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Note: these AIR features are "working", although they may not make it into the v1 product.
This week I have been working on a couple of different mini-projects to test out new beta features of AIR 2.5 for Android. The engineering team are pushing out features every week, and I have to say I'm very very impressed with their efforts. We are arguably now at feature parity with the desktop AIR releases, which is precisely the goal of the Open Screen Project.
In the 5/7 build we have added Camera, Microphone, StageWebView and NativeExtensions features to the beta. Of course AIR comes with all of the Flash Player 10.1 features along with multi-touch/gestures, support for bitmap matrix caching and Geolocation APIs.
"FlashTime" is obviously a working title, and the code isn't exactly stable so I don't want to release it just yet. I hope I can finish it by next week, by which time it will have a name – suggestions welcome.
Flash/AIR on!


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Revision [3000]
This is an old revision of ShihuaZhang made by ShihuaZhang on 2007-12-21 22:32:57.
Shihua Zhang
Academy of Mathematics and Systems Science, CAS
Address: No.55, Zhongguancun East road, Beijing 100080, China
Tel: 86-10-62571860
Email: email@example.com
Shihua Zhang was born on May, 1980 in Shandong Province, China. Now he is a third year PhD student in Operations Research of the Institute of Applied Mathematics, www.amss.ac.cn Academy of Mathematics and Systems Science, at CAS. His interests are within Bioinformatics and Systems Biology, particularly in Biological network-related issues. He has published over 20 technical papers in the refereed journals and conference proceedings such as in Proteomics, Bioinformatics, Plos ONE, Computational Biology and Chemistry, BMC Structural Biology, Physical Review E, European Physical Journal B, Physica A.
Educational Background
- 9/1999 - 7/2003, Bachelor of Science in Applied Mathematics,
- School of Mathematics and Statistics, Yunnan University (Kunming, Yunnan, China)
- Academy of Mathematics and Systems Science, Chinese Academy of Science (Beijing, China)
Research Interests
- Bioinformatics/Systems Biology
- Functional modules in molecular networks
- Gene/transcription regulatory networks
- Protein interaction networks, signaling pathways
- Microarray data analysis
- Complex networks
- Community structure in complex networks
Selected Publications
- Biomolecular network querying: a promising approach in systems biology.
- Shihua Zhang, Xiang-Sun Zhang and Luonan Chen.
- BMC Systems Biology, In press (Complementary).
- Discovering functions and revealing mechanisms at molecular level from biological networks.
- Shihua Zhang, Guanxu Jin, Xiang-Sun Zhang and Luonan Chen.
- Proteomics, 7(16), 2856-69, 2007.
- Alignment of molecular networks by integer quadratic programming.
- Zhenping Li*, Shihua Zhang*, Yong Wang, Xiang-Sun Zhang and Luonan Chen (*Co-first authors).
- A Hybrid Graph-Theoretic Method for Mining Overlapping Functional Modules in Large Sparse Protein Interaction Networks.
- Shihua Zhang, Hong-Wei Liu, Xue-Mei Ning and Xiang-Sun Zhang.
- Identification of functional modules in a PPI network by clique percolation clustering.
- Shihua Zhang, Xue-Mei Ning and Xiang-Sun Zhang.
- Computational biology and chemistry, 30(6), 445-451, 2006.
- Hubs with network motifs organize modularity dynamically in the protein-protein interaction network of yeast.
- Guangxu Jin, Shihua Zhang, Xiang-Sun Zhang, Luonan Chen
- PLoS ONE 2(11): e1207, 2007. doi:10.1371/journal.pone.0001207.
- Shihua Zhang, Rui-Sheng Wang, Xiang-Sun Zhang
- Physical Review E, 76, 046103, 2007
- It has been selected by Virtual Journal of Biological Physics Research, 14(8), 2007.
- Graph kernels, hierarchical clustering, network community structure: experiment and comparative analysis.
- Shihua Zhang, Xue-Mei Ning and Xiang-Sun Zhang.
- European Physical Journal B, 57, 67-74, 2007.
- Clustering complex networks and biological networks by Nonnegative Matrix Factorization with various similarity measures
- Rui-Sheng Wang, Shihua Zhang, Yong Wang, Xiang-Sun Zhang, Luonan Chen
- Neurocomputing, in press
- Identification of overlapping community structure in complex networks using fuzzy c-means clustering
- Shihua Zhang, Rui-Sheng Wang, and Xiang-Sun Zhang
- Physica A: Statistical Mechanics and its Applictions, 2007, 374, 483–490
- Detecting community structure in complex networks based on a measure of information discrepancy.
- Junhua Zhang, Shihua Zhang, Xiang-Sun Zhang
- Physica A: Statistical Mechanics and its Applictions, 2008, 387(7), 1675-1682,
- Revealing Divergent Evolution, Identifying Circular Permutations and Detecting Active-Sites by Protein Structure Comparison.
- Luonan Chen, Ling-Yun Wu, Yong Wang, Shihua Zhang and Xiang-Sun Zhang.
- BMC Structural Biology, 2006, 6:18.
- Identifying modules in complex networks by a graph-theoretical method and its application in protein interaction networks
- Rui-Sheng Wang, Shihua Zhang, Xiang-Sun Zhang, Luonan Chen
- Lecture Notes in Artificial Intelligence, 4682, 1090-1101, 2007.
- Prediction of protein complexes based on protein interaction data and functional annotation data using kernel methods.
- Shihua Zhang, Xue-Mei Ning, Hong-Wei Liu, and Xiang-Sun Zhang.
- Lecture Notes in Bioinformatics, 4115, 514-524, 2006.
Research Projects
- Research on Some Important Problems in Bioinformatics (2005-2008)
- Important Direction Research Grant, Chinese Academy of Sciences (CAS), Joint Investigator.
- Research on Models and Algorithms of Haplotype Inference Problem in Bioinformatics (2006-2008).
- National Natural Science Foundation of China (NSFC), Grant No. 60503004, Joint Inverstigator
- Research on theory and algorithms of community detection in complex networks (2008-2010)
- National Natural Science Foundation of China (NSFC), Grant No. 10701080, Joint Investigator
Index and Journals
Useful links
- "The whole of science is nothing more than a refinement of everyday thinking." —— Albert Einstein (1879-1955)
- "In science, the important thing is to modify and change one's ideas as science advances."——Herbert Spencer (1820–1903)
- "The good life is one inspired by love and guided by knowledge." ——Betrand Russell
- "The difficulty lies, not in the new ideas, but in escaping the old ones, which ramify, for those brought up as most of us have been, into every corner of our minds.." ——John Maynard Keynes (1883 - 1946)
- "Life is like riding a bicycle. To keep your balance, you must keep moving." —— Albert Einstein (1879-1955)

subset: commoncrawl


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The Dark Lord Bunnykins is caught up writing for corporate masters this week who are paying him lots of money so he's finding less time to post all-original content this week.
But he knows you love him and check back daily for content (yes?) so he's foregoing watching Rescue Ink this week (it's a repeat anyway) to re-edit and post this interview with Rob Zombie who just recently announced a co-headlining tour with the original shock rocker Alice Cooper.
This interview was conducted around the release of his 2006 album Educated Horses.
In my experience, 9:30 a.m. is early to do interviews, especially for musicians. Have you always been a hard worker?
Yeah. People are always surprised at how early I get up. I usually get up at 6 a.m. and starting doing stuff. I'm always trying to accomplish so many things, and it ain't going to get done if you're asleep.
Given all the different projects your work on, you must be a great time manager.
I try to be. It gets difficult. The biggest problem I have is your brain gets a little fried. So I've tried to concentrate on one thing at a time. I sort of a balance a whole bunch of projects, but when I was making the movie, I only worried about the movie. When I was making the record, I only worried about the record, as opposed to before where I would try to juggle too many things at once. I feel that everything suffers a little bit because you're never 100% there.
The tour launches soon. Are you excited to be back out on the road?
We're excited. We start rehearsing this weekend so that's when it really feels like it kicks in. So, yeah, it's going to be a blast.
How did you enjoy headlining the second stage at Ozzfest last summer?
Well, that was the third time I did Ozzfest and that was the best time ever. It was the most fun. The other times we've done main stage, and, truthfully, main stage is a bit of a drag because of the way it's set up. But second stage is a blast.
The main stage is seated and very uptight with the security, whereas second stage is just a free-for-all. The most enthusiastic kids move upfront and the ones who want to stand in the back stand in the back. Whereas when you're on the main stage, the people in the front are just the people that happened to buy tickets in the front, whereas a lot of times the kids in the back are the ones that are going crazy. So the energy's kind of off.
I understand that meeting your guitarist John 5 helped decide you on making music again.
It kind of came about that way in the sense that I was sort of burnt out after the last tour and the album. Everything was good, but, as always, somehow band relations tend to break down and things become a drag. Then I went off to make Devil's Rejects, then that was such a great experience that I wasn't looking to bring myself back into touring and dealing with all that shit again.
But then I met John, and he's a great guy and we played a couple of one-off shows together, these sort of benefit shows, and one thing just led to another. And Blasko, who's always remained a friend, said, 'Oh, I met this great drummer. We used to play with Alice Cooper. He's only 25 but he's a great guy'. That was Tommy Clufetos . When we got together, it was so cool and excited and it was just so fun that it was sort of infectious and it kind of happened.
John 5 is a very accomplished musician obviously. How did his playing shape this album?
Just in the sense that he's the best guitar player I've ever had the opportunity to work with by far. It's nothing against anyone I've worked with in the past, but John is just incredible. It's like someone saying 'oh, here's Eddie Van Halen, here's Zakk Wylde', you just go, 'Wow, I've never worked with a guy that's this good before'.
So that basically no matter what you can think of there's no problem that John can't play it or can't complement it or can't deal with it because he's great at everything. There's a lot of stuff on the record where I was like 'well, I'd like to do something that's like a sitar here, let's do acoustic here'. He can play anything anytime anywhere, whereas a lot of guitar players can't. They're good at their thing, but if you want them to branch out into something else, they might not be so good at it, and John's pretty much superior in every way.
Did his proficiency push you to play even better?
It just pushes everything. It's not even his playing. It's funny because he's the nicest, most amazing guitar player I've ever met. A lot of times you'll meet people who aren't even half as good but they give an attitude. Everything's just so easy. Making the record was just such a snap.
It was fun?
Fun? Totally. I can't do it anymore if it's not fun. I don't need the money, I don't need the aggravation, I don't need anything. I only want to do it if it's fun, and it's fun.
When did you start writing the new album?
I started writing some of it before I met John, before I did Devil's Rejects. And most of those songs got thrown out — there's actually only two of them on the record — and the rest of it we wrote as soon as we got off Ozzfest starting in October.
Came together quickly. Really quickly. The only holdover songs, I think, were 'Foxy Foxy' and 'Let It All Bleed Out'. The rest of the record, I believe, was more or less after starting in October.
Was it the fastest album you've ever made?
Fastest? Probably the least painful anyway. We usually work pretty fast. Having John around made things move really fast. It's great when you work with musicians who really are one-take guys. Like, no matter how complicated the part, no matter what it is, he can play it perfect immediately. It's not like 'well, let me go work on it for awhile and I'll come back' or 'let me do this and we'll do a hundred takes'. So that just really speeds up the process when you really play with exceptional musicians.
How long did it take to make Educated Horses?
It's become pretty quick. But back in the day, like with the White Zombie records, even the bigger ones, they were all done that fast. You would book this much studio time and at the end of that time, you're supposed to be done. It's not like this new thing where people just drag it out for years and years and it seems to go on forever.
On spontaneity:
Spontaneity plays a big part in the sense that we don't want to overwork it. Even though the records, of course, sound very polished, at the same time, we sort of write and record at the same time. Most of the vocals that I do, I never lay down scratch vocals. Usually I go in there and just do it. More often than not the whole record is the first pass of the song. Sometimes I'll go, 'That sounds kind of weird, I want to re-sing that chorus differently or something'. But what has been the mistake in the past sometimes is to redo things so much and you go, 'Shit, the rough mixes sounded really kick-ass, and now we've so overmixed it that we've mixed all the energy right out of the song'.
Same thing happens when you're editing a movie sometimes. You'll edit and you'll have it at a pretty good place and it sort of seems like you're done. You go, 'Well, maybe we can tighten up this a little bit', because you start getting paranoid… Because you've watched the movie so many times that you're afraid someone else is going to watch it and get bored. So you have a tendency to keep editing and editing and faster and faster, and we made that mistake on Rejects. And then we went back and went like 'shit, man, we cut out all this great stuff' and we put it all back in the movie. It made the movie longer, but it somehow seemed shorter. But that's the weird balance. That's where it gets really tricky where you can spend forever and somehow screw it all up.
So you have to rely on your instincts.
That's everything, really. That's sort of my philosophy with life. Your gut reaction is almost always right. If you meet somebody and your first reaction is like 'I don't know, this guy seems like he's full of shit', he usually is. 'Why is this guy being so nice to me?' More often that not, your gut reaction is always right.
Any significance to the title? In other words, what's an educated horse?
It's an old circus term for one of the acts that they used to have, Educated Horses. And when I was growing up as a kid, my whole family was involved in carnivals and circuses, and it was an attraction that my grandfather used to run. And at some point when my mom was cleaning out the house and was moving from the east coast to the west coast and found these old pictures, and one of them I put on the record — it's underneath the disc — of my grandfather in his circus get-up. Somehow that brought it back to mind, and I was like 'what a bizarre phrase'. I worked it into some of the lyrics and I was like 'well, maybe it'll be a title, maybe it won't. Kind of odd, I don't know'. Something about it I liked.
Do you feel weighed down by your horror image?
Well, I don't feel "weighed down" by it, I just don't want to feel trapped by it. Even if the next movie is a horror movie, I want it to be a horror movie because that's what I want to do, not because that's what's expected that I should do. Obviously there are the things that I love, but I don't want to be trapped by it.
I think a lot of times bands especially get trapped by their own thing, and I feel bad for them sometimes. Because it seems like people stop paying attention. Like, they're still popular but people go, 'Well, I didn't really listen to your last five records because I assumed it was the same as the last five records'. You either want people to either love it or hate it, but you never want people to go, 'Yeah, that's pretty much what I expected. Same old shit'.
So for this one I just wanted to just in general with everything just deconstruct. Sinister Urge, I thought that the band and the stage show and everything had just gotten so big and so out of control that I really wanted to do the exact opposite and get rid of everything. Because I felt like we couldn't do anymore. What, this time we're going to have ten robots on stage, ten dancing girls and a thousand fireworks? It just became so ridiculously over the top. It was fun and it was great at the time, but where do you go with it? You can't just keep making it bigger. It would become retarded. So I thought, 'Do the exact opposite. Strip it down to nothing'.
On House of 1000 Corpses:
That was a little different because by being the first thing you're not really up and running on how your whole way of working anyway. But I definitely wanted to make a completely different movie, and I knew for that reason some people would be bummed that it was a different movie and some people would be thrilled that it was a different movie.
Really, at the end of the day, you can only do what you can do. You can't create things on demand to please people. One thing I've learned over the years with the fans is that they all say the exact opposite thing from each other constantly. One person's favourite song is the song the other person hates the most; someone's favourite record is someone's least favourite record; someone's favourite movie is someone's worst. That's why I think the Internet sometimes makes people crazy because they go through messageboards and they read everything and all you can conclude is everyone has a different opinion. So it makes you nuts.
On doing what you want to do as an artist:
That's all you can do. You really can't do anything else. And when you start trying to do something else… Because I feel that when people are true to themselves when they're making whatever they're making, it's usually good. You may not appreciate it at the moment. Maybe ten years later you go, 'Wow, I didn't get it at the time, but that film or that record is really good'.
But what usually is crap is when you can tell that something is being force-fed to you and pre-packaged and made for you. Like the studio goes, 'Well, we know people like these kind of films or these kind of people so we'll put it all together…' The films that people still talk about are always those ones — not to sound like a jerk but I don't think anyone's going to be talking about the remake of When A Stranger Calls 30 years from now.
Whereas other films that kind of stirred people up and they're arguing about, they still argue about. For me, I know there's been records I got at the time: 'Ah, I hate this record, it's shit'. I go back now and go, 'Jesus, this record is amazing'. But I just didn't get it at the time; it just didn't hit me right. I was thinking it was something else.
Your last film, The Devil's Rejects, really challenged the current crop of safe, boring horror exemplified by the likes of the When A Stranger Calls remake. Is it more difficult to make challenging music or film?
To me, the biggest challenge is… I don't really try to "challenge" things — I'm not trying to "push boundaries" or challenge the way people see things necessarily. To me, the most challenging thing is to make something that's entertaining and that works. That's the biggest challenge.
Because at the bottom line, with movies and music and everything, it's entertainment. Some of it's highbrow, some of it's lowbrow, some of it's stupid, some of it's intelligent, but it's entertainment. And it has to work on that level first because I don't think anyone watches a movie that's not entertaining and goes, 'Wow, what a great movie. I really learned a strong lesson. But I was completely bored'… It has to work on every level. And that's really the trick. And if it works on other levels, too, that's great. Like with a comedy, it's great if there's a message, but if I'm not laughin', I'm not going to get to the fuckin' message.
On the song 'The Devil's Rejects':
On Halloween, we played a show with Judas Priest and we played the song 'House of 1000 Corpses', and whenever we play we usually have video screens which there are scenes playing from House of 1000 Corpses while we're playing the song, and I was like, 'This is so cool'. I just love that moment. I was like, I was still working on the record, I was like, 'Man, I should do a Devil's Rejects song', I feel bad that I never did it, and that's when I did it.
Has your approach to making music been perceptibly influenced by your film work or are the two separate activities in your own mind?
They're very different, but the same in the sense that the creative process for everything is sort of the same. You're sort of just sitting there with your own head and going like, 'Okay, somehow a movie has to come out of my brain'. And somehow there's no songs and songs suddenly have to exist. It's sort of the same process of just working.
Over the years, one thing that comes with having done things a lot is you get more and more calm with working. You don't panic so much. One thing I've realized is that you'll figure it out when you figure it out. You can't force it, really. It's just usually terrible when you try to force things.
How does your record company feel about you going years between albums?
They never say anything. I'm sure that they would rather have me make records because making movies doesn't do them any good and doesn't make them any money. In fact, I always forget how much time goes by. I'm always a little shocked. The other day someone was like, 'Oh, it's been five years since you made a record'. I was like, 'Jesus'. I thought it was three at the most.
But I guess I feel busy because I'm always doing something so it's not like I disappear because I'm always out there and meeting people and doing things and doing interviews and talking and everything. I guess it's just different subjects.
Is it harder to make a movie or a record?
A movie is harder than anything. Because a record, not to take away from either, but a record is more controlled. It's you and a band and a producer and a studio. It's a much more controlled environment. Whereas a movie… That's the reason I wanted to make the documentary that goes with the DVD. I don't know if you saw that. I get kind of tired of people, everyone's a critic and everyone's complaining and everyone knows everything, but no one has any idea how movies are made, and they just say things like 'so and so should have done this'. Yeah, that's great… in fantasy land that that's how movies are made!
So I thought, 'Why don't we make a long documentary showing… and I didn't show a lot of stuff because I didn't want to hurt people's feelings, but the daily grind… 'Yeah, Rob Zombie's such a fucking asshole, he should have used so-and-so more'. Well, maybe I would have used so-and so more… if so-and so could remember one line at a time! Maybe I would have! If so-and-so and so-and-so didn't hate each other so much they didn't want to be in the same room'. There's just so many things that go on that are unpredictable that people just don't get. And as a director I feel it's my job to hide that from the world. I don't tell people's dirty laundry, but it's difficult.
Whereas a record, it's difficult to create the songs but pretty much your band's going to show up and one guy didn't forget how to play guitar overnight and has to learn again or something. Whereas on set you just never know what's going to happen. If the weather changes, you're fucked. If someone doesn't know their lines, you're fucked. Every second something can go wrong. And even when it goes right, it's bizarre to make movies in such a hodge-podge way of shooting everything out of sequence, in pieces. You have a gut feeling like 'we got it, let's move on, we got it, let's move on', but you really don't know until you start editing if you got it.
Basically the more personalities you deal with, the more chance there is for some things to go wrong. Making records is a couple of people, making movies is hundreds of people, and it's just harder.
Of course John 5's ex boss, Marilyn Manson, has recently announced his intention to become a director. In your acquaintance, are there a lot of musicians who secretly long to become filmmakers?
I think they don't know what it means, that's why they say it. Because being a director means everybody else comes before you. Some people think, 'It's going to be a big feather in my cap and another new title to hang on myself'. You're in charge, sure, you're the boss. But you have to somehow… you take a backseat to everything. At least the way I do it. It's all about the actors and making everyone else happy so you can get them to do the best work that they can do. It's not about you, it's about the movie, and it's not like you're going to show up in your special director's outfit… Maybe people do but maybe that's why there are a lot of bad movies.
I want the actors… They're the most important people in the world. Because acting is really hard, and you have to get them so comfortable they will do anything. And when you get scenes like in the motel room with Priscilla Barnes exposed and Kate Norby, who's completely naked, and Bill Moseley who's uncomfortable, and Sheri and Geoffrey Lewis… Nobody wants to do scenes like that, nobody enjoys them. That's not how people normally act or think. And you have to do it for hours and hours. People put a lot of trust in you, that when you do that stuff that you're not going to make them look stupid. And actors get burned a lot of times.
Is coaxing a good performance from an actor much different from coaxing a good performance from a musician?
It's totally different. Because with a musician it's more like, you can get the performance. It's just more about 'can they play the right part?' But an actor… acting, it's amazing. Acting is a funny thing because the better someone is the less that you notice it because they're so good. When you don't see them acting is when they're amazing.
How proud are you of this album?
I love it. I mean, I really love it a lot. I guess people say that about every record they make every time it's new, but there's just something about this record that seems special. There's a lot of songs and things that are kind of different, I was really thrilled with it.
You've worked in many media recently: music, film, comic books.
How important is music to you now compared to, say, 10 years ago?
It's as important as it ever was. Whatever I'm doing at the time is the most important thing and I want it to be as good as possible. I never take it lightly or take it for granted. I think sometimes maybe people think, 'Oh, he's not taking this seriously because he's doing this', but that's not the case. That's why it's so long between records and things. If I didn't care, I could have whipped off a couple of shitty records and just thrown them out there, but I didn't want to do that. I want to spend the time and make it good. And now that we're going into rehearsals I try to put together the best possible guys I could find and we're going to fuckin' play as hard as we can and try to make it as great as possible.


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New feature may surprise users when used.
Twitter is rolling out the long-awaited feature of downloading your entire tweet history, it seems, but be careful. You might not like what you find in there. Sometimes we remember our tweets with rose-colored lenses.
The Next Web was the first to notice a few users posting about being able to download their tweet history this weekend. Not everyone can do it, though. Twitter is slow-rolling the new feature, so only a limited number of people have access to the option. To check if you're one of the lucky few, go to your settings page. At the very bottom there should be a new section with a big button offering you the chance to download your archive. Twitter will send you an email with three different compression files of your tweet history after a few minutes. You'll decompress a .html file and be able to sort through all the dumb stuff you've said on Twitter by month and by year.
(Image via zozain greetings/Shutterstock.com)


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The John Idzik era in Florham Park began with the controversial decision to trade the franchise's biggest star last Sunday. Four days later, the Jets' general manager targeted a new potential shutdown corner.
The Jets selected Alabama cornerback Dee Milliner with the ninth pick in the first round of Thursday night's NFL draft. Within an hour of making their decision, the Jets' brain trust -- Idzik, Rex Ryan, director of college scouting Jeff Bauer and senior personnel executive Terry Bradway -- insisted it had nothing to do with Revis, who was traded to the Bucs for the 13th overall selection and a conditional 2014 pick.
"I think it's unfair to Dee,'' Idzik said of the perception that they're trying to use a rookie to replace a three-time All-Pro. "We drafted Dee because of his talent, we drafted Dee because we felt he was our best player on the board . . . If you insinuate that, I think it devalues Dee. Plain and simple: He was the best player.''
The Jets walked away with two of the top four picks on their draft board, according to Idzik: Milliner and Missouri defensive tackle Sheldon Richardson, whom they selected with the 13th pick.
"You can't blame this one on me,'' Ryan said jokingly about using their first two picks on defensive talent.
The Jets are in desperate need of playmakers after ranking 30th on offense last season. But Idzik tried to alleviate the concerns of some fans by saying: "We're not done. We have two more days of work. We feel this draft is very deep . . . We're going to assemble the best team of players.''
Although the Jets were tempted to pick an offensive player, Idzik said, "Talent will trump need.''
The Jets were linked to pass rushers Dion Jordan, Barkevious Mingo and Jarvis Jones in the days leading up to the draft, but Bauer said Richardson was too good to pass up, even with fellow defensive tackles Star Lotulelei and Sharrif Floyd still on the board.
"His ability to change direction is uncanny,'' Bauer said of Richardson. "I don't think we've seen a defensive tackle this athletic since . . . I don't think we've seen one.''
According to NFL.com, Richardson led all SEC interior linemen in tackles (75) and had 41/2 sacks.
Despite undergoing five medical procedures -- a right knee scope, sports hernia surgery, a rod placed in his right tibia and surgery on each shoulder, which he's rehabbing -- Milliner said on a conference call that he's ahead of his rehab schedule and will be back on the field before training camp.
Milliner added that his physical problems never kept him off the field. "If you watch the film,'' he said, "I'm out there playing.''
Idzik floated June as a possibility for Milliner to be 100 percent. The GM said the "the room was clearly excited'' when the Jets settled on him.
Milliner said Wednesday that he felt comfortable with the Jets when he visited a few weeks ago. After learning they had picked him, he said man coverage -- which Ryan is most fond of -- is "right up my alley.''
Whether the Jets like it or not, however, the comparisons between Milliner and Revis (who was selected 14th overall in 2007) are inevitable. The rookie's arrival also could spell trouble for Kyle Wilson, who started most of last season after Revis went down with a left ACL tear in Week 3.
But the Jets, for now, are trying to temper expectations.
"All he has to do,'' Ryan said of Milliner, "is be the guy we drafted.''


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Americans Against The Tea Party: Tea Party Gun-Nut Arrested, Posted Liberal Kill List
February 22, 2013- A 49-year-old man in Rockland County New York has been arrested after his landlord alerted police of threats she discovered while "stalking" his Facebook page. Police investigating the man, Lawrence Mulqueen, found a stockpile of weapons in his rental apartment as well as a hit list of liberal politicians he posted to Facebook.
"Use blades when you can to conserve bullets," Mulqueen instructed on Facebook. "Always shoot them at 100 yards or more when you can, the further away they are the least you have to worry about."
Kansas City Star: Two of Phelps' granddaughters leave Westboro Baptist Church
"We know that we've done and said things that hurt people," the sisters say.
-By Matt Campbell and Dugan Arnett
February 6, 2013- Two granddaughters of Westboro Baptist Church firebrand Fred Phelps have split with the Topeka-based congregation, indicating their views have evolved and they now regret the pain they have caused others.
One of them, 27-year-old Megan Phelps-Roper, had been a highly visible member of the church who spoke to media outlets and spread its message via Twitter.
She and a younger sister, Grace Phelps-Roper, in November left the congregation known for its anti-gay stance and for picketing funerals of fallen soldiers and others.
RAW Story: Georgia man guns down immigrant after GPS sends him to wrong driveway
-By David Edwards
January 29, 2013- A 69-year-old war veteran and former missionary was arrested over the weekend on the suspicion of killing a 22-year-old Cuban immigrant who mistakenly arrived in his driveway because of faulty GPS directions.
Gwinnett County jail records obtained by The Atlanta Journal Constitution indicated that Phillip Walker Sailors was charged on Sunday with the murder of Rodrigo Abad Diaz.
Friends who were in the car with Diaz told WSB-TV that they were trying to pick up a friend on the way to ice skating on Saturday but their GPS directed them to the wrong address.
RAW Story: Father of Newtown victim heckled by gun advocates at legislative hearing
-By Eric W. Dolan
January 28, 2013- Neil Heslin, whose six-year-old son was murdered at Sandy Hook Elementary School last month, was heckled by gun advocates during a legislative hearing on Monday.
"Changes have to be made," he told Connecticut lawmakers in an emotional testimony. "I'll tell you a little bit about Jesse. He was a boy that loved life, lived it to the fullest. His mother and I are separated. He spent equal time with both of us. He was my son, he my buddy, he was my best friend, and I never thought I would be here speaking like this, asking for changes on my son's behalf."
"And I never thought I would be laying him to rest. The happiest day of my life was the day he was born. He is my only son, my only family. The worst day of my life was the day when this happened."
ABC News: Suit Reveals Ties Among Radical Abortion Opponents
-By Roxana Hegeman (Associated Press)
January 27, 2013- A lawsuit against a Kansas woman who publicly proclaimed her admiration for the man who gunned down one of the country's few late-term abortion providers is revealing the unwavering support a small group of radical anti-abortion activists has for the imprisoned killer despite an ongoing federal investigation into the 2009 slaying.
Though no federal indictments have been handed down by a grand jury investigating whether Dr. George Tiller's death was connected to a broader case involving extreme anti-abortion activists, the lawsuit against Angel Dillard is one indication the Justice Department is taking a more heavy handed approach to perceived threats to abortion providers. In addition to alleging Dillard, of Valley Center, sent a threatening letter in 2011 to another Wichita doctor who was training to offer abortions, the lawsuit also highlights Dillard's relationship with Scott Roeder, the man convicted of fatally shooting Tiller at the physician's church.
When Roeder opened fire on Tiller, he propelled himself to icon status among abortion opponent extremists — a status that hasn't wavered since he was sentenced to life in prison. A leader in the Army of God, which supports violence against abortion doctors, notes Roeder gets more correspondence than other imprisoned anti-abortion activists.
Mike Malloy rips white nationalist American 3rd Position Party, a sponsor of Gun Appreciation Day
Part 1


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PAR::Dist::FromCPAN - Create PAR distributions from CPAN
use PAR::Dist::FromCPAN;
# Creates a .par distribution of the Math::Symbolic module in the
# current directory.
cpan_to_par(pattern => '^Math::Symbolic$');
# The same, but also create .par distributions for Math::Symbolic's
# dependencies and run all tests.
cpan_to_par(pattern => '^Math::Symbolic$', follow => 1, test => 1);
# Create distributions for all modules below the 'Math::Symbolic'
# namespace in the 'par-dist/' subdirectory and be verbose about it.
pattern => '^Math::Symbolic',
out => 'par-dist/',
verbose => 1,
This module creates PAR distributions from any number of modules from CPAN. It exports the cpan_to_par subroutine for this task.
By default, the
cpan_to_par subroutine is exported to the callers namespace.
This is a list of all public subroutines in the module.
The only mandatory parameter is a pattern matching the modules you wish to create PAR distributions from. This works the same way as, for example
cpan install MODULEPATTERN.
pattern => 'patternstring'
out => 'directory' (write distribution files to this directory)
verbose => 1/0 (verbose mode on/off)
test => 1/0 (run module tests on/off)
follow => 1/0 (also create distributions for dependencies on/off)
merge => 1/0 (merge everything into one .par archive)
strip_docs => 1/0 (strip all man* and html documentation)
skip => \@ary (skip all modules that match any of the regular
expressions in @ary)
auto_detect_pure_perl => 1/0 (Flags the PAR distribution platform and
perl version agnostic if it is deemed
perl_version => Defaults to your version of Perl. Used to determine
which modules are core perl and thus will be skipped.
Set this to 0 to package all core modules as well.
The PAR::Dist module is used to create .par distributions from an unpacked CPAN distribution. The CPAN module is used to fetch the distributions from the CPAN.
PAR has a mailing list, <email@example.com>, that you can write to; send an empty mail to <email@example.com> to join the list and participate in the discussion.
Please send bug reports to <email@example.com>.
The official PAR website may be of help, too: http://par.perl.org
Steffen Mueller, <smueller at cpan dot org>
Jesse Vincent
Copyright (C) 2006-2009 by Steffen Mueller
This library is free software; you can redistribute it and/or modify it under the same terms as Perl itself, either Perl version 5.6 or, at your option, any later version of Perl 5 you may have available.


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USFSP Library Continuity Guide: Resources for Remote Learning
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I used CardPatterns Sketch #115 to help out with the design of my card, and I just flipped the banner to the other side to make it work for me! I also created this for this week's Moxie Fab Tuesday Trigger: Some Royal Fun, where I was inspired by the fun banner flags & the pink/blue color combo...I just happened to add in a bit of yellow to mine. I also created this for Lawnscaping Challenge #10, to use polka dots. Here is my card!
Twine: May Arts
Julie Campbell
Latisha Yoast
Lea Lawson {You are here!!}
Lynnette Kauffman
Teri Anderson
Tiffany Johnson
And don't forget that the Lawn Fawn blog always has some amazing giveaways during release week!! Here is where you can win so far...be sure to follow the commenting instructions!! ♥♥♥


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Arsenal 7-3 Newcastle
It being Monday afternoon, I could get done under the trades description act for cataloguing this one as a match report. I did of course have every intention of evacuating my excitement on the blog after the 7-3, but I was crammed next to the can on the train journey returning me to the Fens, and was more concerned with plugging the strong whiff. Then I got home and it was 9pm already, and I hadn't eaten, and then it was Sunday and the little Lowers were all over me like a rash, and the bottom line – if you've haven't seen through the excuses yet – is that I couldn't be arsed. But I can be arsed now; now that's it far too late to say anything more meaningful than 'coo' or 'crikey'.
It was a smorgasbord of goals, but with twenty minutes to go I thought it could still have gone either way. There is something comfortingly Arsenal about that.
As for Theo Walcott, Tony Cascarino in today's Times pointed out – and he's probably right – that forget the £100,000 a week we bandy about as the cure-all for signing him up. He could probably get £150,000 a week at a club somewhere, on a Bosman. So if it's all about money he's gone. If the heart strings can yet be tugged, then maybe there's a glimpse of hope on that front. Anyway, enough of him and his Henry-Swivel-Dink hat-trick.
I did get to look round the old Highbury a bit before the game, courtesy of a current resident. I suspect plenty of people have leapfrogged the fence to have a gander at the old memory bank, but I did it all by the book, and though I only sniffed around the marbled halls, and stood on the centre circle (looked like a Christmas tree was there), it did bring back plenty of memories. It was odd to see the apartment bang on the spot where my old plastic chair on the East Lower was, very odd indeed. And overall it's been very well done, which I don't need to tell you, and though it doesn't feel like a football ground, you don't have to dig into your grey matter too much to imagine it how it was. I did find myself feeling a bit sorry for the bust of Herbert Chapman, just about the only thing not transported to the new stadium. He still stands sentinel over the main entrance, but he cuts a frustrated figure these days – trust me, I stared at him for a bit, and I could tell – forced as he has been into the bust equivalent of retirement, no longer able to oversee the ebb and flow of footballers and staff.
It was at that point, when I started feeling sorry for a bronze bust, that I thought I was better off leaving, and so I headed off into the blustery drizzle. That the club found land for a new stadium so close to the old one – meaning Wembley did not have to be pursued, imagine the horror of that for a second – is something for which I am eternally grateful.
So that's 2012, a year of sporting achievements in London. I'm not sure I would add Arsenal to that compendium of excellence – you don't get knighted for coming third – but though we find ourselves practically lapped by the league leaders at the mid-way stage, there's plenty to play for (you have to think that, don't you, otherwise what's the point?) and we finish the year with four straight league wins. Next stop, a January when we get linked to everyone and end up signing… no, no I won't say it.
And that's that. Happy New Year to you all – I plan to keep the dismal puns ticking over in '13 (unlucky for some). And maybe the odd blog post, as I approach ten years of doing this lark – ten bloody years in May!
Have a great 2013.


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Please note
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International Captain
Share 'em all here.
Here's one from CNN:
Here's one from CNN:
California to ban hunting over Internet
SACRAMENTO, California (AP) -- Wildlife regulators took the first step Tuesday to bar hunters from using the Internet to shoot animals, responding to a Texas Web site that planned to let users fire at real game with the click of a mouse.
The Fish and Game Commission ordered wildlife officials to prepare emergency regulations to ban the practice. A period of public comment will follow.
"We don't think Californians should be able to hunt sitting at their computers at home," said Steve Martarano, a spokesman for the state Department of Fish and Game.
A bill passed by the state Senate two weeks ago would prohibit use of computer-assisted hunting sites and ban the import or export of any animal killed using computer-assisted hunting. The measure now moves to the state Assembly.
At least 14 other states and Congress are considering similar bills.
Groups including the California Sportsmen's Association, Safari Club International and the Outdoor Sportsman's Coalition of California support the ban, saying hunting over the Internet is unethical and unsporting.
Supporters have suggested the remote hunting could be beneficial for hunters with disabilities and questioned why Californians should be barred from patronizing a legitimate Texas business.


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UFA, Russia -- The United States won the junior ice hockey championships on Saturday after Rocco Grimaldi scored twice and Vince Trocheck added an empty-net goal to clinch a 3-1 win over Sweden in the final.
Filip Sandberg put defending champion Sweden ahead on a power play early in the second period, but Grimaldi then scored twice in a three-minute span to swing the game in the Americans' favor.
He powered from behind the net to score an equalizer from a narrow angle, and then redirected Jacob Trouba's slap shot from the blue line midway through second period.
"I was just happy (my goals) went in," Grimaldi said. "Basically, I just threw it on the net (first one) and the second one just hit me in the chest and went in."
Sweden pulled its goalie for an extra player with 1:42 left but failed to capitalize. Instead, Trocheck rounded off the win with 16.7 seconds left.
"I couldn't be more proud of our players and staff," U.S. coach Phil Housley said. "And I'm also really happy for hockey fans in our country. This was a total team effort throughout the tournament. It was a very difficult challenge tonight against an excellent Swedish team."
John Gibson made 26 saves for the victory and was the MVP of the tournament.
"We wouldn't have this if it wasn't for Gibby," said Trouba, who was selected best defenseman. "We rode him all tournament, and he played phenomenal the whole tournament."
"It feels great. I worry about the team first and winning a gold medal," Gibson said. "I'll remember that more than MVP."
Niklas Lundstrom had 31 saves for Sweden.
It was the third title for the Americans, who also won in 2004 and 2010.
"It's pretty special how a group of guys that don't play together for a whole year and then come together can form a gold medal-winning team," U.S. captain Jake McCabe said. "I couldn't have asked for a better group of guys to win this with."
Earlier, Valeri Nichushkin scored an overtime winner to give Russia a 6-5 victory over Canada in the bronze-medal match.
Canada trailed throughout the game, but Brett Ritchie scored an equalizer with 9 minutes left in the third period to force overtime.
In the extra 10-minute period, Nichushkin broke down the right flank on a solo effort and skated in front of the goal to score into the left corner after just 1:35.
Russia goalkeeper Andrei Makarov made 40 saves for the victory. Malcolm Subban stopped 19 shots for Canada.
It was the first time since 1998 that 15-time champion Canada finished without a medal at the event.


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A week ago, I traveled to Virginia on what I hope becomes an annual tradition - a deer hunting trip in the mountains and farm land of Virginia. I find that many people think me to be nuts! I understand that my personality would render such a conclusion but they seem to feel that the idea of killing a deer is barbaric - is crass beyond belief. After all, I have no need to take the life of such cute animals. I can go to the super market and buy the meat I need to feed my family.
Updated 11-29-2014 at 08:58 AM by Bruce
I was wondering, have we moved to a society that no longer values reading? So many I meet seem surprised that I read 15-20 books a year... Have we become so dependent on media stimulation that reading is becoming obsolete?
I pick up a book and one of things that thrill me about reading is that I get to use my imagination to conjure the idea the author is trying to present. I mean, in video or sound, the idea is conveyed in almost instant information. The brain reacts to the observed
Back in the stone ages when Uwe and I were kids, our parents were busy making a living and left us to find a way to occupy ourselves. We were not entertained by parents or teachers. No, we made our own games and entertainment. For sure, some of these led to unexpected consequences because we did things that were .. well let's just say they were not the "most astute and proper" activities one should pursue. But fun? You bet.
We also were not dependent on mom and dad
For fourteen years, Ross-Tech has been helping people use the VAG-COM Diagnostic System to diagnose and repair problems, tweak various settings, and retrofit parts that VW-Audi never envisioned being installed in their particular cars. We've done this over the phone, via e-mail, and in various other forums, but a couple of years ago things got to the point where, despite having three full-time people to answer customers' questions, our phones were literally ringing all the time. So we did two
Updated 03-05-2014 at 11:00 AM by Uwe


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Friend and Maemo/MeeGo bugjar master Stephen Gadsby alerted twitterites yesterday to a Fedora bugzilla flamefest, and at first blush it made for interesting comic relief. Who doesn't enjoy a good Internet argument?
But a second read sobered me up quickly. The bug turned out to be an issue introduced into the crucial (and occasionally controversial) glibc code library that doesn't appear to have been sufficiently regression-tested. The code change reason is described as an execution speed improvement, but it appears to have come at the expense of pre-emptive error-checking.
Most people aren't going to care about the technical reasons underlying the discovered bug. Most will, instead, be concerned with its impact. And that gets us to the reason behind me writing today. Continue reading