text:
Adobe LiveCycle Enterprise Suite 2 (ES2) has now moved into a production environment! Using the moniker "LiveCycle Managed Services", Adobe is hosting a set of web service that provides an alternative deployment model for most Adobe LiveCycle ES2 modules.
It is offered in partnership with Amazon, the industry leader in IAAS ( yet another acronym using the suffix " As A Service"; the "I" standing for "Infrastructure) cloud computing and leverages the power and security of the Amazon EC2 platform. I am personally not for using the acronym IAAS as anything that is concretely implemented on this scale is ipso facto infrastructure services (the same as I claimed about DaaS or Data as a Service).
Nevertheless, this is a remarkably cool advancement for Adobe. In a time when many companies are talking about the cloud as "maybe one day in the future", our engineers have accomplished the dream. LiveCycle ES2 modules available with
Managed Services include:
• LiveCycle Forms ES2
• LiveCycle Reader Extensions ES2
• LiveCycle Rights Managements ES2
• LiveCycle Digital Signatures ES2
• LiveCycle PDF Generator ES2
• LiveCycle Output ES2
• LiveCycle Process Management ES2
• LiveCycle Content Services ES2
The cloud architecture is simple. It effectively uses a client side interceptor to proxy requests bound to a localhost address to a remote endpoint which proxies the services. Below is depicted a typical environment for development however the runtime is essentially the same.
Cloud computing has many advantages. First, by definition, the logical and physical network topologies no longer map to each other. This effectively allows for faster scalability. Adobe also puts 24/7 enterprise level support on this easily making it easier for small and medium sized enterprises to use for mission critical applications. Another advantage is the fact that it costs far less to use the managed version as all admin tasks are shared with other users. Things like backups, monitoring and intrusion detection are done for you at a much cheaper cost. The full power of LiveCycle can be made available to you organization at a much lower cost.
To try it out, run to this URL – http://tv.adobe.com/watch/getting-to-know-livecycle-es2/livecycle-managed-services


text:
I have been using Racket (a dialect of Scheme) for several years to teach kids how to program. Although Racket is a great first language, it's definitely not a "toy language". In fact, Racket offers a number of interesting features not found in other languages, making it an attractive option for real-world work. Racket puts into practice state-of-the-art research on macros, continuations, contracts, and interoperation between static and dynamically typed code. The integrated Scribble system makes it easy to provide high-quality documentation and/or write literate programs. It comes with a pleasant, lightweight IDE complete with an integrated debugger and profiler (as well as innovative features such as a specialized macro debugger).
I'm a fan of functional programming and dynamic typing. I know how to write and think in Racket from my many years teaching it, so with all these features, it should be a slam dunk for me to use it professionally, right?
Well, no....
I have discovered that for me, the #1 factor that determines my programming productivity is the set of data structures that are built-in to the language and are easy to work with. For many years, Python set the standard for me, offering easy syntax to manipulate extensible arrays (called lists in Python), hash tables (called dictionaries in Python), tuples (an immutable collection that can serve as keys in a hash table), and in recent versions of Python, sets (mutable and immutable), heaps, and queues.
Racket, as a dialect of Scheme, places the greatest importance on singly-linked lists. OK, that's a reasonable starting point -- you can do a lot with linked lists. It also offers a vector, which is an old-fashioned non-extensible array that is fixed in length. (Who wants fixed-length arrays as a primary data structure any more? Even C++ STL offers an extensible vector...)
Vectors are mutable, which is both a plus and a minus. On the plus side, it allows you to efficiently write certain classes of algorithms that are hard to write with linked lists. It serves a purpose that is different from linked lists, so there is value to having both in the language. The huge minus is that Racket simply isn't oriented towards working conveniently with mutable vectors. Working with mutable data structures conveniently demands certain kinds of control structures, and certain kinds of syntaxes. You can write vector-based algorithms in Racket, but they look verbose and ugly. Which would you rather read:
a[i]+=3 or (vector-set! a i (+ (vector-ref a i) 3)) ?
But if you can get past the more verbose syntax, there's still the fundamental issue that all the patterns change when you move from using a list to a vector. The way of working with them is so fundamentally different that there is no easy way to change code from using one to another.
Racket goes further than most Scheme implementations in providing built-in data structures. It also offers, for example, hash tables (and recently sets were added). But the interface for interacting with hash tables is a total mess. The literals for expressing hash tables use dotted pairs. If you want to construct hash tables using the for/hash syntax, you need to use "values". If you want to iterate through all the key/value pairs of a hash table, it would be nice if there were an easy way to recursively process the sequence of key/value pairs the way you would process a list. Unfortunately, Racket provides no built-in lazy list/stream, so you'd need to realize the entire list. But even if that's what you'd want to do, Racket doesn't provide a built-in function to give you back the list of keys, values or pairs in a hash table. Instead, you're encouraged to iterate through the pairs using an idiosyncratic version of its for construct, using a specific deconstructing pattern match style to capture the sequence of key/value pairs that is used nowhere else in Racket. (Speaking of for loops, why on earth did they decide to make the parallel for loop the common behavior, and require a longer name (for*) for the more useful nested loop version?) Put simply, using hash tables in Racket is frequently awkward and filled with idiosyncracies that are hard to remember.
There are downloadable libraries that offer an assortment of other data structures, but since these libraries are made by a variety of individuals, and ported from a variety of other Scheme implementations, the interfaces for interacting with those data structures are even more inconsistent than the built-ins, which are already far from ideal.
I'm sure many programmers can live with the awkwardness of the built-in data structures to get the other cool features that Racket offers, but for me, it's a deal breaker.
Clojure gets data structures right. There's a good assortment of collection types built in: lists, lazy lists, vectors, hash tables, sets, sorted hash tables, sorted sets, and queues. ALL the built-in data structures are persistent/immutable. That's right, even the *vectors* are persistent. For my work, persistent vectors are a huge asset, and now that I've experienced them in Clojure, I'm frustrated with any language that doesn't offer a similar data structure (and very few do). The consistency of working only with persistent structures is a big deal -- it means you use the exact same patterns and idioms to work with all the structures. Vectors are just as easy to work with as lists. Equality is simplified. Everything can be used as a key in a hash table.
Data structures in Clojure get a little bit of syntactic support. Not a tremendous amount, but every little bit helps. Code is a little easier to read when [1 2 3] stands out as a vector, or {:a 1, :b 2, :c 3} stands out as a hash table. Lookups are a bit more terse than in Racket -- (v 0) instead of (vector-ref v 0). Hash tables are sufficiently lightweight in Clojure that you can use them where you'd use Racket's structs defined with define-struct, and then use one consistent lookup syntax rather than type-specific accessors (e.g., (:age person) rather than (person-age person)). This gets to be more important as you deal with structures within structures, which can quickly get unwieldy in Racket, but is easy enough in Clojure using -> or get-in. Also, by representing structured data in Clojure as a hash table, you can easily create non-destructive updates of your "objects" with certain fields changed. Again, this works just as well with nested data. (Racket structs may offer immutable updates in future versions, but none of the proposals I've seen address the issue of updating nested structured data.) Furthermore, Clojure's associative update function (assoc) can handle multiple updates in one function call -- contrast (assoc h :a 1 :b 2) with (hash-set (hash-set h 'a 1) 'b 2).
Even better, the process for iterating through any of these collections is consistent. All of Clojure's collections can be treated as if they were a list, and you can write algorithms to traverse them using the same pattern of empty?/first/rest that you'd use on a list. This means that all the powerful higher-order functions like map/filter/reduce work just as well on a vector as a list. You can also create a new collection type, and hook into the built-in sequence interface, and all the built-in sequencing functions will automatically work just as well for your collection.
Although the sequencing functions work on any collection, they generally produce lazy lists, which means you can use good old recursion to solve many of the same problems you'd tackle with for/break or while/break in other languages. For example, (first (filter even? coll)) will give you the first even number in your collection (whether a list, vector, set, etc.) and it will do so in a space-efficient manner -- it doesn't need to generate an intermediate list of *all* the even numbers in your collection. Some garbage is generated along the way, but it can be garbage collected immediately and with relatively little overhead. Clojure also makes it easy to "pour" these lazy sequences into the collection of your choice via into. Racket's lack of a built-in lazy list makes it difficult to use map/filter/etc. for general processing of collections. If you use map/filter/etc., you potentially generate a lot of intermediate lists. You can use a stream library, but it was probably designed for other Scheme dialects with a naming scheme for the API that doesn't match Racket's built-in list functions or integrate well with Racket's other sequencing constructs. So often you end up writing the function you need from scratch (e.g., find-first-even-number) rather than composing existing building blocks. In some special cases, you can use one of the new for constructs, like in this case, for/first.
A polymorphic approach is applied through most of Clojure's design. assoc works on vectors, hash tables, sorted hash tables, and any other "associative" collection. And again, you can hook into this with custom collections. This is far easier to remember (and more concise to write) than the proliferation of vector-set, hash-set, etc. you'd find in Racket. It also makes the various collections more interchangeable in Clojure, making it easier to test different alternatives for performance implications with fewer, more localized changes to one's code.
- Clojure provides a full complement of (immutable!) data structures you need for everyday programming and a bit of syntactic support for making those manipulations more concise and pleasant.
- All of the collections are manipulated by a small number of polymorphic functions that are easy to remember and use.
- Traversals over all collections are uniformly accomplished by a sequence abstraction that works like a lazy list, which means that Clojure's higher order sequence functions also apply to all collections.
The IDEs available for Clojure all have significant drawbacks. You can get work done in them, but any of the IDEs will probably be a disappointment relative to what you're used to from other languages (including Racket).
Debugging is difficult -- every error generates a ridiculously long stack trace that lists 500 Java functions along with (maybe, if you're lucky) the actual Clojure function where things went awry. Many of Clojure's core functions are written with a philosophy that they make no guarantees what they do with bad input. They might error, or they might just return some spurious answer that causes something to blow up far far away from the true origin of the problem.
Clojure inherits numerous limitations and idiosyncracies from Java. No tail-call optimization, no continuations. Methods are not true closures, and can't be passed directly to higher-order functions. Proliferation of nil and null pointer exceptions. Slow numeric performance. Compromises with the way hashing and equality works for certain things to achieve Java compatibility. Slow startup time.
Some people love Clojure specifically because it sits on top of Java and gives them access to their favorite Java libraries. Frankly, I have yet to find a Java library I'd actually want to use. Something about Java seems to turn every library into an insanely complex explosion of classes, and Java programmers mistakenly seem to think that JavaDoc-produced lists of every single class and method constitutes "good documentation". So for me, the Java interop is more of a nuisance than a help.
Clojure has a number of cool new ideas, but many of them are unproven, and only time will tell whether they are truly valuable. Some people get excited about these features, but I feel fairly neutral about them until they are more road-tested. For example:
- Clojure's STM implementation - seems promising, but some reports suggest that under certain contention scenarios, longer transactions never complete because they keep getting preempted by shorter transactions.
- agents - if the agent can't keep up with the requests demanded of it, the agent's "mailbox" will eventually exhaust all resources. Perhaps this approach is too brittle for real-world development?
- vars - provides thread isolation, but interacts poorly with the whole lazy sequence paradigm that Clojure is built around.
- multimethods - Clojure provides a multimethod system that is far simpler than, say CLOS, but it requires you to explicitly choose preferences when there are inheritance conflicts, and early reports suggest that this limits extensibility.
- protocols - This is an interesting variation on "interfaces", but it's not clear how easy it will be to compose implementations out of partial, default implementations.
- transients - Nice idea for speeding up single-threaded use of persistent data structures. Transients don't respond to all the same interfaces as their persistent counterparts, though, limiting their usefulness. Transients are already being rethought and are likely to be reworked into something new.
So it's hard for me to get excited about these aspects of Clojure when it remains to be seen how well these features will hold up under real-world use.
I'm sure that for many programmers, Clojure's drawbacks or unproven ideas would be a deal breaker. We all care about different things. But for me, Clojure's clean coherent design of the API for working with the built-in data structures is so good, that overall, I prefer working in Clojure to working in Racket.

subset: commoncrawl


text:
These are all the Logan History Blog posted on Friday, 16 August, 2013.
Pioneers in Your Attic
The Logan Public Library in conjunction with USU Digital Initiatives and other public libraries are hosting a series of promotional events. Pioneers in Your Attic is a project with the goal of finding and digitizing historical materials in the community. These digital copies would then be placed online for current and future researchers to use.
The scope of the project includes the years 1846 to 1869 in the American West. Additional time periods may be a focus at a future date.
Come join us next Thursday night, August 22, at 7:00 PM in the Virginia Hanson Special Collections Room.
~ Jason, Special Collections Librarian
Posted By Logan Library - Logan History at 11:40 AM in Category:Event
The Latest Tidbits!
Jul 17, 2018
» Logan Chapter - Service Star Legion Mar 15, 2018
» New Artwork Donation Sep 14, 2017
» Founding of Brigham Young College


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text:
The Dodgers put Scott Van Slyke on the 15-day disabled list Tuesday because of lower-back irritation. Van Slyke joined Andre Ethier and Carl Crawford on the team's list of injured outfielders. "He's not going to be available for five to six to seven days," Manager Dave Roberts said. "So it just made sense for us." The injury to Van Slyke, combined with Monday's option of infielder Micah Johnson to triple-A Oklahoma City, opened space on the roster for the return of catcher Yasmani Grandal and infielder Howie Kendrick.
Apr-13-2016, 03:15:21 GMT


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Marine Radio?
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Joined: 17 Apr 1995
Posts: 1381
Location: Maui
Posted: Tue Apr 23, 2013 5:15 pm
Post subject:
SPQR wrote:
I just purchased the Icom M 73 last week which replaces the M72. I didn't purchase the insurance from West Marine. Should I have?
For around 30 bucks you get a free replacement if it dies within 3 years. In my case that was a no brainer, I've never had one last more than a season. When you get the new one you have to re-up your extended warranty, so you essentially pay once, then 30 bucks for a free replacement. And they just pick one off the shelf for you, no need to fill anything out or wait for a replacement.
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Joined: 28 May 1998
Posts: 39
Posted: Wed Apr 24, 2013 3:39 am
Post subject:
Since no one has given props to the West Marine entry level handheld VHF radio I will do so here. The current model looks to be the VHF85 for $119.
I got my version a few years ago... on sale for $99 as I recall. Chief attractive features are small and light weight. The antenna screws off and I put the antenna and body inside two ziplocs folded over (to give you and idea of size) and put it in my small Da Kine pouch. No reason to bother w/ the ziplocs (the unit is water proof) other than to keep the antenna close.
I've charged it three times in 3 years... once at the beginning of each season. Holds its charge all season(!). Of course I only turn it on for a moment before and after each session to verify it is working and fully charged. I do rinse it after each use.
This unit does not float or have GPS. Nice wrist strap though. 5 W transmit power.
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Joined: 18 May 2004
Posts: 262
Posted: Wed Apr 24, 2013 5:41 pm
Post subject:
Steve - I went back to West Marine and bought the insurance. Hoping I never need it but you never know. That said, if I had a nickel for each time I've sailed under the GGB without a radio, I could probably purchase a new board.
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Joined: 19 Mar 1997
Posts: 555
Posted: Sun Apr 28, 2013 4:44 pm
Post subject:
Again guys, check out the Casio Commando. I've loved mine for two years! Bull
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Joined: 29 Mar 1994
Posts: 160
Posted: Sat May 04, 2013 12:57 am
Post subject: VHF tips
The Coast Guard's Rescue 21 system has direction finding antennae installed on all Bay Area towers, so VHF radio does give a general location even if you don't really know where you are (think fog or after dark). The DF is +/- about 2 degrees, so the farther you are from the tower, the lower the accuracy. If your call hits two towers, it will often result in an intersection (fix). Antenna heights range from around 300' to 3000', so reception is generally very good and power is usually not an issue. The most likely dead spots would be near shore in the Pacific where you are close to bluffs/cliffs which probably includes some good wave sailing spots. If you ever get in trouble in a spot like this, call for any station and ask someone in a better spot overhearing you to relay your information. Odds are a ship, fishing boat, or open ocean sailor is farther offshore and can act as a go between.
The aquapac or other dry pouch also screens wind noise which can be critical if it is howling. I've called for help using this set up after another sailor could not communicate with the Coast Guard with his radio that had a wet mic and was exposed to the wind. The watch stander confirmed that all of the initial calls were unintelligible. This was probably in winds averaging 25.
I still don't carry my floating GPS handheld because it is so big and has a very short battery life (maybe 5 hours vs. 12 for the M72?). Just remember to put a tether of some kind on your radio if it does not float. It would be really unfortunate to drop it just when it is supposed to save your skin.
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Joined: 28 May 2001
Posts: 11
Posted: Sun May 05, 2013 12:38 pm
Post subject:
Any recommendations on a strobe that fits in your man purse?
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Joined: 29 Mar 1994
Posts: 160
Posted: Mon May 06, 2013 5:29 pm
Post subject:
The Firefly strobe has a slide switch which I consider to be critical. Any flashlight or strobe that twists to activate can either leak if too loose or accidentally activate and burn through the batteries if too tight. I've had the Firefly strobe last more than 5 years but did have one failure with a cracked case... probably from catapulting. Being a frequent victim of Murphy's Law, I'm into redundancy. I also carry a twist to activate waterproof flashlight as a back up and put a little piece of cardboard between the batteries and the contact so that I can be sure it will have juice when needed. This does require taking off the end of the flashlight to pull out the cardboard. A strobe is ideal but any light source is a vast improvement over none.
I've talked to USCG crews that said they found people onshore because of a lighter or an illuminated watch dial, so a $15 flashlight which can be aimed would be very helpful as well. The SOLAS reflective tape also lights up when hit with a spot light, so if you have something like a Dakine pouch with SOLAS tape on it, you could hold it up toward a searcher and improve the chances of being spotted.
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Joined: 03 Aug 1998
Posts: 581
Posted: Mon May 06, 2013 7:50 pm
Post subject:
>I've never had one last more than a season
i can see one going bad and maybe a 2nd but you must be doing something wrong. mine has a few seasons on it and charges right up when i plug it in.
maybe you're not letting it run down enough between charges. you probably know if you leave most laptops plugged into a charger it will ruin the battery.
what's your frequency, kenneth?
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Joined: 24 Jul 2000
Posts: 7
Posted: Wed Jul 24, 2013 8:24 pm
Post subject: nautilus lifeline gps marine radio
Does anyone have any experience with the nautilus lifeline radio with gps? I am considering this and the Icom 73 radio.
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Joined: 05 May 1994
Posts: 76
Posted: Thu Aug 22, 2013 1:44 pm
Post subject: Re: nautilus lifeline gps marine radio
gasman1 wrote:
Does anyone have any experience with the nautilus lifeline radio with gps?
I don't have any experience with it, but it sounds like the same radio that is sold by DAN (Divers Alert Network) and is claimed to be submersible to 425ft. It might be more rugged for windsurfing use than regular marine waterproof VHF units.
This and other safety items are available from the DAN store:
Since divers and windsurfers can both be stranded on the water, some of the DAN safety products are well suited to windsurfing too.
If you do not know about DAN I recommend investigating it even if you do not dive. The $35 annual subscription includes help in evacuating from remote locations in case of injury and is not restricted to dive accidents.
I joined DAN when I used to dive and have maintained my membership despite not diving for years.
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Plumbing, Water Heaters & Drain Cleaning Rolling Hills, CA
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Parents of player file complaint against UW-Green Bay basketball coach
Brian Wardle used to play for Marquette University
The men's basketball coach at University of Wisconsin-Green Bay is being investigated.
The parents of 7-foot-tall walk-on Ryan Bross of Menomonee Falls filed a complaint against head coach Brian Wardle.
The university told the Green Bay Press Gazette the allegations centered around verbal mistreatment.
Bross is one of four players who have left the program since mid-February.
Wardle has been the head coach since 2010.
He was an assistant coach at Marquette University before that, where he also played.
Wardle released a statement Thursday night saying, "I will be supportive of this process, and I'm confident in the findings. I will have no further comment until it is concluded."
The allegations come one week after Rutgers fired head coach Mike Rice for verbally and physically assaulting players.
Wardle's first year at Marquette was in 1997 -- the final year Rice coached there.


text:
The collection of Erich Marx is closely bound up with the history of the Hamburger Bahnhof. Following the comprehensive remodelling of the former train station and later railway museum by architect Josef Paul Kleihues and the construction of a large barrel-vaulted gallery to the east, the Hamburger Bahnhof – Museum für Gegenwart opened in 1996 with the Marx Collection. The core of the collection revolves around works by world-famous artists of the second half of the 20th century, such as Joseph Beuys, Anselm Kiefer, Roy Lichtenstein, Robert Rauschenberg, Cy Twombly and Andy Warhol, from whom Erich Marx acquired high quality groups of works. From the 1980s onwards he added new pieces by contemporary artists.
The permanent exhibition of Joseph Beuys' major works in the museum's west wing currently extends into the Kleihueshalle. Marx's most recent acquisition, the environment Das Kapital Raum 1970–1977, created by Beuys in 1980 for the Venice Biennale, is now on display permanently. Film documents showing important performances by the artist from 1968 to 1971 put the creative process into context. They show the radical outcome of his commitment to understand artistic production as 'social practice' that aims to overcome the alienation between mankind and environment.
The most important thing to me is that people, by virtue of their products, have experience of how they can contribute to the whole and not only produce articles but become a sculptor or architect of the whole social organism. The future social order will take its shape from compatibility with the theoretical principles of art.
(Joseph Beuys 1973)
As its title clearly indicates, the environment refers to Beuys' interest in creating his own new concept of capital, which he developed in relation to Karl Marx. In the course of public discussions he held during documenta 5 and 6, Beuys developed in detail how he was no longer using the term to refer to economic ownership but rather to intellectual and creative property. Beuys therefore equates art, as an exemplary expression of creative power (art = creativity), with capital (art = capital). The 36 blackboards on the rear wall of the space bear witness to this discursive process, which took place in Kassel over the 100 days of documenta 6 in 1977. Some individual boards leaning against the wall date back to documenta 5. The instruments, everyday objects, dried gelatine, and boards distributed across the floor refer to two performances Beuys did in 1970: 'Celtic (Kinloch Rannoch) Scottish Symphony' in Edinburgh and 'Celtic + ~~~~' in Basel.
Beuys works on two levels, combining his rational work in the conceptual definition of terms with the more spiritual level evoked by the mysterious, undeciphered relics from his actions related to Celtic Christianity. In the opening sequence of the Basel performance, Beuys highlighted the Christian reference by washing the feet of seven visitors. In both actions, the piano is not played but creates anticipation for the possibility of music, a sound of the future. In the installation, Beuys also conveys this 'empty' state through the film equipment and tape recorders he put on display without rolls of film or tapes. Beuys called it a monument in which the movements are, so to speak, frozen and waiting for the viewer to revive them. The films that were shown during the 1970 performance are part of the current display of the Marx Collection.
The large, multifaceted environment was created by Beuys for the 1980 special exhibition 'L'arte degli anni Settanta' during the 39th Venice Biennale. In 1983, the installation featured in an exhibition in Zurich: 'The Inclination for the Gesamtkunstwerk: European Utopias since 1800'. From 1984, the installation could be seen in its fourth version at what was thought to be the final place of exhibition in the Hallen für Neue Kunst in Schaffhausen (Switzerland). In 2014, the institution closed and 'Das Kapital Raum 1970-1977' was put up for sale. Art collector Erich Marx acquired the environment and gave it to the Nationalgalerie, Staatliche Museen zu Berlin on permanent loan.


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ACParadise Network: American Cosplay Paradise American Cosplay Experience American Cosplay Snapshots
Cosplayer Chiara Scuro > Costume of Utena Tenjou (Revolutionary Girl Utena)
- Most Recent Photo
- 07-05-2012
- Series
- Revolutionary Girl Utena
- Character
- Utena Tenjou
- Special Variation:
- Ballgown
- Year Completed:
- Construction Difficulty:
- Difficult
- Costume worn at:
- Animazement 2011
- Anime Mid-Atlantic 2011
About this Costume
- Construction Details:
SO. MUCH. CASA. SATIN. I lost track of how many yards of pink gathers are in this thing. I seriously felt like I was gathering fabric for 5 years. NEVER AGAIN WHY DO I DO THIS TO MYSELF?
- Personal Thoughts:
- Oh god this costume. I think I referred to it as a "giant-pink-ruffle-monster-nightmare-80's-prom-gown". Seriously, this thing is terrible. Why would someone wear this thing let alone waste time sewing it?! ...oh wait
Add a Comment


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4344.6 - Food Safety, Tasmania, October 1996
Latest ISSUE Released at 11:30 AM (CANBERRA TIME) 01/10/1997
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Contains summary tables and commentary about various food safety issues in Tas. Topics included are: food testing, food purchasing, food handling in the home, food illness and domestic water supplies.
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My philosophy is: Fail early, so you can eventually succeed.
VOTES: A Brief Project History
Low voter turnout is a persistent problem in what is supposed to be the greatest example of a democracy in the world, the United States.
Twenty-eight years ago, two teachers at Northfield Mount Hermon designed a project called VOTES (Voting Opportunities for Teens in Every State) to make politics more fun and interesting for their students while teaching them the importance of the voting process. They invited two schools from each state to participate in a nationwide high school mock election in which the winner would be declared just days before the general election. While mock elections are often held at high schools before a general election, the idea of 100 public and private schools — two from each state — participating in a one-day national election was an innovative and ambitious venture.
VOTES is not just a one-day event, however. At NMH, the project kicks off in September and includes a political film series, student debates and campaign rallies, an essay-writing contest, an issues poll, and speeches by political experts and guest politicians. The project culminates two days before the actual national election, when the school's gymnasium is turned into a mock television studio and NMH students simulate election-night coverage as they announce the election results from the 100+ participating schools. Student anchorpeople, political analysts, interviewers, and campaign managers all play a part in bringing to life the electoral process in a fun, educational, and hands-on way.
And the results speak for themselves: In every VOTES election since its creation in 1988, voter turnout among the schools that sent their votes to NMH averaged between 75 and 80 percent—almost twice the national turnout average—totaling some 50,000-plus votes. Student voters successfully predicted the winner in each of the first four mock elections (as well as in 2008 and 2012), but were inaccurate only in predicting the winner of the 2004 presidential election.
VOTES Project co-creator Jim Shea has been a history teacher at NMH since 1986. Among other courses, perhaps the most popular he teaches are Government and Civil Liberties, and Foreign Policy. Jim has led students on study-abroad trips to Egypt and Turkey to learn more about the history and politics of other cultures.
"The VOTES Project has proven to be a remarkably effective and fun way of teaching our high school students about the electoral process in the United States. The hands-on mock election experience allows teens to be active participants in learning about the political process rather than merely passive observers. What better way is there to teach them to be thoughtful, engaged, and informed citizens in the future?" Shea said.
The project's other creator, Lorrie Byrom, taught at NMH for 41 years before her 2014 retirement. She taught a range of history courses and coordinated the student-taught Model United Nations (MUN) program. Lorrie's MUN students traveled around the world to practice their political skills at international MUN simulations.
"VOTES effectively creates a collective sense of civic knowledge and involvement in a large number of students, most of whom will be eligible voters in the 2020 election," Byrom said. "The issues poll included on the VOTES ballot asks more than 50,000 students to think beyond the candidates themselves to the deeper issues facing our country. This differentiates the VOTES project from other student elections. Student participants develop a sophisticated knowledge about the American political climate, a knowledge that is clear when you hear them speak about the election issues. NMH continues to coordinate the project because of the remarkable growth it produces in students at our school and at the other schools that participate."


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Nice Review
Sounds like a nice machine, but I won't be buying until the price drops...
No one could have missed the recent mass of media attention surrounding the impending UK, European and Australian launch of Sony's PlayStation 3. And after months of prolonged waiting, it has arrived. We conduct an in-depth review of this eagerly-awaited games console and discover what all the fuss was about. Sony PlayStation …
What did you think about the games?
This review is like Jeremy Clarkson telling us all about the cars he takes for a spin and not telling us about the ride itself.
"We conduct an in-depth review of this eagerly-awaited games console and discover what all the fuss was about."
The fuss is about a high power, high price console delivering games that are: ____________________________
(Please fill the space with comments about gameplay)
I appreciate that this section is dedicated to Hardware, but it would be nice to know what the hardware actually does.
Hi, Lawrence
Gameplay's dependent on the game, not the console. It's the hardware we're looking at far more than the software.
You'd never say the PC was a bad gaming system because you don't like Doom's basic 'find key, kill monsters, open door' gameplay, would you?
Or maybe Register Hardware *should* be reviewing games?
What do other readers think?
Editor, Register Hardware
I think Sony have dropped a complete clanger with the pricing of the PS3. I've tried it (and it's excellent) but to me it just doesn't *feel* like it's worth £430 more to upgrade from my PS2. It could be the revelation that Sony are selling them for £260 in Japan that did it.
Anyway I was in Asda today and they have still stacks of PS3's in stock. It didn't look to me like too many people were leaping at the opportunity to buy one either.
You're move, Sony. About £200 off the RRP should do it.
Unless you really want a blue ray player the console is overpriced! For that price you can buy a decent desktop PC equiped with a discrete GPU and DVI out to connect to your HDTV. Then you have a machine that can be used for a lot of other things and for which the games are less expensive!
Also it doesn't seems to sell well. The french launch event flopped with 50 consoles sold out of a stock of 1000.
It's availlable at the local store but i won't be buying it for now, not at that price!
Not only is the Playstation 3 about £260 retail in Japan but the stores can't get rid of them. When I was there in February they had signs in front of the stores advertising them at a 20% discount!!!! It galls me the price we are forced to pay for them in the UK.
I considered getting one from Hong Kong (£250)... they are a Pal region so we should be able to play our old PS2 Games, right? WRONG!!! Sony have given them NTSC Playstations, so the poor consumers there cannot use the PS3 to play older games or even to watch their DVDs.
I would mention the new Blueray regions, but I think I need to go find a quiet corner and calm down a bit...
I went shopping this midday and here in belgium I noticed that there was still a pile of PS3 at the electronic shop.
The local toy shop is now giving away one free playstation game of your choice (value 59.95€) if you buy the 599€ playstation. That's pretty much a 10% price drop 3 days after the launch!
A quick check today shows that I can still walk into most of the major retailers and pick up a PS3 off the shelf. A slight difference to the launch of the XBox/PS2/Xbox 360/PSP and still the Nintendo Wii.
Either Sony have managed a massive reversal in fortune regarding production of the elusive laser for the Blu-Ray, or the things really aren't selling that well.
Given the price of the unit they currently only really target the Sony fanboys, and the must have early adopters. The recent announcement of reducing the functionality and compatibility of the UK version seems to have alienated the former (myself included), and the latter have yet to fill the void.
Hopefully this apparent slow start will be a kick up the proverbial for Sony, who have treat EMEA as a second class priority, but want to charge first class prices.
Under the circumstances it seems difficult to justify the 95% rating given by El Reg. Personally I'll wait for the inevitable damage recovery cost cuts to kick in before buying one, or alternatively will turn to the import market.
I disagree. I think that for once even the "early adopters" so ruthlessly targeted by Sony's pricing strategy in the UK have decided that the mickey has been taken once too often.
I mean... at £430 I'm not considering whether to buy a PS3 vs an x-box. At that price I'm wondering whether to buy one of those NVidia 8800GTX "monster" graphics cards for my PC instead, and look forward to pretty much the same games at half the price as well.
The Blueray drive should have been offered as an upgrade. Personally I have no need for a HiDef DVD player at all. As a result the whole box is massively over-specified and burdened with manufacturing costs it can't sustain for a few years yet.
Personally I just wanted a next-Gen games machine. I didn't need all the DVD/Media centre crap that comes with it. I can't believe that wasn't apparent to Sony from thier market research.
...95% for the playstation 3 is a bit ridiculous. To claim you're just rating the hardware is slightly moronic, otherwise, I'd give my kettle 93% and my toaster 95%. Both do the job, the PS3 hasn't.
I've played a PS3. The loading times seemed to be almost obsessive.
The main games seem to be:- Resistance (dull, and the visuals don't even have the right to shine Gears Of War's shoes), Motorstorm (a fun racer that seems to be well recieved) Oblivion (Hello year old 360 and PC title that everyone already knows) and VF 5 (coming to 360).
The rest seem to be just mediocre versions of games that are multi-platform anyway. Virtua Tennis 3 is a prime example. Why is there no online play, when the 360 version has it? Senseless.
OK, you can make the argument for the blu ray, which I have seen its performance in, and I must say, I was impressed. However, why do you need to spend £425 to buy into a format that hasn't proved itself in any way. There are only a few titles, and I'm damned if I'm buying all my DVD favourites all over again.
Another thing, why can't we buy the 20gb version? Are sony taking the p1ss? Are they actually? Because, it seems that they want to screw europe left right and centre. £425 translates to $836 US. They pay $599 for it over there. This would mean that sony loses $241 on each one they sell in the states, as each one costs an estimated $840 to produce (source: wiki). Meaning they only lose $4 on each one they sell here? How can we just bend over and take it up the *** from them?
You can say what you want about MS's childish launch-ruining tactics(I think they were just that-however, sony's stooped lower in the past), but they have a point to say "you're late", they are late! and they're too expensive, with a console that doesn't play any of the decent PS2 games, has games that aren't better than 360s, on an unproven format, with few exclusives...
This might be 95% in a few years, but now, I doubt it.
Thanks for the reply, Tony.
Perhaps 'gameplay' is not the right word.
What I am interested is how the hardware you describe delivers the gaming experience in terms of graphics, smoother action, 4D surround sound with vibra-control head massages, etc...
I'd love to read game reviews too, and get the opinion of techy types that may be as crap at games as I am ;)
Having like most of you here I quite eagerly anticitpated the arrival of the the ps3. when the day came that I could finally see these amazing graphics we were promised, I must admit I was very dissapointed. The game in question was motorstorm, two days later i saw the same game on a 40 inch tv, and to be honest it looked like a different console, I was amazed by the graphics, much smoother and detailed. Can someone please explain this massive difference, I cant imagine it being down to the amount of lines or interlace, progressive modes. Funnily enough the poorer display was on a 32 inch Sony.
So as you can imagine I will be renting a ps3 before I buy one.
I'm guessing the second time you weren't playing it in High Definition.
As Sony chose to omit an HDMI lead from the PS3 box (another £40) I'm guessing a lot of peeps who bought the PS3 box are already pissed that they can't hook up with HDTV without coughing up all over again.
Frankly, Sony couldn't have cocked this release up any more if they'd gotton Ken Livingstone involved in it.
best gfx processors in a console? hmm.. not done your research have you. the gpu in the 360 is DX10 hardware compliant whereas the PS3s NV offering is only a DX9 compliant one.
The reason for this was Sony originally wanted their Cell CPU to do all the gfx work however it was hard enough for them to get it to run at all so they fell back on NV to produce the GPU instead.
The GPU in the PS3 has difficulty doing FSAA and AAA at 1080p due to the limitations of the pipelines in the hardware.
Hopefully they will find a way to address this with the Cell or it could leave Sony and their HD *cough* Revolution in the dark...
I have to say I wasn't impressed with the review it merely scanned over the media hype and gloss already out there from Sony. I would have expected El Reg to be more cynical and get into the crux of the whole situation.
For example, there was no mention of the racing game which was reported last year to be released with 0 tracks and 0 cars. This meant that if you bought the game on the High Street you couldn't even play it until you spent even more money downloading the tracks and cars.
You also let Sony off way to easy. This is the company that thinks since most people don't know what a root kit is, why worry about installing one on their computer. This is also one of the companies that was found guilty of pricefixing. This is also one of the companies that have sued over 20 000 consumers for file sharing. Lets not forget that they also have less than ethical factory environments with insanely long hours for their underpaid staff. Did I mention DRM yet? Sony are one of the main pushers of DRM in the world, not to mention the vast sums of money they spend lobbying congress and other governments to bend legislation in their favour at the cost of consumer rights. They were one of the main campaigners for new laws in the US which have harsher mandatory jail sentences for having the latest Britney O'Conner^WSpears in a shared folder on their computer, than for killing someone.
Easily one of the -the- most evil companies in the world and you give them a glowing 95%? I expected much more from you guys, I really did.
Alexander Hanff
I'm afraid, like others here, I just didn't get any idea of what it's like to actually play the PS3. I got plenty of information about what it looks like sitting on the floor and the wires that don't come with it but practically nothing about how all the extra horsepower is put to use in games. We got one sentence about its graphical prowess - right at the end of the review: "You can see virtually every blade of grass, bead of sweat and piece of shrapnel flying about in the heat of battle." But we got an entire paragraph about the experience of pairing the Bluetooth controllers!
In a 5-page review of a groundbreaking games console I would expect to know at least a little about how the new hardware will change console gaming. Things like loading times and frequencies; graphics: not just good/bad but a deeper analysis of things such as anti-aliasing and draw distance; will AI be better now that it has a proper CPU? (a significant failing of the last generation of consoles) etc etc
Overall I thought the review was very superficial; about half was information you can get without even turning it on. Maybe an update in a few months about the actual experience of owning and playing a PS3?
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Greenwich Chamber's showcase night coming up
Seventy local businesses will show off their latest wares and projects next Wednesday at the Greenwich Chamber of Commerce's annual Business and Culinary Showcase.
"It's the largest business networking event of the year," said Marcia O'Kane, the chamber's executive director.
Channel 7 meteorologist Bill Evans will emcee the expo, which includes access to networking opportunities and demos, hourly raffles for items including a one-night stay at the Delamar Hotel and food and drink from more than a dozen vendors, including Morton's Steakhouse, Le Pain Quotidien and Wine Wise.
The event -- tailored for people who want to network, job-seekers and those interested in seeing what the local business community has to offer -- will take place from 5:30 to 8:30 p.m. May 14 at Eastern Greenwich Civic Center at 90 Harding Road in Old Greenwich. Entry is $20 at the door and includes food, drinks and valet parking.
"Our mantra is to support local businesses," O'Kane said, "and that's exactly what this does. It's a great chance to see what new and existing businesses are in Greenwich and what they have to offer."
This year's expo marks the first time all 70 showcase tables have sold out a full two weeks prior to the event, O'Kane said. She said she expects attendance will be higher than ever this year. Last year the event drew about 400 participants.
"Everyone who wants to network should plan to be there," O'Kane said. "You're going to see a lot of people you know and meet a lot of people you don't know."


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Here's a little something to make it feel like summer, despite the cold weather.
Pavement and St. Vincent have been announced as two of the artists slated to perform at the 2010 Pitchfork Music Festival, the Chicago Tribune's Greg Kot reports.
Tickets for the fifth annual festival, scheduled for July 16-18 in Union Park, go on sale Friday at www.pitchforkmusicfestival.com.
A reunited Pavement will likely be one of the three-day festival's headliners, Kot reported.
Tickets are $40 per day or $90 for the entire weekend.
Up to 50,000 people attend the festival each year, which celebrates independent, underground artists.


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LONDON (Reuters) - The Bank of England said on Wednesday British interest rates could start to rise from record lows in little more than a year as a rapid recovery brings the economy closer to operating at full steam.
Governor Mark Carney - forced to ditch a previous version of rates guidance after it was overtaken by a sharp fall in unemployment - also announced the Bank would now follow a much broader range of measures of slack in the economy in making rates decisions.
The Bank slashed interest rates to 0.5 percent at the height of the financial crisis in 2009. The economy bounced back strongly last year but remains smaller than before the crisis and Carney stressed any increase in rates would be gradual.
"The message to businesses, to households is that the Bank rate is going to follow a path that is consistent with jobs, with incomes and with spending growing in a sustainable way," he
said. "We are going to calibrate it carefully. We are not going to take risks with this recovery."
The central bank said a view in financial markets that rates could rise in the second quarter of next year - around the time of a national election - was consistent with its goal to keep inflation close to its 2 percent target.
It also pointed to market expectations that its interest rate would stand at 2 percent in three years' time, a timeframe supported by a Reuters poll of economists taken after the Bank announcement.
Sterling hit a two-week high against the dollar and British government bond prices fell after the Bank's announcement as investors added to bets on a rate hike next year.
The Bank said it will focus on 18 separate measures of the spare capacity in Britain's economy, including business surveys and the number of hours worked, something economists said would make it hard to guess the BoE's next moves.
The array of indicators contrasted with the guidance adopted by the Bank last August when it said it would consider whether to raise borrowing costs only once unemployment fell to 7 percent.
The jobless rate has since tumbled to 7.1 percent. The Bank forecast on Wednesday it will reach 6.5 percent in early 2015.
"When Bank Rate does begin to rise, the appropriate path so as to eliminate slack over the next two to three years and keep inflation close to the target is expected to be gradual," the Bank said.
The Bank for the first time estimated how much slack is in the economy - around 1.0-1.5 percent of gross domestic product, lower than some other economists' estimates.
Deputy Governor Charlie Bean said rates would need to rise before the spare capacity was completely used up, or the central bank would risk being behind the curve.
The BoE's dilemma is shared with other central banks in advanced economies that are healing from the crisis. The U.S. Federal Reserve is struggling with how to scale back exceptionally stimulative monetary policy without slowing the recovery too much.
The BoE's latest approach to explaining the policy path ahead represents a partial return to the situation before the adoption of forward guidance last year. Then, economists scrutinised small changes in the Bank's inflation forecasts for signals about whether policy was too loose or too tight.
How the new estimates of slack will influence Bank inflation forecasts and its policy decisions could prove hard to predict.
Peter Dixon, an economist at Commerzbank, said spare capacity was a "nebulous concept" and markets would be hanging on the BoE's judgments. "We have more clarity about one thing, however - the Bank is determined to keep rates on hold for a long time to come," Dixon said.
A further complication is that a rate rise now looks most likely around the date of Britain's next national election in May 2015, at which public perceptions of living standards look set to be a key issue.
In the face of some critical questions from reporters about the credibility of the BoE's new plan, Carney stuck by the BoE's decision to launch forward guidance last year.
"Forward guidance is working," he said. "Expected interest rates have remained low even as the economy has recovered strongly, uncertainty about interest rates has fallen, and most importantly, UK businesses have understood the message."
The Bank revised up its growth forecast for 2014 to 3.4 percent from 2.8 percent, a much more bullish forecast than that of most economists.
Inflation has fallen unexpectedly rapidly to its 2 percent target and the Bank said it expected it to dip further to 1.7 percent by March, before hovering close to 2 percent for the next couple of years.
The Bank said it was now more pessimistic on the outlook for British productivity than three months ago, as it had failed to keep up with rises in output. Business investment was likely to pick up but increasing exports would remain a challenge.
Additional reporting by Kate Holton, Andy Bruce, Li-mei Hoang and Paul Sandle; Editing by William Schomberg and Jeremy Gaunt


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Hotels in Warsaw
Find a place to stay
Top neighborhoods in Warsaw
Top landmarks in Warsaw
Find out more about Warsaw
Warsaw is a city that has seen its share of triumph and tragedy. Indeed, it has been called the "Phoenix city" for the many wars it has gone through. With a population of around 1.7 million, the first known historical reference to Warsaw was in the early 1300s, back with Krakow was the capital. At the dawn of the 19th century, Warsaw was was a prominent city in the Prussian Empire, part of Poland's ever-shifting borders. A city of great history, Warsaw has a thriving tourism industry. Travelers to Warsaw will be pleased to learn that Hotels.com has all of the Warsaw Hotels options that they will ever need. Use Hotels.com's search box to pull up a multitude of options for accommodations, and if it makes you feel overwhelmed, don't fret - Hotels.com provides an excellent guest rating system for each prospective hotel. Hotels.com provides potential guests with a generous amount of interior photographs for each hotel and they has an advanced search system where users can narrow down their search of hotels by star rating or by price.
What's Warsaw Like?
Warsaw has a lot of attractions for the tourist to consider. A lot of individuals enjoy touring the Old Town area. They enjoy following the trails of the famous people that lived there and reliving the Warsaw Uprising that occurred during World War II in 1944. Along these same lines, a lot of first-time visitors enjoy visiting the Warsaw Uprising Monument and the Warsaw Uprising Museum dedicated to the rebellion and the horrors that Poland had to go through at the hands of the Third Reich. Individuals who visit Old Town Warsaw will also need to see the Syrenka Mermaid statue. The piece is not just a symbol of great craftsmanship, but a symbol of the city itself. One of the things that a Warsaw visitor will notice is that Mermaid statues are everywhere in Warsaw. The motto on Warsaw's coat-of-arms, appropriately enough, is "It defies the storms". Travelers can also tour the Royal Laziensky Park, which features monuments to Polish Composer Fredric Chopin and famous Polish King Jan Sobieski, who ruled from 1674 to 1696. Warsaw has at different times been the capital of Poland, and has also been a puppet state of the French government during the time of Napoleon. Interestingly enough, it was also the capital from 1807-1813 of the Grand Duchy of Warsaw, a gesture of Napoleon to restore the Polish state.
Tips for Getting Along with Locals in Warsaw
After getting a room in one of Hotels.com's many Warsaw Hotels, you will want to explore. There are some important things to know about Polish culture and the nature of the great city of Warsaw. Ask hotel staff to order a taxi for you, just make sure to get the name and number of the taxi, as getting a taxi in Warsaw can be a bit tricky, as not all taxis are honest. Finally, be sure to budget a little extra in order to buy bottled water while you are in Warsaw because they have poor tap water. Pole Mokotowskie Park is an area popular with the locals where a lot of people enjoy roller skating. Wodny Park at Warszawianka sporting complex at 4 Merliniego Street offers visitors an excellent indoor Olympic-size swimming pool where they can enjoy a nice, leisurely swim and spend the day in the water. Enjoy your stay in Warsaw!


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Women's Volleyball - Event Details
This event has concluded and is no longer current.
This event has concluded and is no longer current.
Women's Volleyball
Location: San Rafael, CA
@Dominican University
For more information, contact: firstname.lastname@example.com (808) 932-7177
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Bipartisan Budget Passes House And SenateOctober 27, 2017
Following months of negotiations, the Connecticut House of Representatives joined the state Senate in overwhelmingly approving a bipartisan budget that will end our state's budget stalemate and the fear and uncertainty that having no budget has created for our municipalities, businesses and social service providers.
This $41.3 billion two-year plan will help close a projected $3.5 billion deficit over the next biennium by committing to significant structural reforms. Not only will this budget help Connecticut steady its financial footing, but it will help spur economic development, restore millions of dollars to municipalities, our schools and core state services.
This bipartisan, two-year state budget:
- Avoids the draconian education cuts proposed by the Republicans and the Governor's Executive Order;
- Reinstates funding to our state and local independent colleges;
- Invests in our tech schools and workforce development programs;
- Protects many of the social service and youth services programs our residents rely on, including Care4Kids and DDS funding;
- Implements spending and bonding caps to help reduce our long-term debt;
- Creates a process for distressed municipalities to apply for increased funding and assistance in restructuring debt with more state oversight and saves Hartford from having to declare bankruptcy;
- Does not increase sales or income taxes;
- Rejects Gov. Malloy's plan to burden local town and education budgets with state pension obligations;
- Requires future state labor contracts to be voted on by the Legislature;
- Provides for a sustainable revenue source to ensure the long-term solvency of the Special Transportation Fund
- Saves CEP to keep special interests out of state elections.
This was a tough budget that is far from perfect as it includes some significant and potentially painful cuts to many important state programs and services. However, because we are dealing with multi-billion dollar deficits, we had to make difficult decisions on funding cuts to virtually all programs.
But, on balance, in these difficult times and given the political makeup of the Legislature it is the right budget and a true bipartisan compromise. It also is a step forward in addressing Connecticut's fiscal challenges.
With the next legislative session only a few short months away, passing this budget allows us to put this prolonged debate behind us and move on to addressing other priorities to move Connecticut forward.


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An exclusive interview with James Whild Lea!
John Haxby interviews James Whild Lea
The cover drawing for Jim Lea's new album 'Therapy' was made in 1976 by a Spanish artist while Slade were over in the States (the name of the creator eludes Jim). It may seem to be a strange choice for the cover of an album that has been recorded some 31 years later and, I have to confess, I had only glanced at it. On closer inspection the eyes of Jim's youthful (almost angelic) face seem to be windows into a troubled and introspective mind – the image is both beautiful and menacing. In white Helvetica Bold the name 'James Whild Lea' strikes the same serious and confident tone that permeates his first solo album since the original Slade disbanded some 16 years ago.
The youngest member of Slade was born in 1949 and to this day looks far younger than his years. "My son and myself both had a problem with looking very young for our age… I used to get thrown out of pubs – when I was 16 they thought I was 13… I had to join a band and be professional so I could get into gigs!!" His artistic and musical talents were recognised at a very early age and he was soon playing violin in the Staffordshire Youth Orchestra. "I am a creative person and I walk around with this creativity going on and often I don't know what I'm doing! But I've always been like it… I was like it when I was at school. Funnily enough my ex-art teacher came to my house and he said to me "I've taught thousands of kids, some really great artists, but I've never had anybody like you… you had an understanding of space and form when you were 11 when I first saw you, and I thought 'What on earth have we got here!'… and you didn't do a thing with it!!'"Jim may have turned his back on being an artist but he successfully used his creative talents to drive one of Britain's greatest rock bands on a journey that lasted 25 years.
Jim joined Slade (then known as the 'N-Betweens') in 1966. I ask him directly, Was Slade the right band for your talents? His one-word answer is quick and assured "Absolutely." "When I joined, particularly Nod was taking the piss out of me, y'know, but it took me two weeks to sort that out! And I was telling them all what to play anyway, so… er… it was don't play that play this! I was immediately working out all the music and learning from the records." Initially the N'Between's played covers (arranged by Jim) but their debut album 'Beginnings' (1969) (recorded under the name Ambrose Slade) contains the first Holder/Lea composition Pity the Mother which was composed in Nod's kitchen (Jim's then girlfriend Louise – later to become Mrs Lea – was there and helped in the writing). "Our arses were first kicked by Jack Baverstock who signed us to Fontana for our first album. And then our arses were kicked by Chas who split us off, and I wrote with Don and Nod wrote with Dave… obviously Don and I were coming up with all the stuff… Don was dead keen, y'know. But when we had 'Get Down & Get With It', Chas said 'You've got to think of a follow-up'." Jim teamed up with Noddy again to write the bands first No.1 single Coz I Luv You (October 1971) and with that the Slade songwriting hit-machine was born. Jim happily acknowledges that the simple melody owes a large debt to Stephane Grappelli & Django Reinhardt. "I went over to Nod's with Lou's (Louise's) toy guitar – any ideas I've wanted to translate or work-out have been on this toy-guitar – and we just cooked it-up… I write in my head, I don't need gear… I remember talking to Andy Scott from The Sweet on Top Of The Pops, and he said "Well, I can't write at the moment because my tape-recorder's broken down." I said "I don't understand, why?" He said "Because I can't record it, DUMMY." I felt like hitting him y'know. I just thought everyone was just like me and didn't realise they needed to write things down!"
The fame that came with chart-success proved to be a poison-chalice for Jim. "Fame? Well, I hate fame. I don't like it, I think it's a mistake for people to seek it because they don't realise that it's a double-edged sword – then they get upset when the darker side of it comes along. Certainly I wanted to be famous when I was a kid, then we had our first hit and it took me about a fortnight to decide that this was bad. Dave picked-up a guitar because he wanted birds, y'know, and he succeeded big time! That's the normal drive with teenagers… if I'm in a band I'll get women… that's how it used to be, but with me it was the opposite – women got in the way – I wanted to be with people who'd got record players and loved music."
For the next five years, Slade were virtually unstoppable with Jim and Nod churning out hit after hit. In terms of chart success, Slade's popularity peaked in 1973 when they chalked-up three No.1's and the rather odd-ball No.2 hit My Friend Stan. Jim relates that this single was chosen by Chas and that he would have preferred When The Lights Are Out, which later appeared on the album Old New Borrowed & Blue – he also imparts that Chas was always worried that he would leave the band and want his own career, but he insists he would never have left.
By 1974 the songwriting duo were turning-in more wistful songs (How Does It Feel?, Far Far Away, So Far So Good, Heaven Knows) that became part of the soundtrack to their highly-respected film Flame. 1973 may well have seen their biggest sales but 1974 was certainly a year when the group reached its creative zenith. Jim agrees and wanted to go further in this new direction – employing greater use of keyboards, orchestration and brass. "How Does It Feel? was the first song I ever wrote – it was waiting for the right time to be used. Then the film came along – I wanted to make a serious film and though I was disappointed when it first came out – I like it now. About a month ago, 11 o'clock in the morning, we had Radio 2 on… it was 5-to-11 and the DJ Ken Bruce said "Can we do Slade? Have we got time?"He said "Yeah, we can. Go on, we've got time, come on let's do it. Here we go." 'How Does It Feel?' came on, and it was the album version and I stood there, (and I'm getting goosebumps now just thinking about it), and it's the first-time I've ever heard anything that I've ever done on the radio that's stunned me. And I just stood there in front of the radio and the volume went down and down with the fade-out… and at the end he said… "Slade at the towering moment of their success."and then he said "Excellent, excellent." I was knocked-out."
But Dave wasn't happy with this musical shift. "The more wistful thing wasn't paying off in sales and popularity – we sold like 150,000 albums in England of Flame whereas we would normally have done 250,000. Particularly Dave didn't like it – 'No piano, we don't want any keyboards – we want guitars and we want the row because that's what made us successful.'" After 1974 there came a period of searching that is evident as Slade's style changed across Nobody's Fools (76), Whatever Happened to Slade? (77) and Return to Base (79). "Chas' thing was to keep working and everything will be OK."
Slade's creative nadir came in December 1979 with the release of Okey Cokey – I pull Jim's leg about this one and he half-heartedly defends himself "The phone call was 'If you don't turn-up in the studio we'll make it without you.
Q:"You didn't want to do it then?
A:"God, you must be jokin'!!"
At the end 1979 through to 1981 Jim's brother Frank cajoled Jim into releasing three 'solo' singles under the moniker of The Dummies – and then further singles under various pseudonyms (The Clout in 1990, Gang of Angels and Jimbo in 1994 and finally Whild in 1999). "All that was my brother (Frank) kicking my butt to get into the studio to do something, that's how it was – it was all dressed up NOT to be me. Even The Dummies was that. All the things you've just mentioned have not been driven by ME at all, it was my brother kicking my backside. I don't count any of that stuff – they were just throwaway things."
Slade's performance at the 1980 Reading Festival became the springboard to further success in the 1980s. A new 'metal' audience began to wave the Slade banner and with it came higher and higher chart placings culminating in My Oh My reaching No.2 in 1983. Although Jim was happy to ride the wave and write to the 'metal' crowd he, like Nod, wasn't happy with the way production was taking over the creation of records – "The Americans in particular wanted production … it was the time of The Producer, and 'rough' was not the thing, y'know, punk had gone." Jim continues to be uncomfortable in the studio enviroment – "I hate recording studios! I can't plug anything in! Producers drive me mad – always messing around with it, like rabbits going down holes! I'm a one-take wonder y'know… but they've gotta have a day fucking around with it. (They're going to love me at the studio for saying that!). I was always frustrated in the recording studio – if I'm doing a vocal, often I'll have never sung it before – it's in my head. I'm not really a singer, I just walk up to the microphone with the headphones on – and you make friends with what you are doing and then you go 'OK, let's roll it' and it's really pleasurable – and I start singing – really it's the first take we use. I'm a first-take bloke." Even today he remains a self-confessed technophobe having no wish to carry a mobile phone, use e-mail or the access the internet – infact the best way to contact him is by sending his wife a SMS!
By the end of 1991 Slade finally fizzled out and, as Jim puts it, "I drifted into drifting."
Following the demise of Slade, Noddy chose to stay in the public eye evolving into a British institution annually wheeled-out as 'Mr Christmas'. Dave and Don formed Slade 2 in 1993 managing to produce only one derivative album in the past fourteen years and cashing-in with a Christmas Tour usually supported by tribute bands T-Rextasy and Mud. And Jim? Well, until his performance at the Robin, Bilston in 2002 it seemed as though Jim had quietly slipped-out of the music business by the backdoor and retired to the seclusion of his home in Brewood away from fame and the glaring limelight that he'd never felt happy or comfortable standing in. But those ensuing years acted as an important musical sabbatical that gave Jim both space and time for "… quite a bit of internal tinkering.". Tinkering that, by 1997, had brought Jim to study psychology at Regents College's School of Psychotherapy, Regent's Park, London. "I really enjoyed it but I didn't go there to 'learn', I went there to be 'in'– if you like, I just went for a 'swim' in it. People think I'm a psychotherapist but I'm not. I did the first year and then… um… the course leader, she said 'Have you decided whether you're going to take the Psycho-Dynamic or the Existential route?'And I said 'After this year I'm gonna form a rock'n'roll band!! She was a bit shocked about that!! I said I would go back but I've never got round to it. I sort of fell through this self-journey that I've been on – it sounds selfish but it's not. It's… er… I'm extremely happy. Sometimes absolutely blissfully happy!"Jim elaborates further on this new found passion for life – "It's not in the obvious beautiful things in life, sunsets and all that, it's just in… Bloody hell, it's amazing that everything exists… that I exist and that one day I'll have to go from this… and this is absolutely the most astonishing thing that one could ever contemplate. Maybe I've just woken from whatever crap I was in for the whole of my life."
Through 1998 Jim was beginning to write and record again, but as the new millennium was ushered in he put everything on hold to help his mother care for his ailing father who passed away in November 2002. In the same month, Jim took to the stage for the first time since 1991 with a quickly assembled band 'Jim Jam' (with Dave Catlin Birch on bass and Mike Tongue on drums) at the original Robin in Bilston for a one-off charity show. Referring to the fact that he was a shy man fronting a band composed of guys he didn't really know whilst playing lead guitar rather than his preferred bass, Jim comments "I wanted to jump off a cliff to find out if I was existentially sound (laughs)! Am I going to be alive when I get to the bottom?… And of course I was! I tell you what, I was wishing I hadn't done it before I went on but I'm glad I did it… and they keep asking me and asking me and asking me to do it again which I don't want to." The gig was recorded though never released as a CD album (yet) though tracks from the performance can be purchased as downloads from Jim's website. He claims it to be one of the loudest gigs ever performed at the Robin and having heard the desk recordings I can vouch for that – the whole show hits you like a Sherman tank!! "None of the audience could hear after that! We had amps plugged into amps! When we started up it scared the crap out of me! It was like World War III!"
And then there was Therapy…
"When I came to do this, I'd looked after my dad for two years, helping my mother out… I gave up the time to do it, then here I was sort of free of anything, and it was a bit like rolling a dice. I should have made a solo album years ago but I hadn't found myself, although I didn't know that that was the case at the time." I ask Jim if he feels that with Therapy he has finally discovered the true voice of Mr Lea? "Absolutely."
The first demos for Therapy were made around about the death of his father, which he believes contributed to the album's 'coming-of-age' feel. He acknowledges that many of his peers have produced albums in a similar vain – Bob Dylan, Ray Davies, Robert Plant, Elton John and Lou Reed, to name but a few. As Jim honed down the tracks for the album he realised that many, if not all, had a basis in psychology, thought and reflection. "I'd got so many tracks… hundreds of tracks… I said, 'Look I've got to start honing these down' and I looked at them and I said 'Hang on, these are all sort of psychologically based, y'know, there's something in there'… I hadn't realised I'd been doing this. Then the engineer said to me 'Why don't you call it 'Therapy'?'"
The final thirteen tracks chosen for Therapy cover a myriad of emotions wrapped-up within Jim's own distinctive sound and style that happily acknowledges the influences of his many musical heroes from The Beatles to Oasis and beyond… Content within his own voice he reflects on fame (Deadrock UK, Go Out In Style, Your Cine World), insecurity (The Smile of Elvis), wisdom (Heaven Can Wait, Why is Youth Always Wasted on the Young?, Notice, Time & Emotion), women (Could God Be a Woman), domesticity (Big Family) and relationships (Universe, Let Me Be Your Therapy). Powerful lyrics and strong melodies fuse with an intensity and a humour which successfully lighten an album that could have been unbearably heavy. He deftly switches between ballad and rock compositions as easily as an artist switches from pastel to paint. The only passing glance Jim gives to Slade is with the re-recording of the band's very last single Universe (originally written by Lea without Holder) which was only added to the album at the twelfth hour. And finally, as if to debunk the Jim Lea of old, and certainly to show that Therapy is a personal and confident statement, the album is attributed to James Whild Lea (his full name).
Jim was going to take Therapy to Polydor (the label Slade had been signed to in the early seventies) but before the arranged meeting could take place he realised that they would never understand the project. "They were going to want to know: what the hit was going to be, how do we market it, when are you going to tour." Uninterested in this rather archaic approach, he decided to release the album on his own terms – by mail order and download. To some degree the technophobe has at last embraced technology and, by doing so, discovered a new creative freedom – "Record shops are closing down big time. There is no music business anymore; it's falling to pieces. For me I'm doing something because I want to do it, it's my art gallery if you like. If somebody wants to have a look – fine, if they don't – it doesn't matter."
Sadly, Jim has no inclination to tour again as a solo artist or with a band. He doesn't see the point of performing the songs from the album live – "I can't see why anybody would want to watch me doing it, y'know." Jim sees Therapy as just that – therapy – and never envisaged the songs being taken on the road. He certainly has no need to tour as the twenty-five years he spent with Slade have left him financially secure giving him the enviable freedom to ride his new creative wave free of any monetary constraints. With a new found enthusiasm and a feeling that he is free of the many restrictions that the music industry once imposed, Jim has already begun to assemble his second solo album under the working title of 'String Theory'. "I write about just whatever comes into my head and I write really quickly… I think of the idea and I'm off, that's it, it's on the page and it's done."
Somehow I have the feeling that Therapy is more of a new beginning rather than a final postscript. The once shy boy in the red lame suit has finally emerged as the only original member of Slade still actively creating new music and pushing forward with a new voice. Welcome back Jim, you've been away for far, far too long.
© 2007 John Haxby
Rock 'n' Reel magazine but unfortunately it remains unpublished. John is also the man behind Kula Productions 'Bringing Live Music to North Yorkshire' among many other things. The shots of Mr. Lea were supplied by himself.


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In a previous post, we showed you some of the rich shape effects that are now possible in the new Visio. These effects are great not only for adding visual impact and vibrancy to shapes, but also for presenting shape data in new and interesting ways.
For developers, the new Visio fully supports the new shape effects in the ShapeSheet. In this blog post, we will show you an example of how to utilize some of these new effects in shape development. This is not meant to be a complete reference of all effects and their respective parameters; you can view a full list of the new ShapeSheet cells in the What's new for ShapeSheet developers in Visio 2013 article on MSDN.
What We're Building
For this example, we will add shape effects to spice up a clothing rack shape that's already been built:
This shape is used in a diagram that tracks clothing inventory on the floor of a busy store. It uses shape data to dynamically illustrate the number of products remaining on the rack, and changes its fill color to yellow and then red as the stock gets progressively depleted.
In the following sections, we will spruce up this shape by adding a variety of shape effects, which will not only give this shape new visuals but will also visually represent its shape data.
The new Visio's gradients are formed by smoothing and blending the colors found in their individual gradient stops. Unlike past versions of Visio which only supported a fixed set of gradient presets where the positions of the gradient stops were locked down, the new Visio offers freeform gradients where up to 10 different gradient stops can be uniquely defined.
To add some more visual interest to the shape, we're giving the center circle of this shape a radial gradient fill in place of its previous solid fill:
In the ShapeSheet, the Fill Gradient Stops section delineates the three gradient stops composing this fill:
Each gradient stop specifies a color, a transparency, and a position using cells of the same name. The gradient flows from one gradient stop to the next in sequence from lower to higher Position percentage values. Furthermore, the Gradient Properties section delineates additional information about the gradient fill, including its type and direction:
The direction that the gradient flows is determined by the FillGradientAngle cell's angular value only if the gradient is a "linear" type (denoted by the FillGradientDir cell's enum value being equal to 0), otherwise, it is determined solely by the FillGradientDir cell. Since we are specifying a "radial" type gradient, the FillGradientDir cell's enum value controls the direction of the gradient. In this case, the gradient radiates outward from the center of the shape.
Please note that the FillGradientEnabled cell's Boolean value must be equal to TRUE in order to render a gradient. Otherwise, the fill is determined by the Fill Format section, which specify the other fill types (solid fill, pattern fill, or no fill).
The new Visio introduces several new shadow effect concepts.
Shadows can now take on blurs, which soften the edges of the shadow effect to produce a more natural look.
Furthermore, shadows can now be turned inwards to produce inner shadows, emulating a cutout obscuring the light source. This effect produces a burnished, three-dimensional look.
To give the clothing rack shape some visual depth, we're adding an inner shadow that is blurred:
In the ShapeSheet, the shadow effect is controlled by cells in the Fill Format section:
The ShapeShdwType cell's enum value controls the type of the shadow (outer – 1, perspective – 2, or inner – 3). The ShapeShdwBlur cell's point or inch value determines the heaviness of the blur, with a value of 0 meaning a shadow with no blurring consistent with past versions of Visio. The shadow's color, transparency, and offset from the shape are determined by the ShdwForegnd, ShdwForegndTrans, and the ShapeShdwOffsetX and ShapeShdwOffsetY cells, respectively. Finally, the ShdwPattern cell's value determines whether the shadow effect is rendered on the shape, where a value of 1 means that shadows are rendered and a value of 0 means that shadows are not.
The new Visio supports an entirely new shape effect called glow. Glows render a colored, blurred outline around shapes:
Since both a glow's color and size are tunable parameters in the ShapeSheet, they are an excellent way to visually connote shape data in a similar fashion to Visio's Color by Value feature.
While the clothing rack shape does already change its fill color to yellow or red when it is low on inventory, we can additionally add formulas that produce glows to further highlight this fact.
In the ShapeSheet, the glow effect is controlled by cells in the Additional Effect Properties section:
The GlowColor and GlowColorTrans cells control the color and color transparency of the glow. The GlowSize cell's point or inch value determines the size of the blur as it radiates outward from the outline of the shape.
3D Format and Rotation
The new Visio supports a variety of three-dimensional effects. The primary effect is the ability to rotate shapes in all three axes, and a variety of supporting effects augment this visual:
The full set of 3D effects are too broad to cover in the scope of this blog post. For this post, I will discuss only the 3D rotation and depth effects.
To give the clothing rack shape a unique 3D perspective, we're adding a 3D rotation effect:
In the ShapeSheet, the 3D rotation effect is controlled by the 3-D Rotation Properties section:
The RotationXAngle, RotationYAngle, and RotationZAngle cell values control the degree of rotation in each of the respective axes. The RotationType's enum value controls the rotation type:
- 1: Parallel rotation, where the shape is rotated without accounting for linear perspective.
- 2: Perspective rotation, where the shape is rotated with linear perspective.
- 3 to 6: Oblique rotation presets, where the shape is rotated with oblique projection.
To complete the clothing rack's transformation from 2D to 3D, we will add the depth effect. This effect gives the shape "thickness" by providing additional geometry in the z-axis, normal to the bottom face of the shape:
In the ShapeSheet, the depth effect is controlled by the Bevel Properties section:
The BevelDepthColor cell controls the color of the thickness granted by the depth. The BevelDepthSize cell's point or inch value controls the amount of thickness.
In Conclusion
The rich shape effects found in the new Visio allow for a wide range of possibilities in shape development.
Perhaps the best way to learn more about the new effects from a developer standpoint is to experiment with the different options in the Format Shape task pane – simply try out a new visual and see how the values update in the ShapeSheet. We're interested to hear what developers think. Please use the Send a Smile feedback tool or leave a comment below.


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Get multiple quotes in writing. Before your procedure, shop around to various doctors to find out how much they charge and how much they expect insurance to pay. Get those price quotes in writing, with a name, title and signature, so that you have a paper trail if you end up getting charged more later. Remember to cover all the costs associated with the procedure and every doctor in the room: lab costs, the anesthesiologist, the radiologist, etc.I would add a word of caution about Healthcarebluebook.com promoted in this article: some of the data are simply not accurate.
You may want to consult the "Healthcare Blue Book" beforehand (healthcarebluebook.com). It's a medical pricing guide that states the average compensation that medical providers accept from insurers for services ranging from surgery to dental and eye-care procedures.
It's especially helpful for those with high deductibles or who are paying out of pocket.
"Healthcare Blue Book is a great tool," Hicks said. "We're actually partnering with them, and will have a service in place for our members this summer that will let them click a few buttons to access local medical costs so they can find fair prices and save money. We'll rely on Healthcare Blue Book to provide that information."
For instance, I looked up the costs for placing a permanent pacemaker and for a cardiac defibrillator, and the costs quoted by the site for the two different devices were identical: $4275. Further, there is no differentiation made regarding the type of pacemaker or defibrillator (such as single, dual, or biventricular devices).
Still, it's a start and the other points made by the article are worthwhile. Just don't be surprised if the medical billing office won't come close to matching some of the prices they quote online.


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by the Web Master
The following photos can be purchased. They appear just as they came out of my camera so some effects will need to be applied before they are printed and sold.Some of them may appear too dark or too light. This will be corrected.Some of them will have an odd colour to them. This will be corrected. Your car may be not be centred in the photo. This will be corrected. Contact me email@example.com to submit your order. Please include the photo number under the image. I will bring them to the track the next night.


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Jennifer Lopez is off of Sony's block.
The singing and acting diva has confirmed she has split from Sony Music after more than a decade. Sony's Epic Records put out her first CD, "On The 6," in 1999. Since then, she's sold millions, but also had a couple of CDs with disappointing sales.
A new album called "Love?" was due to be released by the label this spring. But in a statement released Tuesday night, Lopez said: "At this point, I have fulfilled all my contractual obligations to Sony/Epic (and) we have come to an amicable decision."
Lopez says she has a new label home and her album will be out in the summer, but she did not specify the label. One online report has speculated that she'll likely be joining LA Reid's Island Def Jam.
However, Nikki Finke reported in her Deadline Hollywood Daily online Web site, that Sony is still likely to release a "Greatest Hits" album from Jennifer this fall.
In the meantime, the "Louboutins" singer will host "Saturday Night Live" this weekend, on February 27, albeit, with nothing current to promote.
Jennifer's next movie, "The Back-up Plan," co-starring Australian hunk Alex O'Loughlin, is due out on April 23, having recently been pushed back one week from its original April 16 release date.
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