text:
Style # 224507
AVAILABILITY: Unavailable for immediate shipment.
Flared-leg workout pants that sizzle with liquid-look insets and belt. Curve-framing contrast piping. Moisture-wicking fabric keeps you cool and comfortable, gym to juice bar. Front bebe Sport logo.
- Original Be-Fit Supplex Fabric
- 88% nylon, 12% spandex
- Machine wash
- Made in USA
- Rise: 7" (18 cm), inseam: 32" (81 cm), leg opening: 24" (61 cm)
- Model is 5'9" and is wearing a US size S
Piping Belted Pants is rated out of 5 by 1.
Rated 4 out of 5 by girl1986 from Comfortable and cute Wore these for the first time at the gym and was very happy. The only thing I would like is for the thighs to be a little tighter. The curve lines on the back made my booty look even cuter ;)
Date published: 2013-12-16


text:
The Bible is indeed the Bookof Books. Beyond its role as sacred
text, its stories of ordinary and extraordinary men and women have inspired
some of the worldÕs greatest literature, poetry, painting, sculpture, music,and
architecure. To this day it holds a mirror to the travails of the humanspirit
and condition. ·Of all its many translations, no Bible has made a greater
impacon the histories, cultures, and literatures of the English-speaking world
than the King James, or ÒAuthorizedÓversion. The power and beauty of its lan-
guage raises the BibleÕs history, adventure, romance, law, parable, prophecy,
and poetry to their highest forms. ·The PennyroyalCaxton Bible follows
Frederick H. A. ScrivenerÕs 1873critical edition of the Cambridge Paragraph
Bible of the Authorized English Version. ScrivenerÕs edition accounted for
the entire history of the KJVtext starting with Robert BarkerÕs ·rst printing
in 1611, including the many vicissitudes that subsequent printers visited
upon it. ·ScrivenerÕs editing eliminated verse numbers and much of the
italic which had come to be used to indicate words not found in the origi-
nal tongues. This was the text used by Thomas James Cobden-Sanderson for
his Doves Press Bible which maintained traditional chapter breaks and indi-
cated paragraphs with the pilcrow (·).In this and in its understated typo-
graphic simplicity, The Pennyroyal Caxton Bible closely follows and owes much
to the Doves model.
The illustrated Christian Biblesof the twentieth century have
tended to follow safe, well-travelled paths: missionary bibles illustrated in a
travelogue mode; sweetly limned childrenÕs bibles; bibles with picures stuck
into them that were never meant to be illustrations; and a few illustrated
with work from other eras. The single grand example of this century is Marc
ChagallÕs Jewish Bible which commenced in 1930and which was published
in 1957. ·The Pennyroyal Caxton Bible is the only twentieth-cFROM RECENT ARTICLES
ÒMoser has created engravings wth the brooding power of magic realism
...[his] images arenÕt the usual biblical clich"s...some of his indelibly beautiful
engravings are downright disturbing. Ó
ÑMalcom Jones Jr., Newsweek, October 12, 1998
ÒThe Pennyroyal Caxton Bible project seems at once anachronistic, megalo-
maniacal and inspirational. Interpreting out most cherished and profound
convictions in art is a project of uncertain success. Doing so at a time and
place when those convictions are no longer universal and interpretations are
easy targets of sectarian politics and secular disdain is even more daunting a
project. ª This single image [of Jonah cast into the sea] makes me certain
there are visions in [the Bible] which only a modern artist can embody.Ó
ÑEllen B. Cutler, Cultural Dimensions, Hartford, Ct, March 1998
ÒI for one cannot look upon the images that make up the crucifixion without
feeling the agony of that sacrifice. And something else. Call it the p
rice godÕs
own son paid to buy back the human race, includingÑit would seemÑthe
man who wrote these words and etched line by line these sacred images.Ó
ÑPaul Mariani, Image: A Journal of the Arts & Religion, January 1999entury bible
with illustrations for every book of both the Old and New Testaments. The

subset: commoncrawl


text:
Selected 4x5 negatives in black and white and color
by David Greene
This is the price your customers see. Edit list price
About the Book
Here is a selection of photographs from David Greene's exhibits Shameless and Andy's Donuts, Center of the Universe. Shameless opened in Berkeley in 1974. The Andy's Donuts show opened on Castro Street in San Francisco in 1975. This collection also includes selected photographs created for the books Men Loving Men, Black Men / White Men, The Poems of Harmodius in Exile, and Adonis Garcia. The book concludes with color and black and white portraits of David's friends and loved ones.
See More
About the Creator
David Greene
Chicago, IL United States
David's collection of photographs called Shameless was exhibited in galleries in Berkeley, San Francisco, Chicago, New York, and Zurich. David's book, Unmentionables, is an historical novel about two pairs of lovers in the Civil War south. Unmentionables was described by Kindle Nation Daily as "Gone with the Wind" meets "Brokeback Mountain." It is available from Amazon and Barnes and Noble. David's spouse is the painter James Stephens.


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'Hyde Park': Fine Murray, Soapy Take on FDR
When "Hyde Park on Hudson" played at the Telluride Film Festival earlier this year, Bill Murray was on hand to talk about playing Franklin Delano Roosevelt. In response to the inevitable question of what he thought of his character, Mr. Murray replied, "He's a big guy—he's on the dime." Fair enough. Actors are often unwilling, or unable, to articulate what they do when the lights go on and film rolls. In fact, Mr. Murray gives a fascinating performance, even though his FDR was conceived and written as a fairly small guy at the center of a small film that, for all its considerable charm, miniaturizes its hero in the process of humanizing him.
The time is 1939. While Hitler is poised to pounce on a terrified Europe, Roosevelt is finding what peace he can at his beloved family estate in upstate New York, overlooking the Hudson River. The first time we encounter him is from the viewpoint of Margaret Suckley (Laura Linney), a distant relative known as Daisy; FDR has summoned her from her home in nearby Rhinebeck to be an assistant. Daisy enters the president's study and slowly walks toward him. What she sees is her famous fifth cousin, seated at his desk. What we see is a combination of Bill Murray and FDR, which is a nice thing about the performance. It isn't mimicry, or the phenomenal transformation of Daniel Day-Lewis into Lincoln, but a more modest, impressionistic approach that's enjoyable on its own terms.
There is, of course, the unquenchable smile and the upthrust chin that denotes a Depression-defying optimism, along with the pince-nez glasses perched at an angle so close to horizontal that this Roosevelt sometimes seems focused on the ground in front of him. Instead of FDR's speech pattern, though, the patrician accent that was so much a part of his time and is so alien to ours, Mr. Murray uses his own voice with unforced warmth and, except for a few outbursts, calm rhythms that bespeak power through imperturbable ease.
This approach works best during a crucial meeting between FDR and young King George VI, who, with his queen, has come to Hyde Park to seek U.S. support for Britain in the war that will surely come. The king, Bertie (excellent work by Samuel West), is an interesting variant of the monarch we met in "The King's Speech." He's afflicted by a stutter, though not so acutely here, and by self-doubt that is addressed by a touching scene—a sentimental invention, but an entertaining one—in which Roosevelt reassures his guest, as the fond father Bertie never had, that he will be a fine king, and opens up the subject of the stutter, as well as the polio that has crippled FDR's legs, by way of emphasizing that their respective limitations are less important than what people want and need them to be.
"Hyde Park on Hudson," which was directed by Roger Michell from a screenplay by Richard Nelson, invents freely and for the most part successfully on the theme of the king and the president forging a friendship—buddy-bonding at the highest level—that foreshadows their nations' wartime alliance. Queen Elizabeth (Olivia Colman) makes American friends less readily. She is deeply dubious at first about how the royal couple has been received, whether they're being ridiculed and, especially, whether there's hidden social or political significance in a hot dog lunch that's been scheduled for their delectation. (The lunch actually took place, and sometimes, as the movie's royals conclude, a hot dog is only a hot dog.)
Unfortunately, the film's main concern isn't Anglo-American relations, but Roosevelt's relations, sexual and otherwise, with the women who surround him, and compete for his affection, or at least his attention. They include his wife, Eleanor, who's played sharp-wittedly by Olivia Williams (watch her casually egalitarian and cheerfully self-ironic curtsy to the queen); his formidably bossy mother (Elizabeth Wilson); his private secretary Missy LeHand (Elizabeth Marvel) and, especially in Mr. Nelson's take on our 32nd president, Daisy Suckley, for whom the whole film is a belated coming-of-age story coupled with an education in what cads men of vast power can be.
None of this was intended as a takedown, or as Oliver Stone-style revisionism of a towering public figure. Stories of Roosevelt and his fondness for women abound. The film, as earnest as it is ill-advised, hangs a speculative drama on one of them. And Ms. Linney is certainly engaging in the role. She brings intelligence and graceful intensity to every character she plays; the dowdy but somehow radiant Daisy is no exception. Yet this is 1939, for goodness' sake, a fateful year in the history of the world when FDR represents the free world's best hope, and here we are learning more than we need to know about his seductive ways, his casual misogyny and what he did with Daisy while they were listening to "Moonlight Serenade" in his convertible in the middle of a field of flowers. At moments like that, the big guy on the dime could fit on a tarnished penny.
'Rust and Bone'
Why are certain films less than the sum of their appealing parts? Before I tackle that question in the context of "Rust and Bone," let me make a case for the strong appeal of Jacques Audiard's sharp-edged, French-language fable about two damaged people who find each other at the nadir of their lives.
Marion Cotillard is Steph, who loses both legs above the knees in a terrible accident at the oceanarium where she worked as an orca trainer. Matthias Schoenaerts is Ali, a single father and chronic loser who's doing what he can to hold his life together by working as a bouncer, a security guard and a contestant in brutal, bare-knuckles boxing matches. He's splendid in the role, a sort of noble—though often ignoble—savage who might be civilized by the right woman in the right circumstances. (At times Mr. Schoenaerts reminded me of Ryan Gosling.) She's always splendid, a star of seemingly effortless distinction whose appeal is undiminished by the bleakness that we know will recede when Steph and Ali, in keeping with a time-tested trope, give each other new leases on life.
"Rust and Bone," which was adapted for the screen by the director and Thomas Bidegain from a story by Craig Davidson, is commendable for its no-nonsense attitude toward disability. Thanks to the marvels of digital imagery, Steph is visibly, indeed graphically, a bilateral amputee. And thanks to Ali's epic obtuseness, sentimentality is out of the question. Whatever the state of her legs, he's up for sex whenever time permits. Then why, getting back to that question, is the movie more intriguing than affecting? One reason is its surfeit of dramatic parallels and devices, the last of which sinks beneath shamelessness into bathos. The main problem, though, is what has become a sort of digital paradox.
In recent years computer-generated imagery has given filmmakers the freedom to do pretty much anything they want to do. Amputate legs? That's easy; write a computer program and they're gone. It doesn't mean the results will move us, though. Quite the contrary; the more remarkable the digital wizardry, the more vivid the reminder that we're in a wizard's realm. "What did you do with my legs?" Steph cries out when she discovers what we can plainly see. It's a new version of the moment in the 1942 drama "King's Row" when Ronald Reagan's character cries out "Where's the rest of me?" The difference is that 70 years ago, audiences knew that loss of limbs would be simulated somewhat clumsily, and accepted the simulation as part of the bargain of suspending disbelief. "Rust and Bone" takes the opposite tack. Far from asking our indulgence, this new film gives us one startling shot after another in which the rest of its heroine is clearly not there. It's impressive, to be sure, but also distracting, as seeing and believing are sliced asunder..
DVD Focus
'Persuasion' (1995)
A stirring version of the Jane Austen novel, directed by Roger Michell. The heroine, Anne Elliot (Amanda Root), burns with love she can't reveal for a young naval officer she once foolishly rejected. Anne is a great spirit struggling to soar. "I have traveled so little," she tells her eventually adoring seafarer, "every fresh place is of interest to me." For those who love to travel back into timeless literature via the movies, there's no fresher place than this film, originally made for British TV and adapted by Nick Dear.
'Scrooged' (1988)
'Tis always the season, but especially now, to revisit this dark and now-classic reworking of the Dickens tale. Bill Murray is funny beyond words, though he has plenty of them, as Frank Cross, the hateful TV executive who gets his comedownance from spirited spirits dominated by the Ghost of Christmas Present, an exuberantly combative pink fairy played by Carol Kane. The extraordinary cast includes Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, David Johansen, Robert Mitchum, and Alfre Woodard. Richard Donner directed from a script by Mitch Glazer and Michael O'Donoghue.
'A Prophet' (2009)
Jacques Audiard's French- and Arabic-language film, as masterly as it is harrowing, stretches the concept of entertainment by taking us into the brutish world of a French prison—for 150 minutes—and into the seizing mind of Malik, a young Muslim prisoner played by Tahar Rahim. I've never seen a performance like Mr. Rahim's, or a character like Malik, who starts out as a frightened, illiterate kid, and finally prevails over his aging Italian mentor, protector and chief rival, a fellow prisoner played brilliantly by Niels Arestrup. Well worth the modest price to buy on Amazon, or rent on iTunes.
Write to Joe Morgenstern at email@example.com
Corrections & Amplifications
An earlier version of this article incorrectly showed the DVD cover of the 2007 film version of "Persuasion," rather than the 1995 version.


text:
May 13, 2011
SANTA BARBARA, Calif. - Friday the 13th proved to be lucky for the UCSB softball team as the Gauchos captured a pair of extra-inning wins over visiting UC Davis (22-27, 7-13) to snap its six-game losing skid and bring its record back to an even .500 at 26-26 overall and 10-10 in Big West play. Friday's first game extended to nine innings before the Gauchos grabbed the 4-3 win and the nightcap stretched to eight innings before they capped a 3-2 victory.
UCSB will conclude the 2011 season on Saturday with the series closer against UCD at noon at Campus Diamond. A win would grab the Gauchos their ninth winning record in the last 10 seasons.
Junior pitcher Krista Cobb (14-14) led UCSB to both its wins, tossing 17 innings in which she allowed five runs (three earned) on 15 hits. She walked four batters and struck out eight during the doubleheader.
In the first game, UCSB jumped out to an early lead at the bottom of the first inning when Allison Taylor hit an RBI double to left center field to score Kathryn Pilpil. In the next inning, the Gauchos were able to capitalize on a four-error inning by the Aggies to push the score to 3-0.
In the third, a pair of infield choppers hit by Kylie Fan and JJ Wagoner put two runners on for the Aggies before Alex Holmes pushed both into scoring position when she grounded out to second base. A base hit to shallow left field by Megan Guzman drove home the first Aggie run and a sacrifice fly hit to center field by Elizabeth Santana cut the UCSB lead to just one run.
After two scoreless innings, UC Davis struck again in the sixth. Kelly Schulze led off with double hit to the deep corner of left field and her pinch runner, Desiree Chavez, was moved to third on a sacrifice bunt by Jessica Gonzalez. Kelly Harman then provided the game-tying RBI with a single to shallow left field that knotted the score at 3-3.
Both teams each managed to get runners on base over the next three innings, but the score remained deadlocked until the bottom of the ninth. With one out, Lainey DePompa, Jessica Beristianos and Lauren Boser loaded the bases with consecutive singles. Katie McWhirter followed with a high bouncing single hit to first base that drove home DePompa for the game-winner.
UCSB carried its momentum into game two and once again scored at the bottom of the first inning, this time when DePompa hit into a fielder's choice with the bases loaded, sending Pilpil home from third base.
The lead was pushed to two in the second on a RBI double to center field by Amanda Ziegler, which scored Katie McWhirter from first base.
Santana hit a RBI single to left field at the top of the third to drive Wagoner home and cut the Gaucho lead in half.
Trailing by one with two outs and a runner on first, UC Davis was able to capitalize on a pair of errors by Cobb to tie the game at 2-2.
The Gauchos battled back and were able to load the bases in the fifth on a pair of singles from DePompa and Beristianos, and walk earned by Boser, but the Aggies got out of the jam to preserve the stalemate.
Boser and McWhirter opened the bottom of the eighth with back-to-back singles before they were bunted over by Zielger. A throwing error to first base by pitcher Jessica Thweatt on the next play allowed Brooke Putich to load the bases before Pilpil hit a fielder's choice to the shortstop. Aggie shortstop, Santana, overthrew the ball in an attempt to get the out at home. The mistake gave Boser time to score the game-winning run and secure the series victory for the Gauchos.
Jessica Beristianos went 3-for-7 on the day while Kathryn Pilpil went 3-for-8 with two runs and two walks to lead the Gauchos at the plate.


text:
NWSB Insider and northwest basketball blogger Blair Thomas tells us about two young men leading Kentucky to the 2012 Final four this week in New Orleans. Kyle Wiltjer entered the season as part of one of Kentucky's most heralded basketball classes with guard Marquis Teague and forwards Michael Kidd-Gilchrist and Anthony Davis. Terrence Jones has averaged 15.7 points and 8.8 rebounds per game and started 35 of 38 games.
Portland's pipeline to Kentucky is paying dividends for Calipari's 'Cats
March 28, 2012 By


text:
A majority of Pennsylvanians back the gun control measures endorsed by the White House, and nearly as many support the National Rifle Association proposal to put armed guards in schools.
On pocketbook matters, angst is growing. A majority have a negative view of Pennsylvania's economy, and satisfaction with family income fell 10 percentage points from last year, according to The Morning Call/Muhlenberg College 2013 Pennsylvania Quality of Life survey.


text:
posted by Eugenia Loli on Mon 24th Jul 2006 06:02 UTC, submitted by rft183
MEPIS has released SimplyMEPIS 6.0. This is the first public release of SimplyMEPIS to incorporate an Ubuntu foundation. Based on the Dapper LTS package pool, 6.0 is designed for stable long term use and support. Screenshots here.


text:
224 Superior Street
Victoria, BC, V8V 1T3
Queen's Terrace
Check Availability
The Room
The Amenities
To be happy for an hour, get drunk;
to be happy for a year, fall in love;
to be happy for a lifetime, take up gardening.
Chinese proverb
"Thanks-you for a wonderful stay. Your house, food and sense of humour were all quite remarkable."
Ben and Pauline, Duncan, BC
Rates - Rates are for double occupancy. Maximum of 2 people.
Victoria BC B and B: FACTAhhh… breakfast. Go to a hotel and pay for it. Or stay in a beautiful Victoria BC b and b and you will be treated to a gourmet feast to sate the heartiest of appetites. And it's included. Freshly baked scones, maybe a soufflé (cheese) or custard pancakes drizzled with maple syrup.
And of course the coffee. The best, only the best. Orange juice. All included. No extra charge. Tea of course is an option. What would a Victoria BC B and B be without tea? Victoria is a beautiful city, lively yet safe, and very proud of its English heritage. You'll find no shortage of places for a cup of tea. Just down the road from the Manor you can have Japanese tea. Being Spanish, Fernando's idea of a perfect cup of b and b tea is coffee.
Victoria BC b and b breakfasts are the world's best b and b breakfasts!
Say that 3 times fast.
An anniversary, a honeymoon, or a quite weekend in the Jacuzzi.
We want your stay at
Albion Manor B and B Inn
to be the crowning touch to your visit to Victoria BC, Canada.
We'll do everything we can to ensure that it is!
Home • Rooms • Rates • Policies
About Us • Breakfast • Our Location • Blog
Things to Do • Contact Us
Albion Manor Bed and Breakfast
224 Superior Street
Victoria, BC, V8V 1T3 Canada
Toll-free: (877) 389-0012
Local phone: (250) 389-0012
Web site: www.albionmanor.com
Email: [email protected]


text:
Miele Neptune Is Now Available in Turquoise!
This new Miele vacuum cleaner is called the Neptune, and it looks perfect since it's light and portable, on top of looking pretty fetching in turquoise! The reason why it's offered in turquoise is that Pantone declared this color the Pantone color of 2010.
It's equipped with a high-output motor. The turquoise-colored vacuum will match any Pantone-themed decors with style. While this vacuum cleaner isn't only available in this color, it's kind of interesting to see these Pantone colors on appliances.
It's lightweight and quite powerful, and comes with all the necessary equipment to clean your home properly. It's got a 29½ foot cleaning radius, a Parquet Twister for smooth floors and a Turbo Comfort Brush for low-pile carpeting and area rugs.
It sells for $529 and has a bunch of eco-friendly features. The filter retains 99.95% of particles. While this sounds pretty interesting, we'd have to compare it to our favorite vacuum cleaner, the Dyson, which sells for almost the same amount of money, maybe even a bit less. It looks like we'd have to run full tests in order to see which is better, the Dyson DC25 or the Miele Neptune.
[via Appliancist]
The Miele Hybrid Vacuum Cleaner
Miele Canister Vacuum In The Test Lab
Some More Tests On The Miele Canister Vacuum


text: Page Content 1Course Catalog The Course Catalog includes course descriptions of all courses offered by the Undergraduate School at Babson College. For descriptions of the courses offered in the current or upcoming semesters, please see the Course Listing. Undergraduate Course Catalog Please select a division before courses are displayed. Accounting and Law Finance Marketing Arts & Humanities History & Society Math/Science Economics Interdisciplinary Other Entrepreneurship Management Technology, Operations & Info Mgt


text:
[Verse 1]
Seconds after I had been swept off my feet
Open flew the doors and in steps the beat
Complete with medical packs and four-fours
Looked at me and said, "Damn, this nigga needs gauze"
Wars are fought in the street
He got beat
The meek are disenfranchised and left weak
Peep these images I couldn't ignore
Personas of the rhythm who just walked in the store
The snare, Slim, sported a rare grin
Noticing damage within
Removed bullets and patched skin
The kick drum, Scurvy
Opened my eyes, he say, "Don't worry"
At the clerk, he fired rounds in a flurry
And the hi-hat, Matt
Tapped the hostages with his gat
Told 'em, "Break the fuck out and never look back"
They had performed like Miyagi for the kamikaze
Then they got me, walked me out past the local paparazzi
"I see, y'all reanimators"
"Sure, kid, ya jams are flavor
We need a savior and we came ta
Relay the data
I'll repay ya, major situation 'cross town
Our music has lost sound
'Cause they had us locked down
'They' meaning sucka rappers, herbs, crabs
Common clowns who be making shitty sounds in labs
They're defacing masterpieces
Just to blast to pieces
What's dope and hope that we'd accept a wacker thesis"
Where's the chamber?
Allow me to become the scum rearranger"
They said, "Focus your anger
And bring the rhymes that you wrote
Because these folks will hang ya"
I accepted their concern, turned to 'em and said
"Fuck that written shit, I'll flip these niggas off the head
What about the feds?"
"Ayo, we left them a decoy
We didn't want the beast to know we brought back the B-Boy"
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
[Verse 2]
Hiphop is so wack the beats are fighting back
And I was sent to attack
So I'm following the map
X's mark the rappers I would soon hex with
Corrosive cadences that'll be leaving their necks split
Step by step, I'm headed toward the set
To analyze a threat
And make 'em regret the day we met
I suspect they got a smooth plot
I'm headed to the rooftops
That's where I'll make my stratagem
So I can splatter them
They were only half o' ten
Five less rappers alive
When we collide
The standard is dope
They didn't coincide
They were sacrilegious and vicious
With dark wishes, which is
To assure the core of hiphop withers, snitches
I dropped dime on how to travel back in time
So they can melt and misalign
Pioneers' patterns of rhyme
And I'm furious
Seething at what I'm seeing
Soon those niggas won't be breathing
I've seen what I got ta so I'm leaving
'Cause I wanna
Set off the slaughter for the evening
Niggas hopped on my shit list
With a swiftness
I'm about to rip this
Come bear witness
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
(Hiphop) I'ma bring it back
[Beat changes]
[Verse 3]
Mic check
We had ill static over Illmatic
I reached for it
This nigga said I couldn't have it
So tragic for him to try to counter my magic
I'm rabid
Reached through his fucking face and grabbed it
How the fuck did you figure you could interfere
With a music so potent?
Then I gazed at his skull for a moment
Before I moved on
Then I heard two songs
Distinct flavors
From Wu's Enter the thirty-six Chambers
I'm about to bring this nigga danger
He was elusive
An Uncle Tom carrying nooses
Strong yet spiritually useless
I gave him flashbacks of niggas getting treated like lab rats
Beaten with whips and straps
Hit him with conscience
Held a mirror up to his face
The motherfucker jetted out of the place
Who's next to get me vexed?
This rapper making idle threats
Claiming that he's got concepts
I stepped to him slow
Looked deep in his eyes
Seen a prison was within him, 'cause he's living a lie
I grabbed Daily Operation
Told him that man was not meant to rule the earth's population
These thoughts left him pacing
Now he suffers from brain disintegration
No thoughts or information
It started raining
Visibility low
This had no effect on my abilities, though
To murder an MC is standard procedure
I looked and seen this cat guarding Follow the Leader
But I'm a cheetah
The abdomen and chest deleter
Primary feature
My intense urge to bleed ya
While his blood's draining
I'm steadily aiming
To find the next nigga for maiming
That's when my instincts came in
This mega large nigga tried to brand me
I dodged a mega blast of energy
Then my mind aged a century
Futuristic data
For a complex matter
His power left a crater
I could peep the equator
He smiled, I could see him through the earth's vapor
Looked him up and down as we walked toward solid ground
What? My jaw dropped at what I found
Classics by Tribe Called Quest, De La Soul
B.D.P., P.E. and Run-D.M.C
Low End Theory, Three Feet
Criminal Mind, Takes a Nation of Mill
Time to kill
Run-D.M.C., self-titled
This nigga's my arch-rival
Not liable
Got up close and what I saw, I couldn't believe
My enemy was a genetic replica of me
Battling yourself is the biggest chore
It could leave your digits raw
A truly vicious type of war
So now I'm thrown off
Taken back
In fact, I didn't know how to react
I lacked a plan of attack
But his was in full effect
And next
He'd infect my intellect with thoughts I couldn't accept
Images of my grandmother in that old folks home
Became very vivid in my dome
His method is drastic, telepathic
Damaging my mental fabric
Hellified, horror, havoc
Crippled, I can't stand it
Or understand it
Yet my torture was expanded
By thoughts that he commanded
Had a vision of my uncle sitting dying by himself
Meanwhile, he's breaking down my physical health
Body blows
Several shots to the head
Ninety-eight percent of which were absorbed by my dreads
The other two percent I accepted
Just so I can feel the heat again
Had a vision of defeating men
So now I'm back
Strapped and intact
Increasing my brain waves to maximum impact
Thoughts were unholy
He looked me up and down coldly
Like I'm the motherfucking phony
And maybe I am
Damn, I stuttered
Dropped the mic from my hand
Saw some open land so I ran
But as I jet past past thoughts
My man had blast shots
Blood clots
Stopping circulation to my knot
My ego split
My humility started to mumble feeble shit
The thug within me had a dream of Desert Eagle clips
So who's me?
Maybe this uzi
The cold-hearted steel with a sign that says, "Use me"
I call her Suzy
Do you like what you see?
I wouldn't let a biter confuse me
So why should this instance make a difference?
So I started to think with
The innocence of infants
And since I'm incensed
Burn incense
I'm intense
Funny how the powerful scent just
Dents his senses
Don't even count him in at the census
I sent this
Razor-sharp tone of relentless
Sequences that leap fences
Leading all humankind to deep ventures
So I shift forward like a Sith Lord with a swift sword
Flipped and clipped his mic cord
Speechless, riddled with weakness, peep this
He tried to use the heat of his desire to beat Lif
Be my guest
Take a guess who left the set blessed
And who was left a mess ("Fight fire with fire")
And at P's request
I summoned the sun to burn a hole in his chest


text:
[Confirmed:] Henry Poggi an official visitor to Bama this weekend
According to 247 & Rivals (paywalled). Of course, the story for the last few weeks has been Poggi visiting Bama - but only to see his friend in Tuscaloosa. Now it appears this will be an official visit and Nick Saban is expecting him. Not good, IMO.
My personal opinion, Poggi and his dad were using the "visiting a friend" angle to run interference with the actual visit. If he was really visiting his friend, why couldn't it just wait until afer NSD?
...commence panic.
Mod edit: Changed title since it seems this doesn't come from Poggi or anyone who can speak for him. JGB.
Edit two: Changed the title again since it sounds like the visit was confirmed.


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15 August 2013|
Subaru Canada, Inc. (SCI), together with the Toronto Subaru Club (TSC), welcomed 600 Subaru enthusiasts during the TSC's Hyper Meeting 2013. The 10th annual event was held at Subaru Canada's head office in Mississauga, Ontario, on Sunday, August 11, as over 200 Subaru enthusiasts showcased their ride in the Show `n Shine. The event aims to raise funds for Ronald McDonald House (RMH) Toronto each year. While final numbers have not been tallied, SCI will match final fundraising efforts to help the event reach or exceed last year's donation of $20,000.
The event began with a colourful parade of Subaru vehicles, representing an array of models, years and accessories. Master of ceremonies Mike Schlee (road test editor at AutoGuide) and special guest MC Ajay Fry (co-host of Space Channel's InnerSpace) alerted the crowds to the on-site entertainment and activities, including a charity dunk tank, RC car track as well as face painting and a bouncy castle for the youngest generation of Subaru supporters. This fun-filled family event also included food trucks - the Gourmet Bitches and Beach Boys - serving complimentary fare such as burgers and fries, courtesy of Subaru Canada.
"This is the third year in a row that we've decided to make the day a family-friendly event," said Derek Serianni, president of the Toronto Subaru Club. "This is the largest event that the club organizes each year as well as one of the largest of its kind anywhere in the country. While it has taken a lot of hard work and planning over the past eight months, I have no doubt that it's our most successful Hyper Meeting to date, all for a great cause."
"We're proud to support RMH Toronto," said Shiro Ohta, president and CEO of Subaru Canada, Inc. "In addition to events like this one, Subaru Canada is pleased to donate a vehicle to RMH Toronto for out-of-town families with seriously ill children to use during their stay at the House as well as sponsor a bedroom in the House. In keeping with tradition, Subaru Canada has matched the Toronto Subaru Club's fundraising efforts dollar-for-dollar in support of this very worthwhile cause."
"Ronald McDonald House Toronto is honoured to be the charity of choice for both the Toronto Subaru Club and Subaru Canada, Inc." said Jen Jarvis, Development Officer at RMH Toronto. "We are truly grateful to be able to attend this event and watch support for the House grow each year. It means so much to us and the families who rely on the House. Congratulations TSC on another successful year! We can't thank you enough."
Ronald McDonald House Toronto (RMH Toronto) is a "home away from home" for out-of-town families with seriously ill children receiving treatment at Toronto hospitals. Since 1981, the facility has been host to thousands of families in need of a comfortable atmosphere of compassion and understanding during a frightening and stressful time of their lives. Support from events like the TSC Hyper Meeting will help RMH Toronto provide families of seriously ill children with a safe and comfortable place to stay that is just steps from the hospital where their child is undergoing life-saving medical treatment.
The Toronto Subaru Club (TSC) is an online forum dedicated to Subaru enthusiasts from Toronto and its surrounding areas. This community-oriented club hosts many events and meets as a way to socialize and mingle. Many of its events benefit its dedicated charity of choice, RMH Toronto. To learn more about the TSC, visit www.toronto-subaru-club.com, follow @TorontoSubaru on Twitter, and share your thoughts on the 10th Annual TSC Hyper Meeting with #HyperMeeting2013.
The 10th Annual TSC Hyper Meeting was hosted at Subaru Canada HQ, Mississauga, ON on August 11, 2013.
Photo Credit: Aldas Minkevicius


text: Angel Tsankov wrote: > Angel Tsankov wrote: >> Raymond Yau wrote: >>> 2010/2/27 Angel Tsankov <fn42551 at fmi.uni-sofia.bg> >>> >>>> Raymond Yau wrote: >>>> >>>>> 2010/2/26 Angel Tsankov <fn42551 at fmi.uni-sofia.bg> >>>>> >>>>> Raymond Yau wrote: >>>>>>> 2010/2/25 Jaroslav Kysela <perex at perex.cz> >>>>>>> >>>>>>> On Thu, 25 Feb 2010, Angel Tsankov wrote: >>>>>>>> Jaroslav Kysela wrote: >>>>>>>>>> On Thu, 25 Feb 2010, Angel Tsankov wrote: >>>>>>>>>> >>>>>>>>>> Hello, >>>>>>>>>>> I run 'alsactl restore' on a machine with 2 sound cards -- a >>>>>>>>>>> built-in >>>>>>>>>>> Intel Corporation 82801EB/ER (ICH5/ICH5R) AC'97 Audio Controller >>>>>>>>>>> (rev >>>>>>>>>>> 02) and a non-built-in Yamaha Corporation YMF-724F [DS-1 Audio >>>>>>>>>>> Controller] (rev 03) -- and get the following message: >>>>>>>>>>> >>>>>>>>>>> Unknown hardware: "YMF724F" "SigmaTel STAC9700,83,84" >>>>>>>>>>> >>>>>>>>>> "AC97a:83847600" >>>>>>> "0x1073" "0x000d" >>>>>>>>>>> Hardware is initialized using a guess method >>>>>>>>>>> >>>>>>>>>>> As a consequence the volume levels of the Yamaha card do not get >>>>>>>>>>> restored to the levels stored in /etc/asound.state. The volume >>>>>>>>>>> >>>>>>>>>> levels >>>>>>> of the built-in card however are properly restored. The asound.state >>>>>>>>>>> file has been created by executing 'alsactl store'. >>>>>>>>>>> >>>>>>>>>>> The kernel has been built with support for ALSA. I've built and >>>>>>>>>>> installed the kernel modules for both cards (not the ones in the >>>>>>>>>>> alsa-driver package but those that come with kernel version >>>>>>>>>>> >>>>>>>>>> 126.96.36.199). >>>>>>> Any ideas why alsactl cannot find the hardware it has previously >>>>>>>>>>> identified as "YMF724F", "SigmaTel STAC9700,83,84", and so on? >>>>>>>>>>> >>>>>>>>>> The logic of alsactl is to restore the state from /etc/asound.state >>>>>>>>>> if >>>>>>>>>> >>>>>>>>> it >>>>>>>>> is valid. It seems like the set_controls() function in alsactl/state.c >>>>>>>>>> returns an error code for a reason. >>>>>>>>>> >>>>>>>>>> Could you try to compile the latest alsa-utils snapshot >>>>>>>>>> (http://www.alsa-project.org/snapshot/) and run './alsactl -d >>>>>>>>>> >>>>>>>>> restore' >>>>>>> in >>>>>>>>> alsa-utils/alsactl directory? A warning (fail reason) should be >>>>>>>>> printed. >>>>>>> I've attached a bash shell script that I used to download, configure, >>>>>>>>> compile, and run alsactl. I've also attached a .log file with stdout >>>>>>>>> >>>>>>>> and >>>>>>> stderr that I got while executing the script. >>>>>>>> Thanks. I've added more debug print lines to state.c. Could you rerun >>>>>>>> >>>>>>> your >>>>>>> script and append also '/etc/asound.state' file and output from >>>>>>>> 'alsa-info.sh --no-upload' to your output tarballs? Send me this >>>>>>>> tarball >>>>>>>> privately or just an URL to this list. >>>>>>>> >>>>>>>> Thanks, >>>>>>>> Jaroslav >>>>>>>> >>>>>>>> >>>>>>>> did alsactl restore those IFACE_PCM volume since they are supposed at >>>>>>> 0dB >>>>>>> >>>>>> by >>>>>> >>>>>>> default whenever the subdevice is open ? >>>>>>> >>>>>>> store the values in asound.state seem to be for debugging only >>>>>>> >>>>>>> control.61 { >>>>>>> comment.access 'read write inactive' >>>>>>> comment.type INTEGER >>>>>>> comment.count 2 >>>>>>> comment.range '0 - 32768' >>>>>>> iface PCM >>>>>>> subdevice 1 >>>>>>> name 'PCM Playback Volume' >>>>>>> value.0 26214 >>>>>>> value.1 26214 >>>>>>> } >>>>>>> >>>>>> In fact, alsactl seems to restore the volume levels (despite the >>>>>> "Unknown hardware" message) when the system is up and running, but it >>>>>> does not restore the PCM and master levels at boot time. This should be >>>>>> done when the hardware is detected by udev, as I have the following udev >>>>>> rule: >>>>>> >>>>>> KERNEL=="controlC[0-9]*", ACTION=="add", RUN+="/usr/sbin/alsactl restore >>>>>> %n" >>>>>> >>>>>> >>>>>> Angel Tsankov >>>>>> >>>>>> >>>>>> Can you store the iface PCM "PCM Playback Volume" in asound.state while >>>>> you >>>>> are playing audio ? >>>>> >>>>> alsactl can store the value since the control is active when the subdevice >>>>> is open >>>>> >>>>> alsactl already skip restoring of those control when it is not active , so >>>>> the problem seem not related to those controls >>>>> >>>>> However via82xx also have those hardware specific controls >>>>> >>>> It seems that when I store the values while the sound card is playing I get >>>> one more control in asound.state (see attached archive). >>>> >>>> Here's the test I did: >>>> >>>> 1. I removed /etc/asound.state (just in case); >>>> 2. I made sure the sound card is not playing, ran 'alsactl store', and >>>> renamed /etc/asound.state to /etc/asound.state.not-playing; >>>> 3. I started vlc, played some music, ran 'alsactl store' once again, and >>>> renamed /etc/asound.state to /etc/asound.state.playing; >>>> >>>> Then I diff'ed the two files and found out that they are different. I'm >>>> sending them as alsactl created them. >>>> >>>> >>>> Regards, >>>> Angel Tsankov >>>> >>> This is the extra control saved when you are playing audio on subdevice 0 >>> >>> >>> control.48 { >>> comment.access 'read write' >>> comment.type INTEGER >>> comment.count 2 >>> comment.range '0 - 32768' >>> iface PCM >>> name 'PCM Playback Volume' >>> value.0 32768 >>> value.1 32768 >>> } >>> >>> This look like there is any sound (login/system boot event sound) playing >>> when you perform alsactl restore , the driver will contain more control than >>> state file , it will not restore but perform initialization >> Here's another test I performed. I created a new /etc/asound.state while >> vlc was playing some music. Then I made sure that control.48 is in the >> file and ensured the file won't be overridden at system shutdown. Then >> I restarted the system, verified that the file's time stamp has not been >> changed and started Xfce's mixer only to discover that neither PCM, nor >> master volume was restored to its saved state. Rather, they looked more >> like initialized. >> >> I'd also like to point out that in /etc/asound.state the values for >> control.48 are the maximum possible (if I interpret the values right), >> but when I stored the levels neither master, nor PCM was set to its >> maximum value. >> >> Now, one test more. While playing some music I ran 'alsactl restore' and >> both master and PCM levels were restored to the saved values. >> >> Stil another test. While *not* playing anything I changed the master and >> PCM levels and ran 'alactl restore' and guess what... the levels were >> restored to their saved values! > > Some additional info: I performed the above tests with an > /etc/asound.state file created while nothing is being played and which > did not have control.48 in it and I got the same results -- the master > and PCM levels were restored regardless of whether anything is being > played when I ran 'aslactl restore'. > >> Maybe the problem does not have anything to do with whether anything is >> being played while the levels are being restored or not and I still >> suspect that something might be wrong in my shutdown, or more likely -- >> boot-up, settings... > > Now my suspicion seems more logically sound. I fixed the problem by adding the following line to the udev rule for alsa devices: KERNEL=="pcmC[0-9]*D**", ACTION=="add", RUN+="/usr/sbin/alsactl restore %n" Regards, Angel Tsankov


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MUSCATINE, Iowa — One spring day in 2010, the haze hanging over this Mississippi River town was worse than usual. It billowed from the smokestacks of a corn processing plant and blanketed the neighborhood across the street. It enshrouded homes and, seen from a certain angle, looked almost blue.
Kurt Levetzow watched from his car. An inspector with the state agency that enforces air pollution laws, he'd been fielding more and more citizen complaints lately about Grain Processing Corp., known as GPC.
The company's plant sits on the edge of the town's South End neighborhood, where black soot and bits of corn collect on cars and homes and many residents worry about what they're breathing. Even on an ordinary day, a pungent burnt-corn odor hangs in the air, and the haze can be seen from miles away.
But Levetzow hadn't seen anything like this. Driving through the neighborhood near the plant, he snapped pictures and took notes for the memo he would write. "I went through Muscatine on 3-26-10," he wrote. "I was amazed at what I saw."
A pickup truck came to a stop next to Levetzow's car. It was a company security guard.
"Is there a problem?" the guard asked.
"Yes, there is," Levetzow answered. "GPC is fogging that residential area with a blue haze." Levetzow pointed. "You see what I mean?"
The guard looked over. "Ah, they're getting used to that," he said, chuckling.
Many communities have had little choice but to get used to it. As the Center for Public Integrity's iWatch News has reported, hundreds of communities are beset with chronic air pollution involving toxic chemicals Congress intended to rein in years ago. Here in the heart of the Corn Belt, people endure the consequences of a regulatory system that has failed them for years.
The plant's troubles are well-known to state and federal officials, but fixes — when they have come at all — have been slow. Memos, reports and thousands of emails obtained by iWatch News detail Levetzow's efforts, the company's resistance and the state environmental agency's passivity. They also highlight gaps in a regulatory system that relies on a self-reporting honor system, spotty monitoring and ambiguous rules.
Officials at the state Department of Natural Resources, known as the DNR, have allowed GPC to avoid improvements that would reduce pollution. Even when Levetzow told his bosses he thought GPC's apparent compliance with air pollution laws was a façade and repeatedly urged them to act, they did little, emails show.
The company says it stays within the limits outlined in its permit, has followed air pollution rules and is upgrading pollution control equipment as part of a major plant improvement project, some of which is scheduled to be finished in 2014. The improvements — some required by a court order resolving a case brought by the state for environmental violations five years ago — still may fail to keep the area in compliance with air quality standards, the state says.
GPC spokesperson Janet Sichterman said other companies share responsibility for Muscatine's air quality problems, and GPC is doing its part to clean up the skies. "We want this to be a great community with quality air, too," she said.
While the Clean Air Act delegated enforcement duties to the states, the U.S. Environmental Protection Agency keeps tabs on state agencies and sometimes steps in. The plant appeared on the September version of EPA's internal "watch list," which includes serious or chronic violators of the Clean Air Act that have faced no formal enforcement action for nine months or more. GPC was not on the list in October.
Now, after years on the sidelines, the EPA has started to get involved. The agency says it is conducting an ongoing criminal investigation of GPC — a rare step the EPA usually reserves for companies it feels have knowingly violated the law. In December 2009, a team of investigators led by the EPA raided the plant and seized documents. Sichterman said the company doesn't know why it's being investigated but is confident the probe will determine GPC followed all laws.
Some residents, no longer content to wait for official action, are organizing and building their own case. They are filing complaints and documenting health problems. Recently, they hired a lawyer. As in other communities, they face significant hurdles, from limited air monitoring and health studies that would help them make their case to wariness among their neighbors about taking on powerful political and economic forces.
Even if the investigation and the company's planned improvements bring change, some residents worry cleaner air may come too late. "Every day it seems like it's getting worse," said Wanda Mansaray, who grew up in the South End and said she wears a mask when working in her yard. "How long's it going to take before they say, 'We've found something irreversible in your lungs we can't fix'? "
'Perfectly legal'
Muscatine-based GPC, a privately owned company with the motto "where innovation comes naturally," has more than six decades of history in the town known as the "Pearl of the Mississippi." Each day, the plant transforms the area's staple crop into beverage alcohol, ethanol and the syrups and starches that make sports drinks sweet and granola bars chewy.
But those living in the plant's shadow, particularly in the working-class South End neighborhood, worry about its other products: the gases and small particles shooting from its stacks.
Last year, the plant released more lead — a toxic metal that can damage the nervous system — than any plant in the state, according to DNR data. It emitted more acetaldehyde — a probable carcinogen chemically similar to formaldehyde — than almost any plant in the country, EPA data show. Blue haze can indicate the presence of compounds such as acetaldehyde.
State officials began a study of toxic emissions from the plant last year after discovering that GPC appeared to have underreported in submissions to the EPA, said Catharine Fitzsimmons, head of the department's air quality bureau. But the study is suspended, Fitzsimmons said, so DNR can focus on a higher priority: reducing emissions of fine particles in Muscatine to avoid a designation by the EPA – nonattainment of a Clean Air Act standard – that could jeopardize the area's economic future.
Near the plant, siding is speckled, and satellite dishes once white have turned almost black. Residents say they can wash a car one day, then write their name in the black soot on it the next. There has been no health study, but many people complain of health problems — from breathing troubles to cancer. In recent years, the county has had one of the state's highest cancer mortality rates.
Levetzow, 36, one of Iowa's more senior inspectors, oversees the largest emitters across southeastern Iowa. To him, it's long been clear that GPC has spewed more pollution than allowed. "It seems obvious to me … that they've been out of compliance for a long time," he wrote in a 2009 email to a DNR lawyer. Gathering the evidence — and getting his bosses to act — has been the challenge, emails between him and DNR officials show.
Levetzow's starting point was what he viewed as a fundamental disconnect: GPC said it was complying with the limits set in its permit, but the obvious haze indicated otherwise. That led to a question he couldn't yet answer: If GPC had been failing to comply with pollution limits, why had none of the checks set up by the state — monitors, mandatory self-reporting, periodic testing — detected it?
A key development came in October 2008. Union workers who had been locked out by GPC came to DNR, alleging the company used environmental practices that ranged from sketchy to illegal.
Among their allegations: GPC switched between types of coal to fool an air monitor. When Levetzow inspected the plant, he found two piles of coal. One was high in sulfur — a type that releases more sulfur dioxide, the pollutant measured by the monitor. The other, lower in sulfur, was used only sporadically.
GPC does not dispute switching types of coal when the wind was blowing toward the monitor but says it acted to protect public health by keeping sulfur dioxide emissions in check.
Switching between coal sources is "perfectly legal," GPC's environmental director, Mick Durham, said in an interview with iWatch News. "People assumed that something was being hidden or we were trying to get out of regulation, but that's not the case at all."
The company stopped the practice in the winter of 2009, company spokesperson Sichterman said, because it could be misinterpreted as an attempt to trick regulators. Now it burns only the high-sulfur coal, she said. "You've heard the term, 'No good deed goes unpunished.' They were doing it as a good deed," she said.
The EPA may take a dimmer view of the practice, said Fred Burnside, who left the agency last year after serving as head of criminal enforcement and now advises companies and law firms. "That would be a very high-priority case because they're basically altering the monitor," said Burnside, who wasn't directly involved in the case while at the EPA.
While investigating the coal switching, Levetzow found another cause for concern. GPC, it appeared, hadn't reported a number of instances when pollution exceeded allowed limits. These episodes are generally considered violations of air pollution rules, but in Iowa — as in many states — companies can avoid notifying regulators of the excess emissions under a narrow set of circumstances – for example, when cleaning pollution control equipment.
GPC seemed to clean its pollution control equipment often, state records show. Each quarter, the company submitted a lengthy report of excess emissions, including some it had decided were allowed, citing this exemption. The more Levetzow pressed GPC, the more concerned he became that the company was misusing the exemptions to conceal frequent violations of its permit limits. Officials in the air quality bureau's main office later told him they agreed that GPC was sometimes claiming exemptions where they didn't apply, an email from the agency's top compliance officer shows.
If the company had reported all its excess pollution episodes, regulators might have been able to force improvements. Instead, it looked like GPC was doing what it was supposed to do.
Sichterman said the company has changed its operations and better trained its employees, eliminating the practices that caused some excess emissions. It stopped claiming some exemptions a couple of years ago, she said.
Emails show that some DNR officials believe GPC avoided the practices that led to spikes in pollution during the periodic tests it must run to show compliance, and locked-out union officials made similar allegations in interviews with iWatch News. If true, this would have allowed the company to report less pollution than it was actually releasing. GPC's Sichterman said the company has never altered its operations during testing.
During the past decade, the state has issued GPC 38 notices of violation related to air pollution, many of them scolding the company for failing to keep monitors in operation at all times or for failing to seek approval for modifications of the factory — types of violations that can make it difficult for regulators to keep tabs on pollution from the plant. Violations resulted in penalties on two occasions, and the company paid a total of $548,000 in fines, DNR officials said.
'Do we just have to sit back and wait?'
State regulators and GPC agree that one way to significantly cut pollution at the plant would be to hook up pollution control equipment the company already owns. In 2007, the company bought a large building known as a baghouse, which would house filters to capture particles that can cause respiratory problems and carry toxic materials like lead. But GPC has since refused to hook it up, and the DNR has not compelled the company to do it, correspondence between the company and the department show.
The baghouse still sits on the plant grounds — a monument to inaction, and to the wars over regulation 900 miles away in Washington.
GPC bought the equipment to comply with an EPA rule that would have taken effect in September 2007 requiring curbs on pollution from boilers — in GPC's case, six devices that burn coal to power the plant.
Just months before the rule was to take effect, however, a federal court vacated it, sending EPA back to the drawing board. Four years later, the rule still hasn't taken effect, and some in Congress want to see it further delayed, saying it threatens jobs.
Companies often complain about the nation's sputtering regulatory process, saying uncertainty can add to expenses and complicate planning. GPC hasn't installed the baghouse, Sichterman said, because it's unclear whether it would meet the requirements of the new rule, whenever it takes effect. If it doesn't, the cost of modifying it later would exceed the cost of making all the changes at once.
But everything Levetzow had uncovered indicated to him that GPC wasn't able to keep its emissions in check with the equipment it had — devices many similar plants had phased out years earlier. Emails show he worried about the consequences of waiting for the new EPA rule or for GPC's planned improvements. In the interim, higher emissions would continue.
For at least a year, he sent emails to his bosses in Des Moines, outlining the problem and what he thought could be done. For instance, the department could require GPC to run tests proving it was staying within its pollution limits. If the company didn't pass, the department could require GPC to hook up the baghouse, Levetzow suggested.
His bosses did little in response. Levetzow's emails to them tell the story:
December 2008: "Do we just have [to] sit back and wait?…GPC's environmental people…agree that the new [baghouse] would more or less do away with the haze that can be seen above GPC and half of Muscatine on any given day, but they're waiting for someone (new Boiler [rule]) to require them to do it."
May 2009: "I've heard the new [EPA boiler rule] may not come out for 4 more years or so, so that's a LONG time to allow them to spew all over Muscatine."
June 2009: "Seems to me, we have all we need right now."
October 2009: "Am I totally out of line????"
Top officials in the department's air quality bureau told iWatch News they didn't recall discussing Levetzow's concerns. "We didn't really have any authority to require" GPC to hook up its baghouse, said Brian Hutchins, head of the department's compliance office. He acknowledged the DNR could have required the company to run tests, as Levetzow suggested, but said he didn't recall discussion of mandating them.
Over the years, the department hasn't required GPC to upgrade its pollution control equipment, even as similar plants have modernized. In 1990, the state allowed GPC to avoid added scrutiny of a construction project as long as the company agreed to limit the hours it ran new equipment known as a dryer. The company also closed some gravel roads, in theory offsetting the increase in pollution from its stacks with reductions in the amount of dust kicked up by trucks at the plant.
If the project had added 25 tons of small particles into the air each year, GPC would have been required to analyze potential impacts and possibly install better pollution control equipment. Because the project would result in only 24.4 extra tons, calculations indicated, GPC didn't have to do either.
It was more than a decade before state regulators discovered that the company had been violating the hourly operating limit for years. GPC paid a $538,000 fine, and many of the improvements the company is now touting are in response to requirements of the 2006 agreement resolving the case.
State officials have since discovered that another expansion of the plant, which also avoided a more rigorous review, "was an error and never should have been allowed" by the state, according to an internal engineering evaluation by the DNR. Testing in 2005 indicated the equipment was releasing pollution at twice the allowed rate, but the state responded by increasing GPC's limit, again allowing it to avoid a tougher review.
Four years later, the company began using a different fuel in the equipment, and tests conducted by GPC the next year again showed the plant emitted more than twice the allowed level of pollutants.. The department earlier this year asked the state attorney general to pursue a case for this and other violations.
Durham, GPC's environmental director, said the most recent violations were minor. "There will be some type of fine," he said, "and we'll end up paying it."
This reality irks many residents. "If we don't have them be accountable for what they're doing to us, they're just going to go right on doing it," said Sherry Leonard, who has lived near the plant for more than 30 years. "And they're going to pay fines and never stop."
'Stirring things up'
Many in Muscatine now are raising concerns about the air they breathe for the first time, but others are wary of challenging political and economic forces in their community.
In 2008, a local politician in the state House of Representatives, Democrat Nathan Reichert, put together a forum where DNR officials fielded questions from his constituents about the town's air pollution troubles.
"Politically," Reichert recalled, "it was as if I had stuck a stick in a beehive."
City Councilman Robert Howard sent a seething complaint to Iowa's environmental agency. "Eastern Iowa is a bright spot for Iowa's economic growth and future," he wrote. "Why would [the department] want to handicap our ability to compete?" And GPC's Durham complained in an email to Levetzow that Reichert was "stirring things up among the residents."
In 2010, the business community put its financial support behind Reichert's Republican challenger; the two largest contributions came from Gage Kent, the chairman and CEO of GPC's parent company, who gave $5,000, and James Kent, his father and the company's vice chairman, who gave $10,000.
Roger Lande, who took the helm as DNR director earlier this year, also had contributed to Reichert's opponent. Lande, whose former law firm represented GPC, is a former chairman of the Iowa Association of Business and Industry. Two of the eight members of the Muscatine City Council work for GPC.
Though Reichert lost, the attention he called to air quality helped spark a movement that coalesced earlier this year as a group calling itself Clean Air Muscatine. Experts and activists from other Iowa communities have helped the group organize and conduct surveys. Residents are documenting dates, times and what they're seeing or feeling. They're complaining to the state and the EPA.
Recently, they hired James Larew, who served as general counsel to former Gov. Chet Culver, a Democrat, to explore possible legal action against GPC. Larew said he couldn't discuss a potential case, but, in general, he said, "There is a great danger that the regulated community has too much power with the regulators, and as a result the public interest is at risk …My hope is that we can make citizens feel…that they have a seat at the table."
The company is defending itself publicly and issuing press releases about its commitment to the environment. The planned improvements to the plant – new, more efficient equipment and better pollution control devices – will cost about $100 million, a fact GPC has publicized.
"The company is voluntarily doing this project," Sichterman said. "That's part of our effort to be a great corporate citizen."
Durham acknowledged that some of the improvements are required by the agreement the company signed five years ago — then tried unsuccessfully to have vacated by a judge — to resolve the state's air pollution case. But the improvements go beyond what is mandated, he said.
GPC predicts significant reductions in air pollution, but the DNR says the planned improvements, still three years distant, won't happen soon enough and likely won't go far enough to make sure the area meets EPA standards designed to protect public health.
In July 2010, Richard Leopold, then the director of the DNR, wrote a pointed letter to GPC, asking the company to do more to reduce pollution.
"The citizens living, working and raising families in the vicinity of your facility deserve better than this," he wrote.
In the 16 months since, negotiations between the state and the company have achieved few tangible results, acknowledged DNR official Fitzsimmons. The haze remains, citizen complaints continue and Levetzow is still taking pictures to document the smoke and ash pouring from GPC's stacks and over the South End.


text:
Join 2nd annual John's March Against Stomach Cancer at Sonoma Raceway
Cancer picked the wrong guy, and for the second consecutive year that man will lead the charge in a charitable fundraiser for stomach cancer research and awareness at Sonoma Raceway.
John Cardinale, a long-time employee at Sonoma Raceway, was diagnosed with Stage IV gastric cancer in March, 2011, and he will lead the 2nd annual John's March Against Stomach Cancer on Saturday, Jan. 12, at the raceway.
This unique fundraiser offers the public a chance to help raise funds for No Stomach for Cancer (www.nostomachforcancer.org) and enjoy a symbolic "march" around the raceway's 12-turn, 2-52-mile road course.
No Stomach for Cancer is non-profit group that works to increase awareness and education about stomach cancer, provide a support network for affected families and support research efforts for screening, early detection, treatment and prevention of stomach cancer.
Stomach cancer is the second leading cause of cancer death in the world, according to the National Center for Biotechnology Information. The American Cancer Society estimates there are one million new cases diagnosed in the world each year, with more than 800,000 deaths annually, yet it is one of the least funded cancers, in terms of research.
"Research for this form of cancer is underfunded in this country, and exposure is minimal," Cardinale said. "My mission is to make people aware of stomach cancer and to one day help find a cure. We have to end the needless suffering of so many people and their families."
The public can participate in the event for a suggested minimum donation of $40, which will include a walk/run around the 2.52-mile road course, a T-shirt and light refreshments following the march, including water, fruit slices and other items. A shorter, less hilly course will also be available for those who cannot complete the 2.52 miles. The raceway's Wine Country Winner's Circle will be available for those who want to take pictures before/after the march. Children, pets, everyone is welcome!
Registration begins at 8:30 a.m. and the march will begin at 10 a.m. No advance donation/registration are required; just show up the day of the event. Please note: only cash and checks will be accepted. Checks should be made payable to No Stomach for Cancer, Inc.
If you cannot attend but would like to make a donation in honor of this event, please print and complete the John's March Against Stomach Cancer donation form at www.nostomachforcancer.org/support-us/events and mail it with your check, payable to No Stomach for Cancer, Inc. All donations will be acknowledged. You may also elect to receive a NO STOMACH FOR CANCER® wristband to show your support of our mission.
For more information on the event, please contact Diana Brennan at firstname.lastname@example.com or 707-933-3918.


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Ghost House Underground: Last House in the Woods (US - DVD R1)
Gabe remembers to never look forward to a new Italian horror flick ever again.
Italy, you disappeared from the scene just when I was growing to love you. As a horror fan born in the '80s, who didn't really discover the genre until the '90s, I've never experienced a genuinely good, and new Italian horror film. The closest I ever get are a series of disappointing Dario Argento slogs, some truly terrible Lamberto Bava garbage, and Serigo Stivaletti's crushingly bad Three Faces of Terror, and that just doesn't cut it.
Last House in the Woods so effectively apes the look and feel of the '80s Italian heyday that viewers less educated in the language of such films with likely mistake this stuff for awkward filmmaking. These pointedly awkward moments include a whole lot of zooms, especially into eyes, pointless pans, and more close-ups than generally considered acceptable by modern filmmakers. Director Gabriele Albanesi uses a whole lot of modern hand held, shaky cam techniques as well, but for the most part this is a heavily influenced by the likes of Joe D'Amato and Sergio Salvati, minus any sense of artistry.
The derivative script (right down to the derivative American release title, the Italian title is Bosco fuori, which translates to something like The Forest Outside) is another of the films accurate mimicries of the final era of Italian horror, though not one of the more positive ones. I'm not fully convinced that the clumsy pacing, dialogue and structure is a purposefully old school throwback, but again, it is all in-keeping with the quoted material.
Oh wait, my bad, this really is just sloppy filmmaking, not some kind of misguided homage.
At best Last House works only as a pale imitation of the best of the last generation of Italian horror cinema. It looks and sounds cheap in a modern fashion, losing most of the positive nostalgic vibe pretty early in, especially around the half way point when I realized I was watching yet another Texas Chainsaw Massacre rip off. Albanesi does right by hiring Sergio Stivaletti to handle the gore effects, but he keeps them from us for almost half the runtime, and then doesn't quite ever deliver on their promise. Still, the gore is probably the only reason for anyone to see the film.
Though I suppose it kind of adds to the early '80s mystique of the whole thing, this disc looks generally very bad. The frame is dark to the point of zero recognition at some points. I couldn't tell half of what was happening in any sequence not featuring the brightest of lighting, and even some of the daylight scenes are muddled in darkness. The details that aren't obscured by darkness are obscured by heavy compression noise. The dim colours, especially warm hues, are blocky and an ungainly disability to blend. Whites are blown out to an obnoxious degree, and wide shot details are wrought with edge enhancement and digital video artefacts. Imdb.com lists the film as having been filmed on HD digital video. There are many clues to the digital video part being a fact, but even a poorly treated HD master usually looks better than this. The transfer also appears to be interlaced.
The audio matches the video. We're given two Dolby Stereo tracks, one in Italian, the other in dubbed English, both of which sounds more like a scratch track than a finished product. I actually opted for the dubbed track for most of my viewing experience just because I liked adding to the old school feel, and almost every 'classic' Italian horror flick was shot sans sound. The background soundtrack drops in and out on both tracks from shot to shot. Only the score remains consistent, and thusly sounds like it has nothing to do aurally with the rest of the film. I'm not sure who inspired composers Filippo Barbieri and Federico Bruno, but its often inappropriate tone is actually one of the film's only assets. The moody keyboard score almost exclusively plays against the on-screen action, revelling in very few slow and whirling notes instead of punchy and shrill scare cues. It's not the type of thing one could ever listen to apart from the film, but it's eerily effective.
Things start with a commentary featuring director Gabriele Albanesi, who is relatively modest in speaking of his skills, but a virtual encyclopaedia when listing his influences, which range from Michael Mann and Dario Argento to John Ford and Sergio Leone. In the commentary, which is in Italian with English subtitles, Albanesi is sure to point out his influences scene by scene, especially all the Dario Argento rips I figured he thought he'd gotten away with. The young director's heart is in the right place, surely, he just seems to lack either taste or talent.
Our only other extra, besides some trailers, is a short film entitled L'Armadio ( The Closet), written and directed by Albanesi. The five minute short, which concerns a little boy tortured by terrifying scraping noises coming from his bedroom closet, is five time more effective and frightening than Last House, utilizing a creepy synth score, overwhelmingly hyper-realistic sound effects, zany camera work, and a frightful little twist.
I need to give up my impossible crusade for quality modern Italian horror. It's over. I just need to accept it. Last House in the Woods is a sloppy glop of a film, with nothing but a few goopy gore bits to get us through, and those are way at the end. The disc looks and sounds awful, but there is a spirited commentary track from the director, and a fun little short, but that's not really a purchase. Skip it.
Review by Gabriel Powers
This product has not been rated
Disc Details
Release Date: 14th October 2008
Discs: 1
Disc Type: Single side, single layer
RCE: No
Video: NTSC
Aspect: 1.78:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 2.0 English, Dolby Digital 2.0 Italian
Subtitles: English
Extras: Director's Commentary, Short Film
Easter Egg: No
Feature Details
Director: Gabriele Albanesi
Cast: Rino Diana, Geremia Longobardo, Daniela Virgilio, Daniele Grassetti, Santa De Santis
Genre: Horror
Length: 86 minutes
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Summary: Love, is a single seed of magic; performed by all thing; Men, Elves, Dwarves, and other free people. These stories tell how love can create friendships, feuds, deaths, rivals and family.rnrnPlease take into account, each story has its own warnings and ratings!
Categories: Book-verse, Movie-verse
Characters: None
Genres: Romance
Warnings: None
Challenges: None
Open: Open
Series - H
Other Results: 6 Challenges


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Normally I don't complain about the proliferation of movie remakes any more than I complain about movie sequels and communal tables in restaurants — what's the point?
But recently a remake delivered a shiver. Its arrival felt like a cold harbinger of a bleak future. I felt pushed, motivated to revolution — in a fuming-at-my-desk kind of way. Since remakes are not going away anytime soon — indeed, since they appear to be venturing into ugly territory — it's time to compose a Movie Audience's Hollywood Remake Bill of Rights.
But first I should explain: Here's how I was radicalized.
"The Evil Dead," the first of the "Evil Dead" movies and the first feature film directed by Sam Raimi, was shot in the backwoods of Tennessee in 1979 and early 1980. It was released nationally three years later and made $108,000 its opening weekend. (Yes, $108,000.) It told the story of five friends from Michigan State University who drive into the backwoods of Tennessee and get killed. They stay in a cabin, party and do the things that thoughtless college students in 1980s horror movies did. They find what the film refers to as an evil Sumerian Book of the Dead; they also find a tape recorder with a tape of someone reading incantations from the book. One of the students presses "play" on the recorder, which releases ancient demons. Next thing, eyes are gouged, torsos impaled, ankles stabbed, bodies dismantled — a woman is raped by a tree.
Obscene as this sounds, the film is distinctive, weird, kinetic, melodramatic, funny (though not as funny as "The Evil Dead 2: Dead By Dawn," which brought back Ash, the last man standing, for further punishment, despite his being killed in the original).
Whatever quirks Raimi inserted decades later into his Spider-Man movies and the recent "Oz the Great and Powerful," you can see clearly here the fingerprints of a style coming into focus. Last week, when I asked Bruce Campbell, who played Ash, if the first "Evil Dead" was intended to be that funny, he laughed: "Of course not! We were amateurs, delivering amateur dialogue!"
In fact, though "The Evil Dead" has become a horror classic, you could say it isn't really about anything.
But there is a moral:
Don't mess with sacred text.
Like, for instance, "The Evil Dead."
Oh, go ahead and play around with the Bible (as Mark Burnett and the History channel recently did with their blockbuster miniseries); feel free to completely retool Andrew Lloyd Webber's "Phantom of the Opera" (a "newly reimagined" revival tours America starting in November); by all means check out the Court Theatre's revelatory rejiggering of the Pulitzer Prize-winning "Proof" (despite two well-received revivals and a movie having already come through Chicago, all within the past dozen years); and definitely patronize Tributosaurus, Chicago's most accomplished cover band (re-creating the music of Cheap Trick at Martyrs' on April 17).
In fact, I would bet you that, in my lifetime, someone will remake "Star Wars" — and I'd go see that.
Great art tends to be malleable, the raw material for decades of interpretations.
But "The Evil Dead" …
It's not great art. It's just great.
"Oh, I definitely heard reasons why we should not have remade it," said Campbell, one of the producers (along with Raimi) of the "Evil Dead" remake that opened Friday. "'If Ash isn't in it, it isn't "Evil Dead," If Sam Raimi is not directing it, it isn't "Evil Dead."' Look, flat out, I am not a fan of sequels or remakes, but in the world of reality, in the entertainment world, remakes are inescapable now. 'The Great Train Robbery,' from 1903, one of the first movies, was remade a few years later! This is the collision of art and commerce! And it is all driven by a fiscal reality. My beef with remakes is when they are naked — naked commerce."
This was your idea, I said.
"No," he said, "Fede Alvarez, the guy who directed (the new 'Evil Dead'), he's from Paraguay and owns a special effects company. He made this cheap, great short film about robots attacking cities that landed him meetings with, like, every major studio executive and director in a two-week span. He met with Sam and he made a convincing argument that you could do an 'Evil Dead' movie without an Ash, and since we get asked to do a sequel all the time, and it never feels right, Sam and I, we thought, 'Well, in the meantime, what the heck: What would happen if we redid this monster movie with an actual budget this time? What if we could hit people with scarier, louder sounds, rattling in surround sound? The special effects were seamless, so you can't see how we did it? With good actors with actual experience? And a script that tells an actual story?'"
An actual story — "Evil Dead"? A professionally made "Evil Dead"?
That sounds like every other horror movie now.
I couldn't believe what I was hearing — say it ain't so, Ash.
I told Campbell I sympathized with people who questioned the idea for this film. I told him I saw it, I didn't have a bad time (it was surprisingly thoughtful and well-made; the opening shot of a woman stumbling through a ravaged forest soaked in unearthly light looks more expensive than the original "Evil Dead" itself).
I also recognized that remakes are a cultural reality. But remaking "Evil Dead" seemed distinctly troubling to me, a disturbing new front in movie audiences' battle with remake fatigue.
I said it was one of the first remakes lately where the original had a voice so unique to its maker any remake would be a bad imitation, and fundamentally miss the point of what made the original unique. (For instance, imagine the remake of a film by Wes Anderson or Quentin Tarantino — any director whose work is so specifically them. You can't, just as your voice coming through a different body would not sound natural.)
He said, "Yeah, but I would say that's the charm of the original you're talking about."
I said, yes, exactly.
He said, "There's nothing that says we can't just focus on the story this time."
Which reminded me: In the new "Evil Dead" remake, a woman rips out her own tongue and loses her voice.
Ahem. And so:
A Movie Audience's Hollywood Remake Bill of Rights
Article I: A remake must account for its distance from, and the distinction of, the original.
There shall be no remakes of movies less than 30 years old. Moreover, there shall be no remakes of endearing classics. (When producer Dino de Laurentiis remade "King Kong" in 1976, the film's tag line was just playing with fire: "There is only one King Kong!"). Also, distinction matters: A genre flick like "Cape Fear" (1962) is acceptable material for "Cape Fear" (1991), as "Ocean's Eleven" (1960) was sufficiently forgotten enough to become "Ocean's Eleven" (2001). (Exception: Foreign films made less than 30 years ago may be remade if it's in the right spirit. Example: "The Magnificent Seven," a remake of "Seven Samurai." Also see: Article III.)
Article II: A remake must consider a filmmaker's voice.
There shall be no remakes of movies in which the filmmaker's (obvious) influence was intrinsic to its success. Traditionally innocuous, weak-voiced material ("Footloose," "Total Recall") is acceptable, but traditionally auteur-driven, strong-voiced material (the upcoming remakes of "Carrie," "Robocop") is not. The upcoming remake of "About Last Night …," however beloved by some, is acceptable because the original, despite being an adaptation of David Mamet, was so weak-voiced. Remakes of comedies, typically the most voice-driven movie genre, should be avoided. (Note: "His Girl Friday," a remake of "The Front Page," should be treated as an anomaly. Instead, see: Steve Martin's "Pink Panther," a remake of Peter Sellers' Pink P.)
Article III: Remakes must deliver something new.
A remake, should it be necessary, must find something fresh to say about the material. It must resonate with a contemporary audience, not simply revisit the past. (See: David Cronenberg's "The Fly," an AIDS-era update of an original obsessed with modern science.) The remake filmmaker must recognize that he or she is remaking said film because said film likely distinguished itself, broke rules or went out on a limb. Said remake should similarly go out on a limb. Superhero movies, which are all about the mythology, are exempt.
Article IV: Older, specific elements should be gently included in a remake.
Any element that immediately calls to mind the original should be discouraged, including aging actors, a similar visual scheme or a signature line of dialogue. Good: John Carpenter's 1982 remake of "The Thing From Another World" (1951), which borrowed the frozen wasteland and premise, and that's it. Bad: "The Thing," the 2011 remake that borrowed Carpenter's blue-black color scheme and only reminded one of Carpenter's film. Also, please, no unnecessary "fleshing out" of previously vague material. (See Rob Zombie's "Halloween.")
Article V: Please leave filmmakers alone.
We're not helping.
Studios are going to trample on our rights regardless of what we say. Your favorite movie will be remade, so stop making filmmakers so gun-shy about taking chances when they do trample on our rights and sign on for a remake. Therein lies something fresh.
Instead, consider the words of Chicago musician Chris Connelly, who leads the David Bowie cover band Sons of the Silent Age: "To remake something is a moral question. We remake music from David Bowie, but it could be anyone, anything. We do it because we love the material, nothing more."
That's so nice.
"Yeah," he said, "but if you gave me $10 million to make something, it wouldn't be Bowie covers. It'd be something original."
email@example.com | Twitter @borrelli


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Microsoft Virtual Server 2005 May Produce Hardware Errors on Dell PowerEdge Systems
Microsoft Virtual Server 2005 may produce hardware errors on IntelR based 9th generation PowerEdge Systems. In particular, the PowerEdge 1950III, 2950III and 2900III.
The hardware fault being reported in most instances is E1420 - CPU BUS PERR.
When working on the issue perform the following steps to get into a Microsoft supported configuration:
1. Update to the latest Service Pack (SP) or patch level for Microsoft Virtual Server 2005. Install SP1 Update for Virtual Server 2005. This requires SP1 to be installed. If Microsoft Virtual Server 2005 is running with no service pack, download and install SP1 first and then download SP1 Update.
Microsoft Virtual Server 2005 SP1
Microsoft Virtual Server 2005 SP1 Update
2. Enable Intel Virtualization Technology in the BIOS. The following Microsoft white paper explains the benefits of this setting.
Microsoft-Intel Virtualization Whitepaper
3. Verify if host operating system is supported. See the release notes for the supported host operating system and service pack levels. This must be done for the installed version of Microsoft Virtual Server 2005 (that is no SP or SP1). This information can be seen for SP1 Update as well. This can be viewed from the links provided above.
4. Verify if guest operating system(s) are supported. Use the same instructions provided in step 3 to verify this information.
For example: Without Microsoft Virtual Server 2005 SP1 Update, Windows Vista® and Windows 2008 is not supported as a host or guest OS.
For more information on this, refer to the following Microsoft KB Article: Virtual Server 2005 R2 Service Pack 1 does not support Windows Server 2008, Windows Vista Service Pack 1, or Windows XP Service Pack 3 Article ID: 948515.
5. Exclude virtual machine directories from any anti-virus scanning.
6. Dell hardware updated BIOS or Base Management Controller (BMC) / Dell Remote Assistant Card (DRAC) (latest versions).
Dell has not tested or validated Microsoft Virtual Server to run on Dell PowerEdge servers. The information put together here is a compilation of Microsoft and Dell requirements and recommendations. Where applicable, external links have been provided to the sources for further information.
Article ID: SLN75988
Last Date Modified: 06/10/2014 03:27 PM
Thank you for your feedback.


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Tifosi's Elder Polarized shades are perfect for riding, running, and just looking sharp. They boast Tifosi's exceptionally tough Grilamid frames and their Polarized lenses are injected at high pressure to increase optical clarity and durability while providing 99% glare reduction and blocking all harmful UV rays. The large, impact-resistant, polycarbonate lenses offer a wide, unobstructed field of vision and maximum protection from debris. Lens vents ensure fog-free vision, while the hydrophilic temples and adjustable nose pads grip better when wet for a comfortable fit that stays put.
|Manufacturer's Part Number
|Vendor Number
|Crystal Brown / Brown Polarized


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TJ's Radiant Heat, Plumbing and Heating, Inc., based in Attleboro, MA, has been in the HVAC business for more than 20 years, with comprehensive comfort solutions for customers in the Boston area and throughout New England. Tim Cutler, shown at left, is president. TJ's is an HVAC industry leader in the design, installation and service of radiant heating technology, geothermal, solar thermal, air conditioning, snow melting, plumbing, residential boilers, controls, and commercial boilers. Additionally, TJ's offers system automation in conjunction with home automation, through the use of Control4 technology. Read how Tim Cutler and the TJ's team applied their craftsmanship for a winning entry in the ContractingBusiness.com 2013 Quality Home Comfort Awards, by visiting bit.ly/QHCATJs.
In The Trucks
Number and type of trucks/vans: Two Ford E250 vans, one Ford F150 pickup truck.
Inventory on vehicles: Hand tools, service parts and materials.
Test instruments technicians carry: Combustion analyzers, digital refrigeration gauges, electrical meter.
Tools provided to technicians: Drill, Sawzall, battery tools.
Preferred field communications method: Cellular phones.
Preferred ladders: No preferred brand, but ladders used are fiberglass, and electrical safe.
In The Office
Preferred business management software: Microsoft Exchange for email and scheduling.
Preferred load calculation software: Wrightsoft.
Preferred fleet tracking software: Drone tracking
in each vehicle.
Preferred computers: Apple products for computers and cellular phones. Brother MFC printer/photocopier/scanner.
Business connection to Internet: Comcast business class.
Certifications: One master plumber, two journeymen plumbers, five EPA Universal, two RI masters.
In The Shop
Preferred heating equipment brands: Viessmann, Buderus, Trane, Viega, Bosch, Grundfos, Wilo.
Preferred cooling equipment brands: Trane, LG, Bosch.
Preferred accessory equipment brands: Trane, Zehnder, Aprilaire, Fantech.
Preferred zoning equipment: Arzel.
Preferred indoor air quality (IAQ) equipment: Trane, Zehnder, Fantech.
Preferred distributors: Air Purchases, Ferguson, FW Webb, Capco Energy Supply.


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WICHITA -- Relatives of two women kill by the same man 12 years apart are asking Kansas parole officials to keep him behind bars.
Danny Williams was convicted in Idaho of second-degree murder in the 1970 beating death of Melba Gray, a mother of six. Idaho officials paroled him after eight years and he moved to Wichita, where he was convicted of stabbing Francis Ellifson to death at her home in April 1982.
KFDI-AM reports about 40 friends and relatives of both victims attended a hearing of the Kansas Prisoner Review Board on Wednesday.
Many read emotional statements arguing for the 60-year-old inmate to remain locked up. They said they know Williams has been considered a model prisoner, but it doesn't change their belief that he would kill again if released.


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Featured News - Current News - Archived News - News Categories
New VAWA extends protections to LGBT, Native American, immigrant, student and sex trafficking victims
On Thursday, Congresswoman Louise M. Slaughter, D-NY, an original author of the landmark Violence Against Women Act, hailed the House of Representatives' bipartisan 286-138 vote to strengthen VAWA and extend the law's protections to LGBT, Native American and immigrant victims.
"This is truly an historic day in our ongoing effort to eliminate domestic violence in America," Slaughter said. "When we first passed the Violence Against Women Act in 1994, we set out to end the destructive cycle of domestic violence and bring millions of victims out of the shadows. And every time we've renewed the law, our goal has been the same: to ensure that all victims of domestic violence - no matter their ethnicity, their sexual orientation, their age or their gender - are acknowledged, helped and protected by the law. The measure passed today meets that goal and ensures that our government will never turn its back on any victim of domestic violence."
The new law protects all victims of domestic and dating violence, no matter their sexual orientation or gender identity, provides authority to Native American tribes to prosecute non-Indian perpetrators for crimes related to domestic, dating violence and violations of protecting orders, and adds stalking to the list of crimes for which immigrant victims can receive protection through the U-Visa program. In addition to these expanded protections, the new bill also includes authorizations for programs preventing human trafficking, sexual assault on college campuses, as well as additional resources to address rape kit backlogs.
Slaughter said the previous authorization of the Violence Against Women Act had expired in 2011, and for more than 500 days, the Republican leadership in the House blocked the law's reauthorization over disagreements regarding protecting LGBT, immigrant and Native American victims. Earlier this month, the Senate passed an inclusive and expanded version of VAWA by a margin of 78-22, with every Democratic senator, every female senator, and a majority of Republican senators voting for the measure. By contrast, Slaughter said the House GOP leadership unveiled a partisan and discriminatory VAWA bill that did not include the same crucial protections of the Senate bill. When it became clear that the Senate's version of the law would garner a majority in the House, however, the GOP leadership finally brought the measure to the floor, where it passed by a 286-138 margin, with all Democrats and 87 Republicans supporting the Senate bill.
Slaughter and her former colleague, Rep. Pat Schroeder, were co-authors of the original Violence Against Women Act that was enacted in 1994. Since its enactment, incidents of domestic violence have decreased by 64 percent, including a 24 percent reduction in the number of women killed by an intimate partner. More than 1 million women have used the justice system to obtain protective orders against their batterers, and countless others have utilized the law to protect themselves and their loved ones from further violence.


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mikecorrales necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 56 diseños de 18 diseñadores freelance.
We are a trucking company that is the first major company in the U.S. to turn their entire fleet of short-haul semi-trucks into 100% clean diesel and natural gas powered transportation. We need a new website design to showcase our new efforts greening America's goods transportation.
TTSI (Total Transportation Services, Inc.)
We specialize in taking inbound imported products from all of America's major ports to distribution centers for companies like Walmart, Target, Nike, J. Crew, Calvin Klein, etc.
With this shift in our fleet, we are now the greenest transportation option for socially responsible companies looking to reduce the carbon footprint of importing and moving their goods. We need a new, hip, exciting website to reflect this shift.
Please check out our website at ttsi.com for more information about our company. The current content is good, but the design imagery and presentation of the content is not.
Our Target Audience is:
- Importers such as Fortune 100, 500, and 1,000 Companies
- Steamship Lines
- Distribution Centers Words I would use to describe the ideal site would be:
- informative, attractive, honest, mature, educational, useful, popular, clean, colorful
- Should be between 960 and 1,000 pixels wide.
- Should ONLY use anti-aliased (non-jagged) text, even in the body copy
- You may use the current website content, but feel free to edit it down and or re-arrange the layout in the cleanest fashion possible
- The color palette should match our current logo We are open to other colors as long as they compliment the green, black and white.
- You may use stock photography if it improves the look of the site.
- No wild, off-the-wall colors
- No aliased (jagged) text anywhere