guest entrepreneurs and others. For their final projects, the teams must pitch their startup ideas to visiting judges, including venture capitalists.
The gradual learning process, which mimics the early stages of building a company, is especially valuable for MIT's engineering students, says Zolot, who has co-founded several companies, including Egenera and Rethink Robotics.
"Many engineering students came to MIT hoping to learn what it takes to turn an idea into a reality," he says. "They've stumbled upon a great innovation and want to be the next Steve Jobs. So the course answers their initial questions: 'Who do you need to team up with?' 'How do you validate an idea?' 'Is entrepreneurship something you even want to do?'"
In the course's relatively short history, a few successful companies have arisen from student concepts conceived and developed in 6.933 — such as Hipmunk, a popular travel webpage, and Rest Devices, a company that designs health-monitoring clothing.
"Engineering students may come to MIT with different skills than, say, our MBA students — who are already looking to do business courses and don't need to be inspired into entrepreneurship — but they have great ideas," Zolot says. "Not only do we want to teach our engineers how to build great things, but we also want for them to experience taking a core technology and transforming into something that has meaningful impact on the world."
'Their own clubhouse'
It's not only the course's content that's beneficial for students; being plugged into a community of engineering entrepreneurs also pays dividends, Zolot says. "It's good for engineers to have their own clubhouse," he says. "It gives them a chance to meet like-minded co-founders of startups and be inspired by role models."
Additionally, the course offers fledgling entrepreneurs a controlled and risk-free environment for product and startup experimentation, Zolot says. "It's like a safe sandbox where they can test out ideas and meet some of those inevitable early failures," he says.
In that way, Zolot says, students learn valuable entrepreneurial skills, primarily iteration and improvisation — conducting experiments with their inventions and refining as they go.
"It's about seeing design as a living process, with multiple stakeholders," Zolot says. "Some engineers mistakenly think they should work diligently behind closed doors devising the perfect plan, then release that plan to the world."
But that's not how startups rise, Zolot says. "I want them instead to launch lots of small experiments, get out in the world, figure out what assumptions they can easily test, and make data-driven decisions that direct each stage of the design of the startup," he says.
That philosophy seems to have resonated with Latif Alam, a senior majoring in economics. "If it's one thing that this course taught me, it's coming up with a product to commercialize quickly," says Alam, who was part of Dolphin Health, a team working on a smartphone app that tracks users' vital signs and other measures of health. "It's about coming up with the simplest viable product and getting it into customers' hands."
Guest speakers over the course's five-year history have included Drew Houston, founder and CEO of Dropbox; Khan Academy founder Sal Khan; Chris Hughes, co-founder of Facebook; Robin Chase, co-founder of Zipcar; Scott Kirsner, who writes the "Innovation Economy" column for The Boston Globe; and Dharmesh Shah, co-founder of Hubspot, among dozens of others.
Beginning the journey
This semester's students demonstrated their newfound business knowledge during their final pitches to visiting judges: They enthusiastically fleshed out their startups' projected revenues, manufacturing costs, and potential competitors and corporate partnerships, among other things.
During the class, junior Claire O'Connell worked on ChariTweet — a startup that aims to connect Twitter accounts to charities for easy donations. She said the course sparked her entrepreneurial spirit not only because of its curriculum, but also because of the mentors she met along the way — namely, Joe Chung, co-founder and managing director of Red Star Ventures.
"It's definitely one of the most valuable classes I've taken," says O'Connell, who is majoring in brain and cognitive sciences. "I've been exposed to so many people I wouldn't have [met] otherwise. I almost feel like I'm now part of the Boston entrepreneurship community."
Echoing her classmate's sentiments was Elizabeth Phillips, a senior majoring in chemical engineering, who worked on Sense-a-Mold, which aims to manufacture food-storage containers equipped with sensors to detect spoiled food.
Phillips may not pursue her startup — she has graduate school and other interests on her plate — but she says the course was inspiring for her. "I felt like I left each class wanting to go out and start a business," she says.
Those who wish to further develop their startups can enroll in a companion course, 6.S078 (Entrepreneurship Project), that Zolot co-teaches with David Gifford, a professor of electrical engineering and computer science. In that class, students receive help from outside entrepreneurs and venture capitalists — who may also invest in their startups.
May 28, 2013
Its great to hear about these amazing opportunities students who study at MIT have access to. The course looks like a place where fun, eye opening experiences shape the soon to entrepreneurs.
I also advise to people who read this and are NOT in college (like me) or do not attend MIT specifically to be encouraged by this and go out there and start something. That is the best way to learn. You don't need to be an MIT, Harvard, or Stanford student to reap the benefits of going out there and talking to people about your ideas and developing them.
Some links to helpful resources:


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2016-17 Kottke End of Season Survey
NSAA & RRC Associates
Member Price: $75.00
Retail Price: $175.00
(2017) This survey is the industry's source for regional and national skier/snowboarder visit data. It examines the relationship between skier visits and other variables such as length of season, lift capacity, night skiing and snowmaking. Printed annually in August, current edition shipped unless otherwise specified.


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This Blog entry is an update to one previously posts, with another way to Identify the Individual causing the problem on Import from Version 16 into Version 2009.
This blog entry is to help document a problem that was observed and resolved. The issue is that a Family File that was created in Version 16 could not be Imported into Version 2009. However, that same file WAS able to be opened in Version 2008. When attempting to open the Version 16 Family File, a noticeable slowness in the Analysis process was observed, then the Error message: #1 - Import Error failed because an unknown error occurred.
Figure 26
Moving the Error Message revealed that the process stopped at Individual 358. The normal process would be to run the Control (CTRL) + Alt + C (CA+C) File Compression utility would be run in Version 16 on this Family File, from any Family Page, and the CTRL+ALT+SHFT (Shift) + UpArrow (CAS+UpArrow) File Checker Utilitiy would be run. In this case, there were NO Errors. At this point, since there are no errors in the file, the need was to Identify the Individual #358.
The Reference Number feature of Family Tree Maker will help you identify this individual. Since Version 16 is open click on Edit, Find Individual. A Find Individual window will open. #1 points to the Search Pull Down Menu. Select Reference Number (#2). Then enter the Individual number as indicated in number 2 of Figure 26 in the Right field (#3) on the window and click on Find Next.
If you do NOT have the Reference Number feature turned On, you will see:
Figure 31
To Turn the Automatic Reference Number ON, click on File, Preferences, the Reference Numbers Tab and put a Check Mark next to Individuals. You may also want to put a check mark into Marriages as well.
Figure 32
Return to the top of this article and repeat the steps. The result will be the individual's record that has a problem. If the Individual is found, please continue to the information below Figure 28.
Alternate Solution if the first doesn't work.
From Version 16, a GEDCOM file would need to be created to Identify that Individual. The File, Export File, Entire File and selecting a GEDCOM (GED) formatted file was created. Opening the GEDCOM file in a word processor, using the Find Command, and entering 358, identified that individual.
Figure 28
(note: there is no Figure 27)
For the sake of privacy, the names are not on this screen. Reopening Version 16, a Family Group Sheet for that individual should be printed. Deleting that Individual from the Version 16 Family File. This file was then re-opened in Version 2009. Reentering the data from the Version 16 Family Group Sheet completed the import of that file.
The cause of this record (Individual information) is unknown by this user.
A big thank you to a coupe other Family Tree Maker User's who have used both of these methods to resolve this problem.


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When it came time to upgrade the brakes on our project '66 El Camino, we hit a stumbling block. During a quick test fit with the 15-inch Vintage Wheelworks rollers after rotating the tires, we learned they weren't rotating true, which ultimately showed us that the axles were bent and needed to be replaced. Rather than a one-off or custom piece, we wanted something that would simply swap into place, and Superior Axle in Rancho Cucamonga, California, had the answer to our needs.
All we had to do was supply them with the year, body style, and rearend type, and from there they recommended a set of axles for our particular application. However, we didn't realize that the original rearend had been replaced with a later style 10-bolt, making the first set of axles we got a tad too short. We learned from our mistake, measured the old ones, and made sure we got the correct length the second time around.
How was the install? It's no joke: We literally swapped the axles in a couple of hours and quite honestly, it's almost criminal how easy the swap was. It only required minimal handtools and since we didn't have a bearing/sealer puller/installer, we rented that from our local parts store. Follow along as we show just how easy it is to remove the bent axles and slide in the new ones.
Quick Notes
What We DidExchanged our bent axles
Bottom Line
A couple hours will have you driving straight and you don't even need a lift
Price (Approx)
$240 for axles; $14 for Royal Purple gear oil


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Wire/Cable > 1000FT Cat5e 350Mhz Network Cable - Solid CMR - Red PVC
Bulk CCTV Store's 1000ft Cat5e networking cable is riser rated and comes in an easy to use pull box. This cable is ideal for cabling for voice, data, video, CCTV cameras, security systems and communication systems. Cable has a PVC jacket and is available in a variety of colors (see below). Our cabling surpasses UL listings for Cat5e cable. Bulk CCTV Store has every type of networking cable for all of your needs. Plenum Rated, Direct Burial, Outdoor Rated and Cat6e CMR and Riser rated cable also available.
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Please give us a call if you have any special cabling needs or require a large quantity of cable.
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The Stillman College women's basketball team jumped out to an early lead and never let up in its 82-63 victory over the Lane Dragons on Saturday.
TUSCALOOSA | The Stillman College women's basketball team jumped out to an early lead and never let up in its 82-63 victory over the Lane Dragons on Saturday.
After Lane (3-9, 1-6) Southern Intercollegiate Athletic Conference) scored the first four points of the contest, Stillman (5-11, 4-3) went on a 24-2 run to blow the game open early. Stillman dominated the paint in the first half, outscoring the Dragons 22-8 down low.
The Tigers also forced 19 turnovers and turned them into 27 points. Stillman went 19 for 35 (54.3 percent) shooting in building a 50-27 halftime lead.
"We turned up our defensive pressure tonight and it helped us all game," Stillman coach Cassandra Moorer said. "When we're playing tough defense, it opens our offense, and we were able to get a lot of easy baskets tonight."
The Tigers led by as much as 34 at one point, punishing the Dragons with full-court pressure and transition baskets. Forward Andrea Moore had 17 points, 10 rebounds, five assists and four steals for Stillman.
"Yesterday was my birthday, and I made a personal goal to get at least 15 points and 10 rebounds tonight," Moore said. "I knew I had to step up and be a leader. I used my size advantage to score and rebound. Tonight was my night."
The Lady Tigers had four players score in double figures. Guard Angel Mitchell led all scorers with 20 points, grabbed five rebounds, dished four assists and tallied seven steals.
Guards Desiree Wright and Ayanna McCullough chipped in 13 and 12 points, respectively. The Tigers finished the night shooting 31 for 64 (48.4 percent) from the field, including 9 for 17 (52.9 percent) from behind the 3-point arc.
Lane was led by forward Crystal Rayford's 13 points and 11 rebounds. Forward Marissa Stewart was the only other Dragon in double figures with 10 points. The Dragons committed 27 turnovers and shot 30.3 percent (20 for 66) from the field. The Dragons were able to outrebound the Tigers 49-39.
Stillman hosts Kentucky State at 5:30 p.m. Monday.


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The bulk of the musical talk
Mouthpiece Design question -
Could one of the mouthpiece experts explain the function or effect the large flat on the end of the shank serves? It seems to me that a smooth transition to the leadpipe would cause less turbulence and maybe less distortion in the buzz? Curious, since with the new stronger Stainless Steel shanks, it's possible to make that flat part taper to a much smaller (thinner wall) without concern for the delicacy of a brass shank. I know the Monette shanks have a very large, thick, shank ends, and I don't know what they are trying to achieve. I'm thinking of tapering (short - maybe 18 degrees included internal angle or so...)the end of one of my Blokepieces to about 1/3 the thickness, but I don't know what to expect. - Inquiring minds want to know. . . .
Rudy RMC50
Rudy 4345R
Mira 181-6GB
Gronitz BBb Kaiser (for sale)
Custom Kanstul 1662
King 4B
York pea-shooter
Re: Mouthpiece Design question -
I think you are correct, but I don't know if the difference would be noticeable.
Only double-blind experiments can answer your question.
Re: Mouthpiece Design question -
I think, like you said, it's primarily a function of strength. You need enough metal there in a brass piece to not get deformed just by breathing on it. Also, most mouthpieces are made from the same blank in a series, so ones with wider backbores will have more drilled out. Honestly, with all of the turns, choke points, bumps inside a tuba, I would not think you'll see any type of major or even noticeable effects.
Yamaha YBB-631S Tuba, Sterling / Perantucci 1065GHS Euphonium
Yamaha YBL-621 RII Bass Trombone and a bunch of other trombones
Voice of Experience
One consideration regarding the tip of the shank has simply due to making something strong enough not to be damaged. Renold Schilke was first-class on mouthpieces and felt that this transition should be as small as possible. He made various mouthpieces, also for tuba, with ends that were thinned out to almost nothing. These were easily damaged and are uncommon, no matter who makes or made them.
Mouthpiece design has much in common with instrument design and both have much in common with the game of Chess. One move affects all the others. Details are of great importance: with shanks this is shank length, shank size, shank fitting and also the thickness as per this topic. Most manufactures, me included, keep the tip of the shank as thin as possible but only to the point that damage does not occur during normal use. The internal edge is very important. We do not use blunt edges but turn out the inside of the tip of the shank applying a differert radius depending on the model.
The "double blindfold" suggestion would be a good means to determine whether this or than mp works.
Bob Tucci
Re: Mouthpiece Design question -
Well said Sir !
Thank You for sponsoring this board !
Brian "Goodgigs" Kane
Re: Mouthpiece Design question -
"Music" and "beautiful women" are somewhat related, yes?
When I was young - and someone might be trying to fix me up on a date - whenever someone told me a young lady was "sturdy", that always got me really excited about the possibility of a date.
...but - then again - we're tuba players, and we dent up our $15K instruments...whereas oboe players seem to be able to take perfect care of their c. $30 reeds.
Re: Mouthpiece Design question -
Thank you all for the great information - I think I'll try it (on ONE) and see if there is any discernible difference. My concern was that maybe there is a design parameter that the sharp transition meets, and I don't want to mess that up. Thank you Mr. Tucci - you were exactly on-point. It seems that the squared-off shank end design may be a artifact from brass as a material rather than a transition to the stronger stainless steel. Bloke - I'm not sure I should go there, but I so seem to remember dating some 6/4's who seems more than "sturdy".
Thanks again for the input. - Back to lurking. . . . .
Rudy RMC50
Rudy 4345R
Mira 181-6GB
Gronitz BBb Kaiser (for sale)
Custom Kanstul 1662
King 4B
York pea-shooter
Re: Mouthpiece Design question -
I still think of Frau Linkmeyer whenever a sturdy woman is mentioned...
Who needs four valves??
Mack Brass Artiste
MackBrunner 210L
Re: Mouthpiece Design question -
I am not an expert in anything, but from my general reading I am aware that the idea of feathering off the end of the shank has cropped up in discussions of "The Gap".
The effect of the gap, if it exists, depends upon the size of the step-change (in diameter) at the exit from the mouthpiece shank, and on the step-change at the entrance to the mouthpipe, and on the separation between these steps. It has been mentioned on TN that on most tubas there is no step-change at the mouthpipe entrance, which greatly reduces the gap effect. Eliminating the step-change at the shank exit (by feathering off the shank wall) further reduces the gap effect, effectively eliminating it.
This is said to reduce resistance and slotting, and facilitate note-bending and slurring. Some like it, some don't.
I seem to remember that this leaves slotting mostly dependent on the length of the cylindrical part of the mouthpiece throat. Eliminate that too and you will need to buzz exactly on pitch, which is why it is not particularly relevant to my own abilities.
Aren't there some patented ideas kicking around for controlling (adding ?) resistance by cutting grooves, or even a thread, around the inside of the throat ? or rifling the bore ?
I guess there is an advantage to making the mouthpiece independent of the gap-size, if you can build in the right level of slotting.
Imperial Eb Kellyberg
dilettante & gigless wannabe
Re: Mouthpiece Design question -
Shank end thickness is really only a side effect of the internal size at that point. The mouthpieces that have thick ends typically have huge throats, requiring a "smaller" backbore to balance the openness of the throat.
There are lots of ways to design a mouthpiece, and that's one of them.
Re: Mouthpiece Design question -
So IOW.....Larger throat can benefit from smaller receiver to avoid step-up and smoother transition?
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
Re: Mouthpiece Design question -
"Larger throat can benefit from..."
...is a very odd way to look at it.
I see what you're getting at but I think the answer is no. That's not the point at all.
Re: Mouthpiece Design question -
Interesting topic, thanks Doug and Robert for adding your insight as always.
Re: Mouthpiece Design question -
But why would you want a "step up"?
You would never want that anywhere else on the horn?
Wouldn't it also give an increase of impedance as you get a sudden decrease of speed, not followed by a venturi?
How about intonation?
So.....at the very begining of the tuba....these things don't matter, while everywhere else on the instrument it does?
Sorry. Don't buy it.
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
Re: Mouthpiece Design question -
Stainless steel shanks bend too, and they're a lot harder to straighten.
Re: Mouthpiece Design question -
I'm not one of the mouthpiece makers who makes mouthpieces that create a step. And I don't think Bob Tucci is either.
Re: Mouthpiece Design question -
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
Re: Mouthpiece Design question -
I don't believe you are......or Tucci, though I've seen models (not referring to any special brand) made for both $ & € shank were the € one has thicker walls to maintain same backbore
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
Re: Mouthpiece Design question -
Has anyone ever struggled to play in tune or to put enough air through the horn, pulled out the mouthpiece, looked at the end of the shank and said, "Oh, now I see the problem"?
It just seems unlikely.
Re: Mouthpiece Design question -
Have I tried different shanks, wall thickness, gaps, veturis and experienced less kick-back and more accessible low register?
Yes I have.
Has the actual "interface" ment just as much as the holes itselves?
Yes it has
Could I tell from just looking at the MPC?
Nope. Mouthpiece, receiver and leadpipe has to work together
Did theories/physics back up findings?
Surprisingly yes
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
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Brentwood vs. Mount Vernon
Brentwood dismantled Section I powerhouse Mount Vernon in the second half for a 73-59 victory in the Gary Charles Hoop Classic at Adelphi on Jan. 12, 2020.
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Newsday's All-Long Island boys basketball team 2020 Newsday's All-Long Island girls basketball team 2020 Photos: Malverne vs. Center Moriches in the Long Island Class B boys basketball championship Photos: East Rockaway vs. Southold in the Long Island Class C boys basketball championship Photos: Long Island Class B girls hoops final Photos: Smithtown Christian in the State Class D Southeast Regional semis Photos: Long Island Class C girls hoops final Photos: Nassau Class AA boys hoops final Photos: Nassau Class AA girls hoops final Photos: Elmont vs. South Side in the Nassau Class A boys basketball final Photos: Floral Park vs. Locust Valley in the Nassau Class A girls basketball final Photos: Brentwood vs. Amityville in the Suffolk overall boys basketball championship Photos: Northport vs. Westhampton in the Suffolk overall girls basketball championship Photos: No. 1 St. Anthony's vs. No. 2 Holy Trinity in the CHSAA boys basketball final Photos: St. Mary's vs. St. John the Baptist in the CHSAA girls basketball final Photos: Nassau Class B/C boys hoops final Photos: Nassau Class B/C girls hoops final Photos: St. John the Baptist vs. Our Lady of Mercy in a CHSAA girls basketball semifinal


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Stunning Lily And Iris Bouquet FA105823
Yellow Lilies, Blue Iris, Vase with Decorative Bow
Open your eyes, take a peek and gaze in wonder at this revelation in floral mastery featuring iris and Asiatic lilies complemented by salal tips and yellow sheer accents in a clear fluted vase.
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BROWNWOOD – October 22, 2013 – Beginning next week, the Howard Payne University art department will present a group exhibition of works by local artists who are members of the Brownwood Art Association (BAA). The exhibition, titled "Self-Curated," will be housed in the Dorothy and Wendell Mayes Art Gallery inside the university's Doakie Day Art Center from October 28 through December 6.
"The works have been self-curated by the artists, thus the name of the exhibition," said David Harmon, chair of HPU's art department and professor of art. "The artists have chosen only their very best pieces for this show."
Gallery hours are Monday through Thursday from 9:00 a.m. to 3:00 p.m. or by appointment. For more information about the show, contact Professor Harmon at (325) 649-8088. The Doakie Day Art Center is located on the HPU campus, on Center Avenue, near Lipscomb Street in Brownwood.


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MIAMI (AP) — Tymell Murphy shot 75 percent from the field and scored a game-high 23 points to lead Florida International in a 61-60 victory over Georgia State on Saturday.
FIU trailed by two with 1:08 remaining until Dennis Mavin converted his second three-point play of the game to push the Golden Panthers into the lead. Rakeem Buckles made a layup with 30 seconds left to stretch the lead to three. The Panthers still managed to pull within one after a layup by Ryan Harrow, but he missed his final shot with four seconds to go and Georgia State's chance of a victory ended.
Buckles pulled in a game-high 17 rebounds and Murphy grabbed 11 as FIU (7-3) outrebounded the Panthers 49-27.
Harrow led Georgia State (2-5) with 21 points and Curtis Washington grabbed 14 rebounds — more than half of the team's total.
(© Copyright 2013 The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed.)
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At the Columbia Windows 8 DevCamp this weekend, the topic of side-loading apps came up in a few different scenarios, but it was particularly appropriate during the app showcase. We had a number of developers working in the lab room, all competing to come up with the coolest app at the end of the day. During the showcase where developers pitch their apps to the audience, it works best to have all the apps on the same machine. Here's the best way to do it without having to copy source code/solution files:
From within Visual Studio, select Project > Store > Create App Packages:
In one situation, where there happened to be multiple projects in the solution, these options were disabled. Why I'm not exactly sure, but you can also create the app packages by right clicking on the project in solution explorer, and selecting Create App Packages in a similar way:
On the dialog windows that pops up, select No to build packages to upload to the store, as we're not doing that:
On the next screen, configure any path/build options (defaults are usually ok) and click Create:
Once the packages are created, you'll see the following folders:
We can ignore the .appxupload files for now. For loading on another machine, we'll need to copy either the x86 or ARM (or both) to the target machine (for the devcamps, we just pass around a USB key and have everyone copy the files there).
On the machine you'd like to install the apps, run the PowerShell script (right click file, select Run with PowerShell). Of course, if you're on a Surface or other ARM device, you'd need to run the PowerShell script from the ARM folder, otherwise use the x86:
Once running, you may be prompted to install a certificate and need to accept a UAC prompt. You'll then see the app install:
Viola! The app should be installed on the Windows 8 Start Screen.


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Compare cheap flights from Cairns to Guinea
Compare and book cheap flights from Cairns (CNS) to Guinea with Skiddoo. Use the Skiddoo flight explorer to find the cheapest time to fly to Guinea from Cairns on a range of leading airlines. Save with our exclusive Cairns to Guinea flight deals online today.
Guinea is located in West Africa and is a former French colony. Recently, it uses the name Guinea-Conakry to be distinguished from other countries like Equatorial Guinea and Guinea-Bissau. The country is also the world's leading exporter of bauxite, comprising 25% of the world's supply. Aside from its rich mineral resources, the country also boasts breathtaking natural resources.
The beauty of nature
From rivers, hills, highlands, mountains and falls, almost all forms of natural wonders can be found in Guinea. Though Guinea doesn't have national parks, tourists can still enjoy these places, especially the Tinkisso River near Mali and the Fouta Djalon highlands.
The hidden cave
A more exciting adventure awaits you at the Kakimbon Caves that can only be accessed via public boat. Local Baga people consider the cave sacred. Yet, it is important to bring a guide with you for your safe trip at the caves.
Indeed, big surprises come in small packages. This country is a proof to it. Visit Guinea now and book your ticket via Skiddoo.


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(CMT Offstage keeps a 24/7 watch on everything that's happening with country music artists behind the scenes and out of the spotlight.)
The last time I caught up with Hunter Hayes , it was right before his set on the Carrie Underwood tour. Actually, it was right before his "right before." He told me that what he does every night on the road to get ready to perform never really varies.
"Obviously, I've got my hour-long vocal warm-ups that I have to be faithful to. It's a ritual. It's a chill time for me to relax and mentally prepare," he explained. "I have this one exercise that I do every day, and it's in my iTunes playlist. I actually just looked at the count, and I've done it 88 times this fall and summer alone."
He also said that when he's prepping his vocals, he dims the lights and just kind of kicks back. And even though he's 21 now, he does not do a shot of whiskey to loosen up, like some other artists may (or may not) do.
"I just have a 5-Hour Energy or a coffee, but it has to be decaf because the caffeine messes with my throat," he said. And that led to a discussion about other things that mess with his throat, like foods with dairy and acid. So what does he eat? A lot of plain pasta.
"I just stick with a bunch of carbs that will turn into sugar at show time. I just have to play it safe," he said of his back-to-basics diet. "It's way more calculated than I ever thought I'd be."