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Urban Informatics goes to WWDC 2011
For the last several years the AUC (Apple University Consortium) awards a number of competitive and allocated national scholarships to students and staff at AUC member universities to attend Apple's premier developer conference, WWDC (World Wide Developer
This year Peter Lyle of the Urban Informatics Research Lab is among the (above-average) seven scholarships awarded to members of QUT!
WWDC is a hugely popular event (selling out thousands of tickets in a few hours this year) that brings together developers and representatives from around the world to both network with each other and learn about Apple's current and upcoming innovations in technology. In addition to five days of interesting sessions, there is the unique opportunity to interact directly and receive technical assistance from the Apple engineers responsible for the technology that forms the basis of the iOS and OS X software platforms.


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Editorial: Life After BostonJust about anyone with a connection to Boston is likely to remember where they were the night of April 19 at about 7:30 p.m. |
Cars & Drivers: Connecticut Personalities Answer Questions about their CarsAs the summer driving season is upon us, we ask six Connecticut personalities about the rides they love. |
The History of the Mafia in ConnecticutThe strange but true history of Connecticut's mafia ties. |
Organizing Your GarageHow to clear clutter and return the garage to its rightful owner: your car |
Connecticut's Private Golf Clubs Still Offer Great Perks But Want New MembersConnecticut's private golf clubs still offer great perks and privileges, but are finding new ways to adapt to changing demographics |
Restaurant Review: The Inn at Woodstock Hill, WoodstockIt's nice to know that the The Inn at Woodstock Hill is still with us, spruced up without losing a speck of its charm. |
Restaurant Review: Chamard Bistro, ClintonChamard Bistro is comparatively new and there's a lot to like about it. |
Connecticut Wine Bars: Grape ExpectationsYou don't have to be an oenophile to love a good wine bar. |

subset: commoncrawl


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3. Ask: Why does it matter? Behind our key interests is the third layer of motive—the overarching values that play out in a conflict. These can be moral norms such as honesty, responsibility, respect, fair play and duty. They can be interpersonal commitments—promises made, roles and obligations established over time, or trust earned through shared experience.
• We need to be appreciated. We need other people to value both what we are doing and what we are thinking or feeling. We will be irked—or perhaps outraged—if others take us for granted.
• We all need to belong. We need to be included whenever something significant is going on or being decided. An important, unexpected exclusion rankles most of us. For some, it's a huge affront. • We all need autonomy. We want to belong—but not to be ordered around. We want the freedom to make our own decisions on important matters, although what counts as "important" will vary from one person to the next. • We are all concerned at some level about our role in a group. Often this boils down to anxiety about our status, but that isn't the only thing. People can be deeply attached to the roles they play or the turf they manage, even when these things might seem small to others.
• extroversion (with its opposite, introversion)• neuroticism (the frequency with which one is moody and negative)• conscientiousness (sense of duty; sense of responsibility)• agreeableness (the willingness or perhaps the ability to get along with others) • openness to experience (willingness to learn, to try something new, or to consider a new angle on an issue; comfort with change)


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Alex Mason
Talk116this wiki
"We need him alive! Stand down. Stand down, Mason!"
This article contains multiple options that are determined by player choice. |
Alex Mason | |
Alex Mason, age 53 | |
Nickname(s) | MsnA_363:77:392 Willem van der Berg Al |
Appears in | Call of Duty: Black Ops Call of Duty: Black Ops (Nintendo DS) Call of Duty: Black Ops II Call of Duty: Black Ops: Declassified |
Rank | USMC Captain CIA Agent SOG Special Agent |
Affiliations | USMC SOG CIA Dot Mason (Father) Marion Mason (Sister) Unnamed Sisters Unnamed wife David Mason (Son) |
Nationality | American |
Status | Alive/K.I.A. (Player-determined) |
Killed By | Frank Woods (unintentionally) (Player-determined) |
Birth | June 3, 1933, Fairbanks, Alaska |
Sex | Male |
Height | 5'11" |
Weight | 190 lbs |
Build | Average |
Marks | Shot wound (Anywhere from Suffer with Me, if survived) |
Hair | Dark Brown (later white; player deternined) |
Eyes | Green (Black Ops) Brown (Black Ops II) |
Race | Caucasian |
Death | December 20, 1989, Panama (Player-determined) (aged 56) |
Weapon | M16, ASP, M60, ZPU, Makarov, Slingshot, KS-23, AK-47, Harpoon, Death Machine, Model 1887, DShK, M1911, MP5K, Python, Crossbow, Valkyrie Rockets, M72 LAW, China Lake, TOW Missile, Commando, Dragon's Breath, WA2000, M202, CZ75, AK74u, Famas, MAC11, FAL, Browning HP, Stinger, Galil, Barrett M82A1, M16A1, any weapon obtained by the player in the Campaign. |
Equipment | Knife, M67 grenade, Flashbang, Garrote Wire, Prison Knife, Binoculars, Karambit Knife, RGD-33 (Executive Order disguise only), SOG Knife, Willy Pete, C4, Flashlight, Hands, Tomahawk, Machete, M9 Mortar Shell, Animal Trap, Pulwar Sword, AT Mine, Cratering Charge, Smoke Grenade, Molotov Cocktail |
Timeline | Black Ops Timeline |
Voice Actor | Sam Worthington |
- For other uses, see Mason.
- "Hey, Woods. You look like hammered shit."
- — Alex to Woods.
Captain Alex Mason is a CIA agent[1] and retired Marine Force Recon Captain.[2] He is the main protagonist and the primary playable character in Call of Duty: Black Ops, and a playable character, NPC, one of the main protagonists in Call of Duty: Black Ops II and the second most playable character of that game. He also appears as an NPC in Black Ops DS and as a playable character in Call of Duty: Black Ops: Declassified
Early Life and Military Career Edit
Alex was born on June 3, 1933 and raised by Dot Mason (and his unnamed Mother) in Fairbanks, Alaska; the geographical proximity of his home state to Communist Russia brought the threat of the Cold War much closer to his doorstep than most Americans. This was a key contributor to his fervent anti-Communist ideals and eventually led to his enlistment in the USMC. He spent his youth hunting elk and grizzlies in the Alaskan wilderness with his father (A WWII veteran and recipient of the Purple Heart for wounds received during action at the Makin Atoll); as such, he is adept in cold weather environments and is an excellent sniper; at the age of 23 he became the youngest Wimbledon Cup winner in the history of the marksmanship competition.
He was recruited to SAD/SOG at the age of 25 after an exemplary term of service with the Marines. Having served with distinction since joining the Agency, Mason has a long standing friendship with many of his fellow Agency colleagues and shows a particular kinship with operative Frank Woods. Always itching for action, Mason's tendency towards impulsiveness is the one trait that may not have been completely "trained out of him." However, his close friend Woods is well aware of this, and knows exactly when and how to rein him in.[3]
Service in the Korean WarEdit
In the early 1950s, Mason served as a United States Marine in South Korea. Shortly after his service there, he joined the CIA.[2]
Bay of Pigs InvasionEdit
- "You ready to make history?"
- — Woods to Mason before killing Castro's double.
In 1961, Mason was a member of a CIA task force known as Operation 40. Mason and fellow Operation 40 members Joseph Bowman, and Frank Woods, infiltrated Cuba prior to the Bay of Pigs invasion to carry out Operation Zapata, the assassination of Fidel Castro. Using the distraction caused by the Bay of Pigs invasion, Mason, Bowman, and Woods raided a compound where Castro is reportedly living. Mason and Woods encountered Castro with a mistress in his bedroom; Mason then killed Castro.
During their escape, Cuban military forces rapidly turned the tables on the U.S.-supported Cuban rebels and swarmed the airfield where Op 40's escape plane is located. While Mason, Bowman, and Woods made it to the plane, Mason bailed out just before takeoff to clear the runway of Cuban military vehicles. Mason was subdued and captured by Cuban troops. Regaining consciousness, he watched as Fidel Castro, alive and well (the "Castro" Mason shot was a double), turned Mason over to Soviet General Nikita Dragovich as a "gift of their new alliance".
Imprisonment at Vorkuta and Russian programming attemptEdit
- "It was their attempt at MK-Ultra. Dragovich programmed you to kill Kennedy, but Reznov sabotaged you."
- — Jason Hudson describing the Russian's programming to Alex Mason
Mason was transported to a Soviet labor camp at Vorkuta, Russia. There, Dragovich had Friedrich Steiner and Lev Kravchenko brainwash Mason; Mason was implanted with the knowledge to interpret the outgoing broadcasts from Dragovich's numbers station, and was also programmed to become a Soviet sleeper agent with the primary purpose of assassinating then-U.S. President John F. Kennedy. While Mason's willpower resisted the programming, but they eventually succeeded. Then, Viktor Reznov, a former hero of the Red Army who was betrayed by Dragovich and his underling Colonel Lev Kravchenko, successfully sabotaged Mason's brainwash, programming him to instead kill Steiner, Kravchenko, and Dragovich out of revenge.
Meeting Reznov and the Vorkuta uprising Edit
- "I'd given up hope of ever gettin' out. But Viktor Reznov found a way."
- — Mason to his interrogators.
By Mason's account, it was six to seven weeks after his arrival at Vorkuta that he was then thrown into the labor force. There it did not take long for him to clash with prisoners loyal to Reznov. The fights got both Mason and Reznov each one month of solitary confinement, in which they both became fast friends. Sometime later, Mason and Reznov plot their escape from Vorkuta. On October 6, 1963, the Vorkuta prisoners initiated a riot and charged out of the mines and the breakout began. Mason escaped back to the U.S. while Reznov died helping him escape; Mason at that moment was unaware he was ever brainwashed.
Family ObligationsEdit
- "You should have stayed in Vorkuta."
- — Dot to his son
A few years after Alex came back from Vorkuta to join the SOG, his mother fell ill and his father called him and his siblings to her death bed. Mason failed to arrive, leaving a bad impression on his father, Dot, and his sister, Marion. The two sent a few more letters to Alex but he failed to reply to any of those. From then, his father considered that his son should have died in Vorkuta, but Marion had informed Mason that he could stay with her at Renier if he needed to, and that her children still loved their "hero," uncle Alex.[4]
Operation FlashpointEdit
- "It's Weaver. He's burnt."
- — Mason informing Woods of Weaver's compromise.
On November 17, 1963, Mason and the CIA infiltrated a Soviet Cosmodrome in Baikonur, Kazakhstan per Operation Flashpoint. The Soviets were already aware of this attack by the capturing of Grigori Weaver, a CIA double agent who was compromised by Kravchenko. Mason and his team were able to rescue Weaver (though his left eye was gouged out by Kravchenko) and fought their way to the control bunker for the Soyuz 2 rocket, but were unable to abort the launch.
Mason used a prototype Valkyrie Rocket to destroy Soyuz 2 in mid-air, after which the Operation 40 squad began a sweep of the facility to eliminate the surviving members of the Ascension group, a group of former Nazi scientists who had been collaborating with the Soviets, and to hunt down Dragovich. They cornered Dragovich in his limousine and destroyed it, but rather than verify Dragovich's death, Mason decided to move on after being told by Woods that the explosion would not have left anything recognizable. Dragovich was assumed to be dead, but this was later proven to be far from the truth.
Kennedy Assassination Edit
- "There are gaps in your memory. Periods where you went MIA and we couldn't account for you."
- — Jason Hudson to Mason after his interrogation.
Five days after Operation Flashpoint, on November 22, 1963, President Kenendy was assassinated. It is suggested that Mason was involved in the assassination while under the Soviet programming. After Mason escapes his interrogation in 1968 he has flashbacks suggesting he was involved in the Kennedy assassination. At one point he says "Proceed...to...target. Oswald...compromised". This is probably referring to the man who was believed to have shot President Kennedy: Lee Harvey Oswald, who was a Soviet defector. When Mason has Dragovich pinned down on board the numbers station, Mason yells at Dragovich "You tried to make me kill my own President!" to which Dragovich smiles and replies in a mocking tone, "TRIED?!" suggesting that the Russian programming worked.
However in 1989, when Mason is talking to Mark McKnight, McKnight asks about his brainwashing and Mason mentions that the Soviets "gave it their best shot", so it is possible that he was not involved in the Kennedy assassination and that his programming failed.
Imprisonment in CubaEdit
It is known that Mason, along with Sgt. Michael Shaw, were captured while on a secret mission in Cuba in 1967. A rescue team, led by Sgt. Thomas Hayes, was sent to rescue them on November 10, 1967, but due to bad intel, they were only able to escape with Shaw. Mason eventually escaped, but it is never explained in-game how he did it.
Vietnam, Laos and KravchenkoEdit
- "Woods! You look like hammered shit!"
- — Mason to Woods, joking about his appearance.
Almost five years after the events of Baikonur, in 1968, Mason joined the SOG unit led by Frank Woods and was sent to Vietnam for the purpose of searching for covert Soviet operations in Vietnam and Laos. After landing at Khe Sanh to meet up with Woods and the rest of his old unit, the hill of Khe Sanh came under attack by NVA forces. Mason, Woods, and Special Agent Hudson repelled the beginning of the attack before the SOG unit left for its mission.
In Hue City, they attempted to pick up a Soviet defector with vital information of Soviet involvement in the war. Inside a safe room, Mason believed he is reunited with Reznov, "the defector", although "Reznov" was a figment of his imagination and the real one died after Mason got on the train from Vorkuta. After collecting the intel, the team left Hue City.
While heading north into Communist territory, Mason's helicopter was shot down but, spurred on by a hallucinated image of Reznov, he escaped the wreckage. Mason and the rest of the team silently entered a village where they sabotaged Viet Cong equipment. Afterwards, Mason cleared out a "rat tunnel" and retrieved a Soviet operations book from Kravchenko's office. The tunnel later collapsed as a result of booby traps set by Kravchenko, and Mason barely escaped with his life.
The intel led them to a Soviet cargo plane downed in Laos which was believed to be carrying some sort of chemical weapon. Mason remembered stories Reznov had told him about a nerve gas called Nova 6, originally developed by Nazi scientist Friedrich Steiner, but commandeered by General Dragovich and reproduced by Daniel Clarke. After combating their way up the river to the crash site, the SOG team was set upon by both VC and Spetsnaz before making their way into the plane. There, they found the Soviets have already retrieved the cargo and were waiting for them to arrive in the valley below. After an explosive fight, the plane wreckage tumbled down a cliff and the team was taken prisoner by the Spetsnaz for the second time.
At a VC compound, Mason, Woods, and Bowman were forced to play Russian Roulette. Bowman defiantly insulted his captors, prompting their Soviet contact to club him to death with a pipe. Woods played, choosing an empty chamber, whispering to Mason that the next one was loaded. Mason shot the VC leader in the chest and took his pistol, fighting out of the compound and killing the Soviet. Woods and Mason commandeered a Hind and flew it to Kravchenko's compound, where they battled to his office along with "Reznov" and attacked him. Mason was overpowered and Kravchenko began to repeatedly kick him, before being stabbed by Woods. Kravchenko pulled the pins on his grenades, prompting Woods to throw both of them out of the office window. Mason watched the ensuing explosion and believes himself and "Reznov" to be the only survivors. In reality, the two survived, but Kravchenko brought Woods to a Viet Cong prison camp, which he escaped from in 1972.Hunting SteinerEdit
- "How many times?! Steiner was at Rebirth Island! We had to kill Steiner!"
- — Mason to his interrogators.
A letter in Kravchenko's office showed that Steiner was overseeing Nova 6 operations on Rebirth Island in the Aral Sea. Mason infiltrated the island with imaginary Reznov at his side, flying into a port in Mo'ynoq using a requisitioned light aircraft[5] and stowing away in an empty crate being handled into the island. When the crane carrying the crate set it down, they exited the crate and proceeded with making their way to the labs. They attempted to access the labs through the rooftops, when suddenly an explosion in the distance occured, with the base going to full-alert. Mason told Reznov that it was the CIA assaulting the island to take Steiner alive. The two then picked up their pace to get to Steiner first, going down an elevator shaft, and breach the laboratories from there, carving through troops and scientists alike to get to Steiner. They eventually cleared the facility out, and entered Steiner's lab.
Steiner was contacting Hudson, desperately asking them to hurry up and extract him from the island, as Dragovich's men were executing personnel on the island. Mason then confronted Steiner, who was shocked that Mason had managed to reach him. Reznov began beating Steiner, who claimed killing him would not stop the Nova 6 attacks. Reznov paid no mind, and instead reclaimed revenge in his name. Hudson and Weaver managed to make it to the lab, and tried entering the lab from a window by shooting it, but it was bulletproof, forcing the pair to break it with a crate. But by the time they managed to break the window, they were too late, as Mason witnessed Reznov shoot Steiner.
However, as the same story was told through Hudson's perspective, it was finally revealed that Reznov was a figment of Mason's imagination, and Mason was the one actually executing Steiner. As stated above, they broke the bulletproof glass and entered the room too late, as Mason shot Steiner in the head. He then shot Weaver in the arm when Weaver tried to apprehend him. Hudson then tackled and disarmed Mason, knocking him out with a pistol-whip. With Steiner dead, they left the island with Mason as their only link to the numbers, leading to his interrogation.
Interrogation and RedemptionEdit
- "I remember...Ahhhh! Vorkuta..."
- — Alex Mason
Following his apprehension by Hudson and Weaver at Rebirth Island, Mason was interrogated ruthlessly. With Steiner's death, Mason was their only link to the numbers station and the impending Nova 6 attack by Soviet sleeper agents in the state capitals of every state in the U.S. In addition, the President was prepared to launch an all-out nuclear strike against the Soviet Union in retaliation. If the numbers station could not be located and neutralized before Dragovich sent the signal to attack, World War III would break out.
After forcing Mason to relive his experiences leading up to the present date, Hudson had yet to learn anything from Mason. With DEFCON 2 declared, Hudson revealed himself to Mason out of desperation and removeed his restraints. Mason knocked Hudson out and made his way through the interrogation facility, remembering his brainwashing at Vorkuta, realizing that all of his encounters with Reznov after Vorkuta were imagined, as Reznov had actually died during the breakout. Mason also remembered how to translate the numbers broadcasts. After being subdued by Hudson, Mason translated the number sequences and explained that the numbers station is on the Soviet cargo ship Rusalka, which Mason had originally seen during his first meeting with Dragovich in 1961.
Mason, Hudson, and Weaver raided the Rusalka, located in waters southwest of Cuba. In the cargo ship's hold, they discovered an antenna with a tether leading into the depths of the ocean. While a U.S. Navy fleet is en route to destroy the Rusalka, Mason insisted on entering the submerged numbers station to kill Dragovich once and for all. After fighting through the numbers station as it comes under fire, Mason found the console controlling the numbers broadcasts and attempts to deactivate it, but was knocked away by Dragovich. Hudson came to Mason's aid, distracting Dragovich and allowing Mason to pull him down. Mason strangled Dragovich, choking him to death in the waters. He then escaped the imploding numbers station with Hudson. With the station destroyed and Dragovich dead, the crisis was averted.
CIA Duty and personal lifeEdit
Mason never fully recovered from his brainwashing, as he still heard Reznov's voice after killing Dragovich, making the CIA suspicious of Mason's actions (and presumably his connection to the JFK assassination). Weaver and Hudson became targets of suspicion as well for their association with Mason and their supposed complicity in gathering top secret information for Mason.
Mason continued to carry out several CIA missions from 1975 to 1979, with Hudson still acting as his handler. At some point, he got married to an unknown woman and later (from 1978 to 1979) had a child, whom he named David.
Sometime in 1978, Mason's decision to chase an as of yet unknown lead led the CIA to deem him "burnt" and a threat to national security, along with Hudson and Weaver, who had escaped to South Africa with him. As of October 28, 1978, the CIA was making plans to form a joint task force with MI-6 in order to find and eliminate Mason, Hudson, and Weaver in what they dubbed Operation Charybdis. The operation, however, was seemingly unsuccessful, as both Mason and Hudson managed to survive up to 1986 and the CIA were not on hostile terms with them. Weaver's fate however is unknown.
Mason's wife later died of unknown reasons, which young David blamed on him going "back to the army", suggesting that Alex retired from his duty at one point and then went back.
Returning to the CIA Edit
By 1986, Alex had once again retired and lived in Alaska with his son, David. He was approached by Jason Hudson and Lieutenant Colonel Oliver L. North, who informed him of Woods' disappearance in Angola. While hesitant at first, Mason decided to go in and save his old friend, thinking that he would do the same if Mason were in trouble.
Rescuing WoodsEdit
On July 2, 1986, Mason and Hudson participated in the Angolan Civil War, joining forces with the FNLA and UNITA. Mason then received intel on Woods' location from Jonas Savimbi, who warned him of the dangers he could face. Later, they arrived on a transport barge on the Cubango River, and after fighting off the MPLA forces, found Woods barely alive in a container full of dead decaying bodies. A Hind then attacked the barge, and was destroyed by Mason using a Valkyrie Rocket launcher. The barge sank, but Mason and Hudson managed to get into shore along with Woods. After sneaking through a base full of Cuban soldiers, Mason attempted to reach the radio station in order to call Savimbi for extraction. Instead, he encountered Raul Menendez, who smashed the radio before Mason could give his orders. Mason tried to take Menendez hostage against the Cubans but Menendez then pulled the pin on a grenade and almost stabbed Mason in a struggle. Mason managed to shoot Menendez in his face and escape, but was then chased by Cuban soldiers. After holding off the enemy forces, Mason and Hudson managed to carry Woods to the beach, where they were rescued by Savimbi.
Afghanistan / Return of the Numbers and ReznovEdit
Two months later, Mason re-enlisted with the CIA and went on a mission in Afghanistan to retrieve intel on Menendez' location. He, along with Woods, Hudson, and the Chinese soldiers led by Tian Zhao, helped the Mujahideen and their leader, Mullah Rahmaan, fend off the Soviet forces. After several Soviet tanks and helos were destroyed, Mason was called back to the base. He then witnessed the final Soviet attack, led by a colossal tank. As they charged head-on to meet the Soviets, Mason's horse was hit, and he barely avoided being crushed by the giant tank. Woods pulled him up and helped him jump on the tank. As Mason was about to throw a mortar in the tank, Kravchenko jumped out and punched him. The numbers inside his head were re-triggered, and Mason heard the voice of Reznov inside his head telling him: "Kravchenko must die". After a brief struggle, Mason quickly defeated him, and Kravchenko was brought back to the Mujahideen base for further interrogation.
As Woods continued to interrogate him, the numbers continued to appear, forcing Mason to kill Kravchenko.
Mason manage to resist Reznov's programming and learns that Menendez had people working as CIA moles. Woods then executed Kravchenko with a bullet to the head.
The Mujahideen would betray them, and Mason, Woods, Hudson, and Zhao would be left to die in the desert. After a period of time passed, Mason saw what appeared to be Reznov riding on a horse approaching him. "Reznov" dismounted and gave him a drink. After the events of that day, Mason was convinced that it was the real Reznov who saved him and his teammates, but Woods expressed disbelief, thinking that Reznov would have stayed and explained his presence if he wasn't another one of Mason's hallucinations.
Noriega DealEdit
Having received intel from Kravchenko, the CIA agents headed off to Nicaragua to find Menendez. They cut a deal with the then-dictator of Panama, Manuel Noriega, and enlisted his help in capturing Menendez. However, Noriega secretly betrayed them, and freed Menendez after he was captured. Menendez, however, gave Noriega a beating and went after his sister, Josefina Menendez. At the same time, Mason, Woods, and Hudson fought through the Menendez Cartel's base. While taking out Menendez' men in the basement, Mason may or may not find a CIA memo, proof that Menendez indeed has a mole inside CIA. Mason and Woods arrived at Josefina's room at the same time as Menendez. An enraged Woods attempted to kill Menendez, but Mason tried to stop him. In the end, Woods threw a grenade which bounced into the room and killed Josefina. Menendez was reported to have been killed also, but in reality he escaped with Noriega's help.
Operation Just CauseEdit
On December 19, 1989, Mason and Woods met up at Mark McKnight's house to discuss the plans for the invasion of Panama (Operation Just Cause) on the day after. The plan was to capture Noriega, aka Objective False Profit, and destroy his reputation. The day after, the three of them participated in the invasion, with McKnight providing sniper support for Mason and Woods. Throughout the fight, Mason tried to contact Hudson through comms, though he failed. After having destroyed Noriega's jet, Mason finally received intel from Hudson, who revealed Noriega's location. He and Woods reached the hotel where Noriega was located and captured him, however Hudson then told them Noriega was to be escorted to a US Army checkpoint, where he would provide intel on a Nexus target. They succeeded, but they did not know that it was all part of Menendez' plan. After splitting up with Woods, Mason was captured by Noriega's men, who then put a bag over his head. Woods, having received intel from Hudson that Nexus target was Raul Menendez, proceeded to shoot the bagged target. Only after that did he realize that the man he shot was none other than Mason. Woods was then shot in both legs by the real Menendez, who proceeded to knock him out. Both Mason and Woods were taken to Hudson, who was tied up along with Mason's son, David. Hudson was then violently killed in front of Woods, who was allowed to live along with David. After telling David that he would suffer with him, Menendez left, at which point David woke up out of his trance and noticed his father's body lying next to him.
After Mason's death/disappearance David was raised by a now crippled Woods; who lied about the circumstances of Alex's death and told David that it was "just some nut" who did it. About 37 years later Woods told the stories of his adventures with Mason in Angola, Afghanistan and Nicaragua to David and Mike Harper while asking about Menendez whereabouts. Later in a private one on one session, Woods finally revealed the true circumstances of Alex's death to David.
After Menendez' plan was averted, Woods and Section visited Mason's grave. Section decided to retire from his duty, which prompted Woods to say that his father would approve of the decision.
Mason visits Woods at The Vault. Soon David comes to visit Woods and is re-introduced to Alex, who tells him that the day that David fell from the tree was the one that made Alex proud as he got back up.
- Main article: Alex Mason/Quotes
- Main article: Alex Mason/Trivia
- ↑ Call of Duty: Black Ops
- ↑ 2.0 2.1 Call of Duty: Black Ops (Nintendo DS)
- ↑ http://www.joystiq.com/2010/10/11/new-call-of-duty-black-ops-single-player-trailer-declassified/#continued
- ↑ Files found in Alex Mason's CIA account.
- ↑ Intro cutscene to Rebirth.


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Death Notices for Edgewater, Davidsonville
Patch remembers loved ones who recently passed away.
Information is provided by the George P. Kalas Funeral Home. Click on the name of the deceased to read the full obituary and/or to submit online condolences. To post the obituary of a loved one on Edgewater-Davidsonville Patch, click here. Jean Lamborne, 91, of Riva. Died Sunday. Survived by her four sons, two daughters, three brothers, and lots of grandchildren and great-grandchildren. Edith V. Fey, 83, of Mayo. Died Sunday. Survived by her daughter, son, aunt, two grandchildren and four great-grandchildren. Fey was very active in the community and served as the commodore of the Mayo Kiwanis Club. Katherine Matthews, 93, of Edgewater. Died on Sunday. Survived by her daughter, son and several grandchildren. Matthews worked at the …
In this Article:


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Results 1 to 7 of 7
- 07-27-2011, 05:56 PM Thread Author #1
LtoDL Service Problem
Hi everyone.
I'm enjoying my Thrive for the most part (not really having many problems with it not waking up from sleep), but keep having one problem I can't figure out.
I keep getting this force close error message:
"The application LtoDLService (process com.pega.LtoDLService) has stopped unexpectedly. Please try again"
It usually only happens when I start it up and once I force close it, it doesn't pop up again until I turn the Thrive off and start it up again.
I was just wondering if anyone else has this problem and/or any helpful hints to fix it. I've went into the application list and found LtoDLService but the only option it gives is to stop the process nothing more. No clear cache, uninstall, nothing.
Any help is appreciated, thanks in advance! - 07-28-2011, 10:34 AM #2hummingbirdhill
THRiVEn and NOTEd 2 - 07-28-2011, 06:47 PM Thread Author #3
Re: LtoDL Service Problem
I've posted on another thread on their forums that was related to this topic in particular and haven't had any luck with fixing it yet.
Here's hoping I'll find something soon.
Thanks for the link to the open letter though. Pretty good read and really sums up what I would assume are most Thrive owners feelings. - 08-04-2011, 11:25 AM #4
- 08-04-2011, 05:52 PM Thread Author #5
Re: LtoDL Service Problem
I haven't found anything to fix it either, but I also haven't had that message pop up since I installed the most recent update a day or two ago.
I'm not sure if that had anything to do with fixing it or if I've just been lucky. I'll post more info after a few days. - 08-05-2011, 08:51 AM #6
- 08-05-2011, 10:23 AM Thread Author #7
Re: LtoDL Service Problem
I'm still searching, but haven't found too many people who are having this problem let alone a fix for the problem. It could be a haywire app or some combination of settings that's causing the problem.
I'll definitely post something if I find it.
Hopefully it isn't a widespread issue that will create more bad press for a very nice tablet IMO.


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Returns & Exchanges
In the unlikely event you wish to return or exchange one of our products, we will try to make the process easy for you.
If you wish to return or exchange the item we will ask you either to arrange the return at your expense or we can arrange a collection from you using our carrier and we make a standard return fee charge of £10 to cover this. This return fee is increased to £20 for large beanbags (The Earl and larger).
When we receive the item back here we will credit your card back less this fee. Please note that we would expect items to be returned within 10 working days of delivery.
If you are asking us to send out an alternative item we ask you to pay for the delivery charge to you of this exchange item - £10.00 for everything and £20 for the larger beanbags (The Earl and larger).
This means you need to pay an additional amount and we will send you a link to allow you to pay this sum easily, or you can pay over the phone. So, for example, if you asked us to pick up your item and replace it with another the cost would be £20 or £40 for larger beanbags. These costs reflect the actual costs we incur and don't take into account the admin and the packaging we undertake.
Please always call Tim before returning. He will supply you with the correct address to return it to. If you want to make a return or an exchange, please email email@example.com or ring Tim at Heritage 01728 663771. He will do his utmost to sort out your problems!


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Remember that this is just a Helpful GUIDE to writing songs.
Step1. The equation for writing a catchy songStep2. Develop Chord progression
Songwriting made easy! This article is going to teach you how to write songs by following 4 simple steps.
Here are 4 simple equations to follow. To start pick one:
Verse (stanza 4verses)Pre-chorusChorusVersePre-chorusChorusChange/bridge-introduce something newChorus
An example of this pattern, of the songs I've written, is My Only Girl.
An example of this pattern, of the songs I've written, is Just my train of thought.
Remember there are plenty of ways to write a song. This just a guideline.
Verse: the 1st verse opens up the song and creates the general idea. 4 verses are put together to create a stanza. Most songs usually use a rhyming pattern but as a beginner you don't have to. During this part of the song, the problem could also be introduced.
Pre-chorus: the pre-chorus is used as a transitional section of the song. It blends the verse into the chorus.
Chorus: www.dictionary.com states that the chorus is: "A line or group of lines repeated at intervals in a song."
Second Verse: the second verse further explores the topic.Third Verse: If there was a problem established in the beginning, this is where it would be summed up.
Change: also known as the bridge. This part of the song is where you introduce something new to the song.
A chord progression is just chords following one another. Try picking 4 that sound good together and put them one after another. When it comes this part of song writing you get to the one rule about writing a song. If it sounds good, it is good. That's basically it.
After you have composed the chord progression, for the verses & chorus, try humming a tune over top of them. As you play get a feel for the emotion that lies within the chords you are playing. Think about how it makes you feel, and how you want others to feel when they hear this song. For greatest results, also follow these simple steps for getting into the "zone":
Try not to allow any other thoughts to enter your mind. Stay focused and on topic!
After you have followed the steps in the above section for getting into the "zone" andYou have that emotion, Songwriting and lyrics come easily. Begin by writing your thoughts about the subject. How it makes you feel. No matter how crazy or stupid you might think it sounds. (Who cares? No one else will ever read this paper if you don't want them to)
Overcoming Writers block!
An easy way to overcome writers block is to get up! Move around and don't force the issue of the song. Think about something else! That's it. Even something as small as taking out the trash can be helpful. Remember good things and good lyrics come from a relaxed mind. Another technique is to write your way through writers block. Just like a running cramp is taken away by running more, don't stop the ideas flowing!
Song title: listen to the lyrics of the song. Choose something that is maybe repeated in the chorus. OR Choose something that sums up what the songs about in a few words.
I hope my style and format for writing songs will become a useful tool for you in overcoming writers block and to writing better songs. Good luck and happy song writing!
Check out my music at www.myspace.com/dominicditanna, www.domscd.com, www.myspace.com/thewintersocial, www.amazingdom.com.
SaiNt adEL #13


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He "fibbed?" How cute!The biggest lie is that he was elegible to run for POTUS.Thank you, Diane Feinstein, for the giant cover-up ... and now you want to destroy the Second Amendment and our right to protect ourselves from big government.
As the saying goes, "You can tell he´s lying if his lips are moving." I´m afraid our President has a very casual aquaintence with the truth. It serves as a balance with his convenitent memory.
It´s a shame the corrections to the lies are rarely heard by the same people who heard the first lie. By design, POTUS et al lie publicly, it´s broadcast by the MSM and gets watched by LoVos on CNN, ABC, etc.But the corrections are usually heard on Fox News, conservative internet sites or talk radio, which the lie-ees never bother to frequent.So, the lie stands and the debunking of the lies vanish into thin air. By design.This is why we need a massive series of networks of our own. Right now, Fox and talk radio are all we´ve got to reach the LoVos with the truth.
The thing about this is that it the Obama Administration is saying that they need more laws on the books regulating the sale of guns. Yet, they also say they do not have time to prosecute those who break the laws that are already on the books. This is the point to emphasize to those who argue for more gun control: the government does not enforce the laws ALREADY on the books, why would anyone believe that they are going to enforce any new laws? For that matter, how can you argue that we need more laws when the government doesn´t use the ones already on the books? Maybe all that is needed to fix the problem (I´m not sure there is a problem, but those who argue for more gun control believe there is) is for the government to start enforcing the current laws?
Obama lied! He is a consummate lier. If his lips are moving he´s lying.
Obama lied?How odd....Come to think of it, can anyone cite a single example of a statement by Obama has ever made on an important or controversial subject which was NOT a lie???----crickets----
Where the second amendment is concerned, it isn´t constitutional to have ANY laws on the books regarding possession (to keep) or carrying (and bear) of arms (and that´s more than just firearms). Think about it.
He said "up to 40%". There was a study on record that claimed 40%. Others suggested lower rates. It is perfectly accurate to say "up to 40%". It may be misleading if the true number is closer to 22%, but it is certainly not a ´fib´.Today´s background check rules only pick up those with serious mental illness and a history of psychotic breaks if they have been involuntarily hospitalized. Many have been hospitalized voluntarily; this would not pick those up. It also won´t pick up those who have had psychotic breaks and would like to be on the ´do not sell´ lists, but haven´t been adjudicated mentally ill. Mental illness is a medical condition, not a legal condition. It makes no sense that the final arbiter of which people are too mentally ill to purchase guns is a judge and not a doctor.
Would 0bama pass an instant background check?.


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McGill & the MNI seek women aged 18-21 on Depo-Provera or another progestin-only birth control (e.g. Micronor), who do not experience pain during intercourse to participate in a brain imaging study designed to examine how the brain mediates genital pain. The research is directed by Dr. Binik, Dept of Psych, McGill & Dr. Schweinhardt, Faculty of Dentistry, McGill. Participation includes a 30-min interview, a 90-min sensory testing session, & a 90-min brain scan session. Some pain will be experienced during the procedure, but no other health risks are posed. Participants will be compensated for their time.
Home | Contact Us | Search Con-Ads.com does not warrant or assume any legal liability or responsibility for the accuracy, completeness, or usefulness of the information published. Con-Ads.com is a classifieds site for Concordia University students and other universities in Montreal and it is run by Concordians volunteers. It is a Not-For-Profit site that aims to facilitate students' interaction when looking to buy or sell used items. It helps also those looking for apartments or selling books. Some students can ask for help from other students as well.


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Sainsbury's 'feed your family for £50' claim rejected by ad watchdog
Nearly a year after Sainsbury's first promised it could feed families for £50 per week, the Advertising Standards Authority has ruled the claim was overcooked and should not have been made.
In May 2011, the supermarket launched a major marketing campaign, including ads created by Abbott Mead Vickers BBDO and based on several meal plans, around the promise it was possible to feed a family of four for £50 per week.
The ASA has taken 11 months to rule on the case, during which time Sainsbury's moved on to its current 'Live Well For Less' messaging.
An ASA spokesperson attributed the delay mainly to the increased workload from the extension of its remit to handle claims on brands' own websites in March last year, but also to the fact that the Sainsbury's case involved a very technical complaint that was later withdrawn.
Its investigation of the supermarket's campaign was sparked by seven complaints about claims made in a TV ad, an insert and a website.
Despite the alacrity with which rival supermarkets often complain about each others' claims, none of Sainsbury's competitors took exception to the ads.
In a long ruling, including a substantial defence from Sainsbury's and input from the Department of Health, the ASA decided the ads were misleading on three counts.
It ruled they were misleading to suggest readers could meet all their family's food needs for a week for £50.
This was because while Sainsbury's worked on the "responsible" basis that its meal plans would supply at least 75% of calories required, allowing snacks and drinks to make up the remainder without overconsumption, the supermarket crucially did not include snacks and drinks in the £50 allowance.
However, the ASA also ruled the ads were misleading because a significant number of consumers would have to buy additional ingredients to those listed on the meal plans, bringing the total cost above £50.
Sainsbury's, which has also run "feed your family for a fiver" ads, did not respond to requests for comment on how the ruling would affect its future marketing.
As part of the ruling, the retailer was told to ensure that headline prices for meal plans included any integral store cupboard ingredients, unless it held evidence that most or all customers would already have those ingredients at home.
Follow Daniel Farey-Jones on Twitter @danfareyjones
This article was first published on campaignlive.co.uk
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By Elizabeth Walker | November 27th, 2012
For those of you who are familiar with the London-based techno producer Max Cooper, be prepared to adjust expectations with his newest remix. Taking a pass at D/R/U/G/S' new single "The Source of Light," Cooper gives listeners a very different side to ponder.
Max is one of my favorite producers. His music is intelligent, experimental and always above par. This remix certainly follows suit, just in a alternate tone than his typical gloom and intensity. With an outrageously long build up, Cooper plays up the sinfully euphoric aspects of the original, tempering the dance side D/R/U/G/S brought to the party. In the most literal sense, this tune is just beautiful.
Click here to check out the official video.


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macbook air 2 superdrives
Is it possible to use 2 usb superdrives at the same time with a macbook air and/or a retina pro
- Asked by James H from Atkinson
- Aug 6, 2012
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How can I use the superdrive to backup my Macbook Air?
- Asked by Sandy R
- Sep 20, 2012
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Will the Apple USB SuperDrive work with my 2009 macbook air?
I have a macbook air mid 2009 and i need a exturnal cd-rom, if i can't get one ill need to sell it and get an other one.
- Asked by Cory K from Auburn
- Sep 4, 2012
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Is it possible to use my 2008 SuperDrive on my Macbook Pro?
I bought a SuperDrive in 2008 for my Macbook Air (first generation) and still use it. I just bought a MacBook Pro with Retina display and I am having trouble using the SuperDrive on my new computer. It said something like "SuperDrive not compatible with computer." However, when I look at this SuperDrive, it says it should be compatible. Because I have an older SuperDrive, will it no longer be compatible with my new computer?
- Asked by Gianna Z from Arroyo Grande
- Nov 24, 2012
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Does it work with an older macbook air?
Some of the answers indicate this new portable superdrive will work with any mac that does not have a superdrive built in. That indicates it should also work with an older Macbook Air. However, if it works with an older Macbook Air why doesn't it work on any Mac? I have an older iMac that has a superdrive that won't work properly because it was switched to to many locations. Instead of buying a new superdrive for it I would have liked to purchase the portable superdrive since my iMac will require replacing within the year and it makes more sense to buy this drive now so I already have it to go with the new iMac.
- Asked by Tom B from Welland
- Nov 22, 2012
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Can I use the Apple USB SuperDrive to upload photos to IMovie?
I need a drive to upload photos provided to me by parents for a school event.
I have a MacBook Air.- Asked by Kathleen S from Largo
- Aug 28, 2012
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Will the USB SuperDrive work with when hooked up to a USB hub?
I have many usb items that I need to use with my MacBook Air, so is it possible to use the SuperDrive while plugged into a hub or does it have to be connected directly to the MacBook?
- Asked by Peter P from West Seneca
- Aug 14, 2012
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Is the inner drive connection inside SuperDrive for MacBook Air an SATA or IDE?
The old models was IDE inside. What about later ones?
- Asked by Фатеев С from Ростов-на-дону
- Jul 18, 2012
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Is this exactly the same as the Superdrive that came out for the Macbook Air? WIll my old Superdrive work exactly the same as this new one?
- Asked by Jose F from Victoria
- Jun 12, 2012
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So is this new Superdrive USB 3.0 or 2.0 then? Would like to hope it was 3.0 to match the new specs of the Macbook Pro & Macbook Air?
- Asked by Daniel O from Marlow
- Jun 12, 2012
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Apple Superdrive question With Parallels Desktop 8
I am planning on getting one of the new iMac's early next year.
Now, the new iMac's do not have an optical drive (like the Macbook Air, Macbook Pro Retina Display). I'm planning on getting the Apple Superdrive and also I'm going to be purchasing Windows 7 and Parallels Desktop 8 to install on my iMac.
I know it isn't possible to try it with the new iMac's yet, but I was wondering if anyone has tried or knows if its possible to use the Apple Superdrive with the Macbook Air Macbook Pro Retina Display when running Windows 7 through Parallels Desktop 8, basically does the Apple Superdrive show up in Windows 7 and are you able to read, burn CD's, DVD's in Windows 7 with the Apple Superdrive?
Thanks in advance.- Asked by David T
- Nov 11, 2012
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- Sep 30, 2012
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Will this work with all other MacBook (2011) and MacBook AIr (2011).When I bought SuperDrive last year, it only work for MBA but not MBP or any others
- Asked by Leonard O from Portland
- Jun 11, 2012
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Is this the only USB DVD drive that will work for my new MacBook Pro 15" Retina or can I use USB Mac Air SuperDrive I bought in 2012 from Apple store
Is this the only USB DVD drive that will work for my newly bought MacBook Pro 15 inch Retina, or can I use the USB Mac Air SuperDrive I bought from Apple Store earlier this year?
- Asked by Michael H from Henderson
- Jun 12, 2012
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Superdrive for white MacBook that I bought in '07?
Is there a superdrive or an external cd drive that I can use with this laptop? My cd drive broke awhile back.
- Asked by Caitlin S from St. Augustine
- Feb 19, 2013
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Is there a difference between the old and the new? Will the old one still work on new machines and will the new one work on older Airs and Minis.
Apple USB SuperDrive
- Asked by Don S
- Jun 12, 2012
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macbook external optical drive
Is this superdrive compatible with Macbook (early 2009)?
- Asked by Lalith S from Raleigh
- Jan 14, 2013
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No answers yet
Want to create a wireless network, therefore, I would like to somehow plug the superdrive to a usb hub that can be reached wirelessly. Can it be done?
My thing is to create a wireless network where I can plug all the devices such as printer, superdrive, external hard drive to a hub that can be accessed wirelessly....so far I know that my printer can be thru the Airport express, however, I dont know if it can be done with the superdrive and the ext Hard drive. It would be so cool and super easy if this can be done so I can just roam around my house with my Macbook air, sit and work on my mac mini and just lets say play a movie thru mirroring on apple TV by wirelessly using the superdrive instead of having to plug it to the macs...am I too far advenced for this technology or is this just wishful thinking....???
- Asked by Michelle F from Chicago
- Aug 14, 2012
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can the usb superdrive be hooked up to a normal TV?
I have a dvd drive in my macbook pro that works just fine, but i like to multitask on my down time. so can the USB SuperDrive be hooked up to a normal TV that way i can watch a movie and still be able to use my mac for other things? If not, is there a way to work around that by hooking it up to a secondary unit that routs into the TV?
- Asked by Rebecca F from Falcon
- Mar 4, 2013
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No answers yet
can i use the apple usb superdrive with my i pad 2 and my mac mini
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- Dec 31, 2012
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A second man wanted in connection with the shooting death of a Party City manager during a robbery surrendered to police Monday.
Joshua Leon Archie, 21, was accompanied by his uncle, activist David Archie, when he surrendered to Jackson police across the street from the Stronger Hope Baptist Church on Beasley Road.
Joshua Archie and Undra Ward, 22, are facing capital murder charges in the death of Party City manager Bobby Adams, 68.
Ward, 22, a Party City employee, was arrested and charged on Sunday. An arrest warrant was issued for Archie, who is a former Party City employee, Ridgeland police said.
"Those two men not only took a husband, father, grandfather, but a friend to many and our future as a family," said Adams' daughter Annemarie Adams-McCarty in a statement emailed to 16 WAPT News. "Finding out that both men had worked with my father took my breath away that they could plan this robbery/murder then acted it out and run. He had given them guidance, friendship and a wonderful work environment."
Jackson and Ridgeland police officials said Joshua Archie would join Ward at the Madison County Jail.
"These young men, who were going to be Jackson firefighters -- they had applied and gone through the process -- made a grave, grave error in judgment in this case," said Ridgeland Police Chief Jimmy Houston.
Ward was a Blitz 16 Player of the Week for Ridgeland High School in 2007. Both he and Joshua Archie played football at Holmes Community College before quitting the team.
Joshua Archie's mother, Cherry Price, said she doesn't believe her son was involved in the robbery and shooting.


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To announce the release of the Deftones' seventh album titled "Koi No Yokan" (a Japanese phrase roughly translated as the imminence of falling in love), Warner Bros. Records set up a listening and interview day at their Burbank offices. Seated in a publicist's office, the label graciously provided pizza, salad and beer while a handful of journalists listened to the new record. Upon first listen, the songs immediately resonated with that delicate balance between the light and dark elements the band had so beautifully orchestrated on "Diamond Eyes". Produced once again by Nick Raskulinecz, the music alternated between huge guitar riffs provided by Stephen Carpenter and Chino Moreno's haunting vocal melodies while the rhythm section of bassist and relative newcomer (joining the band for "Diamond Eyes") Sergio Vega and longtime drummer Abe Cunningham laid down rhythmic beds ranging from the halftime dirge of "Tempest" to the threatening heaviness of "Poltergeist".
UG: Before we talk about "Koi No Yokan" can you fill us in on the "Covers" album you did for Record Store Day?
Chino Moreno: Every single song on there, man, we loved. That's the hard thing about doing that because a lot of those you loved them because they're already great. It's about doing them and trying to not mess 'em up. But putting a twist on 'em and just trying to have fun doing it.
Are the songs on "Covers" tunes you performed live?
Most of 'em not because a lot of 'em were recorded in the studio where we never really performed them as a live band and they were kind of put together in the studio kind of thing. We did a couple of 'em live.
Before the Deftones were you playing in cover bands in high school and that kind of thing?
No, Deftones has been my only band I've ever been in since I was 15. Although Deftones kind of started as a cover band. Not really but the first songs we ever played together, we didn't go in there and say, "Hey, we're a band and we're gonna start writing songs together". We played anything from Danzig songs - this is just in the garage to each other-and obviously Metallica to Pat Benatar and whatever. Any song we could figure out how to play just to say, "Hey, we can do a song together". It was shortly after that and maybe a few months in that we started actually writing our own songs.
You did Lynyrd Skynyrd's "Simple Man" on "Covers". Were you a fan of southern rock?
You know what's crazy is that that was one that Abe brought to the table and at that point I'd never even heard that song. So the same day I sang it was the first time I ever heard it. I mean I've heard like "Freebird" and "Sweet Home Alabama" and the hit songs. Maybe that song was a hit but I'd never heard it at that point. Actually that song was recorded before we even recorded "Adrenaline".
So "Simple Man" was one of the earliest documents of the Deftones being recorded?
We were recording demos for "Adrenaline" and we had an idea to do a couple cover songs and that was one brought in by Abe. Abe or Stephen said we should do "Simple Man". And I was like, "I never heard it". So they played it for me and I listened to it about five times and then they recorded it and I went in and sang it. So that's one of the oldest recordings.
Did you actually dig on the sound of Skynyrd and the multiple guitars and stuff?
Not only that but the song itself and the lyrics and everything. Itâs a pretty touching song. It's funny because at that time it's before "Adrenaline" came out so that was like '94 or something like that and I didnât even have kids then. Now when I hear that song I totally connect with it because I'm a father - I have an 18-year old kid is my oldest kid and a 15-year old and a 7-year old - and the nature of the song and the lyrics is kind of a mother talking to her son or whatever. Now I'm able to even connect with it whereas when I recorded it I didn't even have any kids.
You did a version of The Smiths' "Please Please Please Let Me Get What I Want". You were fans of The Smiths and The Cure and that sort of indie pop scene in England?
Yes, that's what I grew up on. I was heavily influenced by those groups. I didn't know much about heavy music or whatever up until I got in this band. Then again I was only 15 years old so I was still coming of age. But at that point when I got in the band, the heaviest thing I listened to was probably like Danzig and that was only because I liked the Misfits and some other stuff. That first Danzig record had come out and I was like, "This is such a cool sound" and they said, "Dude, it sounds like Black Sabbath". And I was like, "What does Black Sabbath sound like?" I didnât even know [laughs]. Yeah, Iâm a late bloomer in metal.
"When I look back at things I've written now I know what I was thinking when I said that."
"Adrenaline" was a pretty heavy record. If you were listening to bands like Danzig and The Smiths and stuff, why wasnât it a bit lighter in sound?
'Cause by the time we actually recorded that record that was like 1995 and that was a good eight years or something after we had formed as a band. What I'm saying was my introduction was right when we first got in the band and Stephen started turning me onto a lot of that stuff. At that point when we made "Adrenaline", I was heavily influenced by Pantera. Still with my love for New Wave music and the Smiths and stuff like that but I was just completely engulfed in Pantera world. And just like, "This is the best music". Especially at that age too where itâs like the aggression there is totally is fitting for like the young mind.
Those are the memories that come back to you when you think about "Adrenaline'?
To be fair there's some lighter moments on that record too or dynamic moments. Which was a little prelude to what was to come. You know what I mean? But overall, yes, it was more of younger just aggressive record.
Last October, you put together the Vinyl Collection of all the Deftones albums. You were vinyl junkies like the rest of us?
Still am. It was super cool. I still go into my garage at least three times a week and put on records and listen to records. I have a huge sound system connected to my computer that I just will ignore and I have my little speakers set up to my turntables and I prefer to listen to music on records sometimes. Just for the listening experience alone of putting it on and looking at it and letting it play through and listening to it. Just that pace makes me feel like I'm taking in so much more than just clicking through mp3s.
You actually reversed the typical process where analog records are dumped to digital. You took the CDs and dumped them back to vinyl. How did that sound to you?
Oh, it sounds great. I mean I think it started with "White Pony". We pressed that to double vinyl so it was real high-quality vinyl. I remember listening to that record on vinyl and have a whole nother experience with it. Over the years I've always wanted to keep that alive within our music and I think this new record will do the same. Shoot, we've been around for a while. Speaking of cassettes, our first two records were released on cassette. You know what I mean? As well as CD but those were the early days of CDs so they were still weaning out tapes. So our first two releases are available on cassette or were available on cassette.
You had made comments that "Koi No Yokan" reminded you of the "White Pony" album. Is that an accurate statement?
I don't really remember saying that. I might have said it once and I'm not saying I didn't say it. If I did say it, I don't remember why I said it.
"White Pony" was an important album for the band - do you think "Koi No Yokan" is like the next logical step along from "White Pony"?
I would hope that this is the next logical step from our last record. I think it has more of a kinship with that record than "White Pony". "White Pony" was something that happened out of a little bit of chaos.
What was happening with the band at that time?
We knew at that time we knew we didn't want to make anything that sounded contemporary at that time. Our contemporaries at the time were more the nu metal types of acts.
Linkin Park?
Yeah, all that stuff was just coming to light and those bands were really big and getting a lot of radio play at that time. Not that we didn't like that stuff but we really wanted to distance ourselves from just being another band in the scene at that time. So to make that different we tried a different [thing] and kind of took a left turn from that. But it was really chaotic because even though we knew what we didn't want to do, we didn't know what kind of record we were gonna make. There was a lot of push and pull between me and Stephen.
What kind of record did Stephen want to make?
He wanted to just go straight metal and make a straight metal record. To me I don't think we've ever just been a straight metal band and I couldn't see us doing that. I just didn't feel natural about that. At the same time I knew we weren't just gonna make like a Cure record or something like that because we're not that either. I think him and I were both very passionate about our influences and what happened was we were constantly trying to outdo each other as far as like he'd have an idea that was great. I'd go, "Well that's great and check this out". In doing so we were just building upon each other's greatness. I think at the end of the day without realizing it we made a great, expansive record that we didn't even really realize we were doing.
You think that "Koi No Yokan" has a closer connection to "Diamond Eyes"?
I think so as far as the energy coming off that record. I think we were reinvigorated for one because of Sergio coming in and just our work ethic changed completely. We completely got more engulfed in writing records together as a team where everybodyâs in the room at the same time writing off each other and being in that moment documenting our initial thoughts on our reaction to what the next guy is doing. He's doing something and my initial reaction is "This" and the next guy's reaction is "This". Within an hour or under an hour, we have an idea of pretty much a whole song formed. The organicness of that just of us creating a record like that really is invigorating.
"A lot of the times if the music started great and it's speaking to me, I've got tons of ideas."
That was your approach on the "Diamond Eyes" record?
I think when we were successful working that way on the "Diamond Eyes" record, I definitely feel that it built a lot of confidence in us and we decided to just keep going with that. And it worked.
What has it been like working with the band on these past two albums?
Sergio Vega: Honestly from the first day was really awesome. I mean I say it a lot but what's basically cool to me about this group is that every one of them brings so much to the table in terms of their own creativity. But they also have this really cool quality of being super excited and supportive of other things that come from each other. The first day we got together we wrote a tune. I have never not felt a part of it and what's really cool about it is you saying that to me is complimentary to me.
Acknowledging that you are a part of the Deftones means a lot to you.
Vega: Getting to be a part of that and getting to contribute to that and it folding in so well to the point where it's not even noticed is really a high compliment. Everyone was very open and embracing and you just get to be part of the mix. I was like, "Wow, these guys donât need to do that". You don't want to mess with a whole bunch of years youâve built up and they all have something to say anyway. So it's a very rare group in my experience that would be so open to have me come in and stuff like that. So I was very appreciative. I just always want to put my best foot forward and just like keep jamming and just keep coming up with ideas.
That work ethic created on the "Diamond Eyes" album has continued with "Koi No Yokan"?
Vega: With this record there's just like an expanse on that. I felt embraced and I felt like a part of it. I know that everyone challenges themselves so I had an opportunity to bring more to the table in terms of different sounds and different things and stuff. So where it's not so much about being more collaborative this time around, it's just more wanting to live up to that and help be part of cultivating and growing something. Because no one feels at peace or restful with the thing they had done before. It's always like, "We got here to go there and what do we bring to that?" So it's like more, more and this voracious appetite for growth and to be part of that is special.
Did you feel like you wanted to expand on the musical ideas on "Diamond Eyes" with this new album?
Moreno: Honestly we don't go in with any preconceived ideas of what kind of record we're gonna make or what it's gonna sound like or what of our past records it's gonna sound like. I think we go in with just the idea of, "Let's create together and let's try to capture this moment in time". And that's kinda what I feel like we did. I think it was like three or four months we spent writing this record and I really feel like what you hear and what people are gonna hear is a snapshot of that time in our lives.
"Tempest" is the first single from "Koi No Yokan" and has a very dark and stark feel to it. Does this reflect the overall sound on the album?
Moreno: No, we make the songs thinking that any one of them could be heard first. It just so happens the label picked that one to be the first single, which I'm fine with. Vega: The conscious aspect to the approach is the modality and the work ethic. We went into "Diamond Eyes" saying, "OK, we're going to go from this time to this time. We're gonna do it like this and we're gonna document and record everything. We're gonna go back and edit that and we're gonna listen and we're gonna constantly grow". That carried over so it was all about the work ethic and the template you create for creativity. We had a good time and we were excited and whatever happens is whatever happens. You just know you're gonna put your all into it and really help cultivate these things that come out. Outside of that it's whatever happens and it's playing off each other. Moreno: That's really the excitement of it is not knowing what it's gonna be. And even 'til this day, I don't know what we just did. I feel like maybe a year from now or maybe even less or maybe even more, I'll be able to look at this record from a different perspective. Get more perspective on it I'd guess youâd say and, "Wow, this is what we did this time". But now we're even still in it and we're just coming out of it actually. The record isn't even mastered yet so we haven't even heard the sequence mixed and mastered and be able to really take it in. But yeah, it's kinda cool not knowing. You know what I mean? That's kind of the exciting part. I guess you could compare it to like when a boxer goes in the ring and kind of just blacks out and then he comes out and says, "Did I win?" It's kind of that feeling of just like going in and seeing what happens.
It's an interesting phenomenon because you as the artist can never hear a record the same way your fans do.
Vega: A personal experience creates free association so to have that thing approach them is cool. From my perspective that's always been a cool thing about the band where it's never so in your face and it's never like, "Here's what it is. I wrote a song 'cause I feel bad today". The people will get to take that and it means something to them and it resonates with them and they fill in all the blanks. That creates that connection where someone feels like they own that song.
That has always been the most enduring quality about the Deftones is mixing the melodic and the heavier music in what you do. You've talked about liking the lusher side of what the band does?
I actually like all the parts and dynamics in general. I can't say that, "This is my part of the group and Stephen's part of the group is that". 'Cause honestly that dude wrote a lot of the melodic stuff on this record. But mainly I embrace the dynamics of it all. Even if something is like the opposite where something is a little bit too maybe dreamy and somewhere, I feel like, "Well we need to poke 'em a little bit". You know what I mean? To have than ying and yang type of thing is a big part of our sound and always just having it be dynamic and never just like, "Here's the mood of the song and that's what it is." I always feel like we need to kind of like... Vega: Push against it. Moreno: Poke a little bit and then caress. Vega: That's where the excitement is in defying expectation and things like that. So you get into something out of your initial spark and you go there. Then maybe where logically you'd say, "Oh, well this is the thing and now we're gonna go here". Because of that there's like this rebellion to that that comes in. It's like, "How do you make it hot without going there?" because they're gonna know that's the expectation. So the challenge is now we wanna make it hot. Moreno: It's not completely self-indulgent. There are certain things that we know feel good to us and it's like, "OK, well this might be where it's a little typical but it feels good. Why f---in' fight it?" Are we that militant or we gotta be so cool and different? We just kind of go with the flow sometimes too and that's OK. At the same time we try to do that without being complacent or following a formula.
"Even though I'm playing bass, I don't want to hear that same tonality the entire time. I just want things to pop, change, move, and create and lift and shrink and that."
You played guitar on "Koi No Yokan"?
Moreno: For some reason I played almost every song on this record except one. It's just kinda like I love playing guitar and my guitar was set up in the rehearsal spot. So anytime someone was playing something I was like, "I wanna play along with that" and just picking it up and playing along. That's really it - it was fun.
How did the guitar parts get worked out with you and Stephen?
Moreno: Really smoothly, man. Normally in the past it wasn't as easy for one reason or another. I honestly think our sounds complement each other and our tones are very different. He has a mighty sort of processed tone that he used and is sort of known for, which is a lot of the meat or the attack of our music. My guitar tone is pretty simple - I just plug right into an amp and turn it up just so it breaks up. I feel like I just kind of weave in and out of what he's doing. But at the same time not try to be anything but just complement the song or whatever and have fun doing it.
Do you compose on guitar?
Moreno: Yeah, just sittin' in a circle with everybody else. Vega: Yeah, we jam. Moreno: "Jing jing, yeah, that's cool. Well what about going here? Thatâs rad". You know what I mean? I mean it's a pretty cool environment. Maybe 10 years ago or more it wouldn't have worked but now I think with the dynamic of the band everybody is pretty open these days. I think when we were a little bit younger we were a little bit less accepting or just like, "Well let's do it this way". Where now it's just like let's have fun and we'll decide on whatever's best for the song. It's not about my idea or your idea or whatever.
It's a real democratic approach.
Moreno: That's the cool thing with our publishing too - we split everything evenly. Itâs not like, "Hey, I wrote this so I get this". So it doesn't give you the idea of trying to win any kind of battle. The only battle there is once there is no sound and creating some sound and making it the best it could be. Vega: It's amazing how quick everyone is to jump on. The way I view it is something may seed a song so that might be the first bit or the first riff. And you see how quickly everyone just jumps on it and it really doesn't matter who it comes from. It comes from sometimes the most unlikely sources and sometimes the source doesn't make it to the end of the song. Sometimes it's a song that inspires another song and that original song is gone. It's just a cool process and a pleasure to be part of it. It's redundant but everyone brings so much to the table that you could think where people would be defensive or protective of their lane. But it's just so not the case. Moreno: Sometimes we swerve out of our lane. Vega: And everyone plays a couple of instruments and stuff so you have a lot of respect for what people bring to the table. From when I first came one someone will do something and you see the spark and it's like whoosh and you get on something and, "This is rad".
Was the entire band in the studio recording live?
Moreno: No. Actually we do but we have this weird way that we did these last two records. We actually played live together but to a click track. Vega: Right, so we get stripes. Moreno: Then recorded that and then give it to Abe. He has us all in his headphones and then he plays the drums to us.
That is strange.
Moreno: Which helps us out because - I don't know if it helps us out but I think it's easier for Abe because I think he feels pressure that he's gotta nail it. If we're in the room with him and we just keep playing along, maybe he feels like he's gotta nail it within a certain amount of times or otherwise we're gonna get tired of playing the f---in' song or whatever. So it takes a little bit of pressure off of him because our parts were recorded and then he can just go in and play his drums to it.
The drums are always the critical part of any recording.
Moreno: After that we actually end up going in after his drums are perfect and we'll actually do our guitars and everything again or whatever. It's more like a scratch track and we call 'em stripes. We lay down the stripes and then he goes in and lays down his thing and then we go in and do overdubs. So it seems like it would be more of a process but actually it shortened things up. He actually recorded his drums in one week this time. Previously on some records it's taken four times longer than that. Vega: It's kind of a fun little exercise to do 'cause by that point we've played the song so many times over as a band. Then you go in there and it's not really like a click track per se because there's not a tempo but there's a tempo map. You know it so well and to just have that thing without the drums is kinda fun. Again the songs are well rehearsed by that point so it goes down way quicker than you would imagine.
You're working once again with producer Nick Raskulinecz who did the successful "Diamond Eyes" album.
Moreno: It wasn't so much the success of that record but just like the making of it itself was such an awesome experience. To have someone in there who was so in tune or what's the word? He was really engaged in every moment of making that record where it was so cool to have someone from the outside just be that engaged. And it really took a lot of pressure off us too of having to be the ones that sit there and document everything we're doing.
Nick was like this incredible filter for your ideas?
Moreno: Where it kind of just lets us play so we're just sitting there playing and making things up and then he's actually the guy standing there going, "Hey that was really cool what you guys did right there. Do that again". So we're like, "Oh, OK". As opposed to sometimes you leave us on our own and we'll just keep jammin' and it'll be like two hours later and it'll be like we donât even know where we started from. So he really helped us make sense of it all and be really efficient with our time and what we were doing.
You never thought about working with anyone else?
Moreno: Bringing him in again was just like the obvious choice. I think when we finished writing the last record, he said, "OK, I think you guys got the record". And we're like, "What do you mean?" He's like, "You've got enough songs". We were in the process of writing it and heâs like, "Hey you've got enough songs. I think we're ready to go into the studio". We're like, "Oh, what?" But at that point as soon as he said it, he was like, "I'd like to do this again". And we said, "I'd love to, too." I think we kind of decided at that point that we wanted to do it again. Vega: I could see we learned a lot from him because on the second record a lot of that stuff would be self-motivated. Where we learned a lot so that the second time around we would be quicker to jump on things and take those kinds of approaches and bring out the progress chart and experiment with arrangements and things. He really brings a lot of excitement and a lot of cohesion.
How does a song like "Leathers" [working title: "Layers Of Ash"] evolve?
Moreno: It's all kind of a work in progress: one thing is a catalyst for the next thing. It's never like, "We have this idea for a song and it's gonna start here and then we're gonna go there". We're not that smart [laughs] to think it out beforehand and draw it out and do it. But it's really an organic kind of event where one thing inspires the next thing.
When did the vocal melody get written?
Moreno: The vocal was the last thing written and that was actually written in the studio. It was me just listening to it and going, "Oh, I've got an idea" and running in there real quick and singing my idea whether I had a word for it or not. And the words were the very last thing. It's just steps. Vega: And sometimes songs are coming up in chunks. It's not like a song is written in an assembly line. There's a gurgling up where there can be like a three-song block that's happening. In a weird way theyâre all kind of referencing off of each other to create these distinct kinds of entities. Because this energy or this type of thing might appear here so the opposite is happening here. But none of it is conscious or talked about. You're just all doing it and it's coming and they're all being worked together. So it could be like a five-song thing and there they are and you wouldn't necessarily think they came in that same block. But they all come in a two-day or a three-day period. Then you look around and it's like we have nothing 'cause we wrote those songs. It's like, "What's next? What do we do?" Then the hunger is right there as if we have nothing. When a song was done that appetite came back very quickly.
"I would hope that [''Koi No Yokan''] is the next logical step from our last record."
At the end of the day are you the last good word on a vocal performance?
Moreno: Usually it's the last thing to get added to a song and we try build something musically that we all love. Then itâs all about not f---in' that up with words. Really. It's kind of the scary part about it 'cause then it's like, "Oh, now it's all on me. Everybody already thinks this is great and this can only go two ways: it can be even better or I can mess it up". To make it better, that's the challenge.
That's the hard part.
Moreno: But a lot of the times if the music started great and it's speaking to me, I've got tons of ideas. It's all about picking the one that I feel the most passionate about and pulling it off. I'm so happy that I've been able to do that. On this record I feel like everything kind of came to me. It just came. When we left the writing process, I had melodies pretty much over everything almost; I mean there was a few things that I didn't. I didn't have many lyrics so not until it came to my time to sing after all the music was recorded that I actually filled in the gaps with the words. So there's no real formula for it other than trial and error. It's a crazy process and I don't know any other way to really do it. This is the only way weâve ever done it so it works.
Lyrically where do the ideas come from? Books? Movies?
Moreno: Top of my head really. When I look back at things I've written now I know what I was thinking when I said that. But a lot of times it is, it's really a stream of consciousness and it's not like I have a distinct idea of what I'm gonna make a song about. It's just like, "The vibe of the song is this" and usually there are certain key words or something that will come in and Iâll just stick with those and build around it.
"Poltergeist" was a very cool song with a heavy riff. Where did a title like that come from?
Moreno: The title came in after the lyrics. So the lyrics were already there and after listening to 'em and putting 'em in perspective, I said, "Oh, poltergeist fits f---in' great with the vibe of that song". The song is just about being taunted but liking it a little bit you know? So "Poltergeist" to me just fit-it's an awesome word but it just fit the actions of the song.
Your fuzz bass part on "Poltergeist" was really unique.
Vega: Thank you kindly. Starting off it's a high-pass filter and again there's are the things that kind of float our boat. It's about the moment and about pushing yourself and experimenting and playing with things. I'm a big gear nerd and these guys are too and super big into sounds and, "What can I bring to the table with this or with that?" I used to DJ a lot and a lot of approaches and getting into things and how like sometimes you cut the bass.
You tried to bring outside elements to the bass?
Vega: Even though Iâm playing bass, I don't want to hear that same tonality the entire time. I just want things to pop, change, move, and create and lift and shrink and that. It was just fun and I remember jamming with Stephen and everybody was just like having his bits and then like applying the filter to that. It's just like, "Alright this is tight and exciting" 'cause when it comes in it creates the width. It's just fun and a lot of it for me is wanting to be a good component. It's really rad to be playing with these cats who I think are fantastic so I'm just trying to put my best foot forward and challenge things and bring something fresh to the table.
A band like the Deftones lends itself to different bass sounds and techniques.
Vega: We all come from that thing of listening to so many genres and not being concerned with being genre-specific. Also there's the common thing of not being caught in too much preconception of saying, "We have to do this now". It's all about the spirit and the excitement of the moment. So whatever comes out and lives through all of us, it always has that spark in every facet of its creation.
When you think about the different facets of "Koi No Yokan", are you happy with everything?
Moreno: It never feels like I have a whole lot to say but this is what came out. Iâm very happy with what came out.
Do you have that same kind of feeling about the "Adrenaline" record? You were a pretty angry young man on a song like "7 Words".
Moreno: I think it's typical at that time when it's like fuck authority and everybody's out to get you kind of sh-t. All you wanna do is your thing and someone's always telling you this and that and whatever. It's like typical kid's sh-t. I have a 15-year old kid now and I'm watching him and it's like the same sh-t. I'm sure everybody goes through it. That part of my life just happened to be documented through a record.
You can hear the songwriting expanding on "Around the Fur". What the music on the second album a precursor of what was coming on "White Pony"?
Moreno: I think so, yeah. I think in "Adrenaline" and we talked about this a little bit earlier but I think there are even aspects of different sounds other than just aggression. There is a lot of aggression on "Adrenaline" but there is a little bit of [different stuff] in there but I think a lot more in "Around The Fur". Even to this day and I'll be honest with you about "Adrenaline", I felt like it was a cool record but I never felt like it was that great of a record. I was so happy that people liked it but I didn't even think like it was that great of a record. When it was successful I felt like, "Wow. If people love that then now I really think we can expand and do tons more" and I was so excited.
That was your thought process on "Around The Fur"?
Moreno: So we made "Around The Fur" and we wrote and recorded that record in four months. That was the fastest record we ever did and ever recorded and I don't even remember it. It was so fun and such a great time in our lives that I remember the time but I donât even remember like creating it. It just happened and I really feel like we captured the essence of that time in our lives. The songwriting and everything I felt like we could just try whatever and it worked. I'm really proud of that record - I love that record probably more than any of our other records. I mean that's my favorite Deftones record.
"I really feel like what you hear and what people are gonna hear is a snapshot of that time in our lives."
You added Frank Delgado on sampling and electronics on the "White Pony" album. Why?
Moreno: It was still expanding. Even though I loved "Around The Fur", I still felt like, "Wow, let's expand even more". I mentioned earlier our contemporaries at that time were - and what was becoming Top 40 music - bands like Linkin Park and Limp Bizkit and things like that. I kind of felt like taking a left turn from that too and in doing so we created that record.
"White Pony" became your biggest selling album ever. What do you think Deftones fans connected with in that music that made the record so popular?
Moreno: I think it was refreshing at the time. I don't think people expected that record from us too. I think people expected more of the same thing. I don't wanna say we were ahead of our time or whatever but I always felt like a few years after that record would be out then people would start catching onto it. At that time people were catching onto "Adrenaline" and everybody loved "Adrenaline" and stuff like that. I was so removed from that and when we made that record I think people didn't expect that from us. That was something that just happened for a lot of reasons - you know what I mean? I'm still really proud of that record because we took a chance and we were successful with it.
What was it like trying to follow up "White Pony" with the Deftones album in 2003?
Moreno: That was pretty crazy because we were so successful on "White Pony" with just going left of center. We kind of fell into a thing where, "Wow, we can just do anything now and it'll work". That was a lesson that we learned. Even though I think the record turned out good, it took us a little over a year to make that record. As opposed to a couple records back too us four months, that took us a whole year. So there was a lot of taking it as it came. Although like I said the record was good, we learned a lesson that the more you put into something the more youâre gonna get out of it.
Interview by Steven Rosen Ultimate-Guitar.Com © 2012


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In My Ride Video Snapshots
In My Ride Video Snapshots
Colorado Woman From County Clerk's Office Registering Only Romney Voters! (Fraud))
Boise Police Shoot Pitbull- -Graphic- (Raw Video)
Death/Murder of Derek Williams Caught on Milwaukee Police Department Squad Car Cam (Video)
Derek Williams baby-mother speaks out MILWAUKEE — Milwaukee County District Attorney John Chisholm and Milwaukee Police Chief Ed Flynn are seeking an independent prosecutor to handle an inquest into the death of 22-year-old Derek Williams. This, after the Medical Examiner's report on Williams' death was amended and classified as
Some Cold Shit: 2 U.S. Marines Face Charges For Pissing On Dead Taliban Soldiers (SMH)
Neo-Nazi Record Label To Perform At A Racist Music Festival Near Boise
BOISE — A neo-Nazi, white supremacist gang has announced plans to hold a music festival near Boise on October 6th. Police say the event is a tool to recruit new members of a dangerous hate group. "This is a very high priority. The mayor's office has received numerous complaints about
Family Gets Grandma High For The 1st Time! (LOL)
Medical Center Claims Marijuana Can Stop Cancer From Spreading #LegalizeIt #DecriminalizeIt
Today's Tabloid: Is Beyonce Pregnant Again?!?
8-month after giving birth to Blue Ivy, Beyonce has the web going crazy over rumors of a new pregnancy. The singer went to La Marina restaurant last night (Sept. 23rd) in Washington Heights in NYC with Jay-Z and hollywoodlife.com got the scoop claiming that "a source close to the


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Smile for the camara :) ← an animals drawing by Antby ant smile for the camara :)
10 CommentsCommentsthanks 4 your comment hakanthanks 4 your comment hakan .. not quite as good as yours tho .. yours r brilliant.. very nice smile... hehe...very nice smile... hehe... nice animals you have.. keep going Dont give up!! smile for the cameraHa ha, I don't think so, think I would do the drop and run...drop that camera and run for your life from this angry looking cat. You did a great job with the expression on this cat Ant. Wonderful draw and very nice detail. |


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So what did I get?
My babies of course! I took this a few weeks ago at our local pumpkin farm, and I thought it was so cute. I decided to make it black and white, and I'm very happy with the result. It would make a great Christmas gift for the grandparents....of course, I'm keeping this one for myself!
This is what it looks like from the side. I like how the photo wraps around...pretty cool.
Interested in ordering your own photos or artwork on canvas? Go to Easy Canvas Prints and check them out! They also have over 1 million images available if you would like to have a nature shot or some other work on canvas, you don't necessarily have to upload your own.
You can also find them on Facebook and Twitter, where you can be the first to learn about special promotions and sweepstakes! There are several specials on their Facebook page, so head over and become a fan!
Disclosure - I received one free 8x10 canvas to facilitate my review. All opinions are my own.


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Bishopp joined to bump a two year old thread and flame the staff for encouraging a mod author to educate himself instead of write his mod for him. His regular plans for the weekend fell through I guess.
There was a lot of great "I HAVE THE LAST WORD YOU CAN'T CHANGE THAT, I'M NOT COMING BACK TO THIS GARBAGE FORUM AFTER THIS" and of course it got deleted so he reposted it a couple of times to be sure. Cute, really.


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WASHINGTON – Weight-loss surgery such as the type that New Jersey Gov. Chris Christie underwent may not just improve people's waistlines, but their health. Obesity causes or worsens myriad health problems, from diabetes to heart disease, severe sleep apnea to arthritic knees.
See the article here:
Christie's Surgery Highlights Weight-Loss Options


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You can manage who you follow here
2/18/2010: Dedicated to inspire and educate visitors about the rich and varied cultural, economic, political and social history of the Dallas County Area, the Old Red Museum of Dallas County History & Culture serves as a symbol of Dallas heritage. Built in 1892, the beautifully restored Old Red Courthouse contains some of Dallas County's most fascinating historical artifacts. There is a special exhibit gallery located on the first floor, while the second floor of Old Red is filled with exhibits, 41-touch screen computers, an educational learning center and four mini theatres.
The Old Red Museum is located at a crossroads of activity in downtown Dallas – adjacent to the JFK Memorial and Dealey Plaza, a National Historic Landmark District, across the street from a replica of Dallas founder John Neely Bryan's cabin and just a block from The Sixth Floor Museum and the historic West End of Dallas. (from www.oldred.org)
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text: a collection of metal bowls with gently sloping lines, in gunmetal and platinum or brass and gold combinations, enriched by a luminous hand-polished finish. clean with a soft, damp cloth. made in india. offered in platinum or brass. a centerpiece bowl and votive are also available. calvin klein home gift box included. limited edition. exclusive to calvinklein.com.


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The Outliers of Fair Housing
Fair Housing is pretty clear cut for the most part. Federal and state laws clearly list the protected classes and outline the ways in which they are to be protected. There are however, outliers: situations in which doing the right thing isn't always clear and when it is easy to make a mistake and violate Fair Housing laws. Most often it is just not realizing someone is a member of a protected class or fully understanding the situation. Let's take a tour of some of the less common, but altogether more difficult situations in Fair Housing.


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Northrop Grumman agrees to acquire Australian cybersecurity company M5 network security
Friday, Jun 08, 2012
Northrop Grumman Corporation (NYSE: NOC) announced that it has signed a definitive agreement to acquire privately held
The acquisition is subject to Australian government review. Terms of the transaction, which is expected to close later this year, were not disclosed. The acquisition is not material to
"This acquisition enhances our ability to provide innovative, agile and proven cybersecurity and communication solutions to Australian customers," said
"M5 Network Security remains committed to maintaining the highest level of performance and service for our customers. We expect that as part of
Northrop Grumman is a leading global security company providing innovative systems, products and solutions in aerospace, electronics, information systems, and technical services to government and commercial customers worldwide. Please visit www.northropgrumman.com for more information.
This release contains statements, other than statements of historical fact, which constitute "forward-looking" information within the meaning of the Private Securities Litigation Reform Act of 1995. Words such as "anticipate," "expect," "intend," "plan," "believe," "estimate," "guidance," and similar expressions generally identify these forward-looking statements. These forward-looking statements speak only as of the date when made, and the Company undertakes no obligation to update or revise any forward-looking statements after the date of this announcement. Forward-looking statements are not guarantees of future performance and inherently involve a wide range of risks and uncertainties that are difficult to predict. A discussion of these risks and uncertainties is contained in the Company's filings with the