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On August 19, 1991, the GKChP, an emergency committee of hard-line communists, attempted a coup d'état to overthrow then Soviet President Mikhail Gorbachev and halt his reform plans.
Gorbachev was on holiday at a Black Sea resort when the group announced they were seizing power. Former Vice-President Gennady Yanayev was proclaimed acting president. Armored columns of tanks and military vehicles were moved into Moscow but many defected to Boris Yeltsin, Gorbachev's nemesis and then president of the Russian Soviet Federative Social Republic, the RSFSR.
The coup collapsed in less than three days, and the plotters were later sent to jail. They were pardoned in February 1994.
The coup paved the way for the fall of the Soviet Union and brought Yeltsin to power. The former Communist party outcast remained president of Russia until 1999.


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Where to go
Most visitors begin in Muscat, the nation's sprawling modern capital. Much of the city now comprises a largely featureless suburban sprawl, though engaging reminders of times past persist in the lively commercial district of Muttrah and the historic quarter of Old Muscat, site of the sultan's palace and a pair of hoary old Portuguese forts. The city also boasts an alluring selection of upmarket hotels – including some of the Gulf's most memorably opulent Arabian-style establishments – with fabulously ornate decor, marvellous beaches, and a selection of the country's finest restaurants and bars.
Inland from Muscat rise the spectacular mountains of the Western Hajar, centred on the beguiling regional capital of Nizwa, Oman's most historic and personable town. Nizwa also provides a convenient base from which to explore the myriad attractions of the surrounding mountains, including the mighty Jebel Shams (the highest peak in Oman), the spectacular traditional villages of the Saiq Plateau and the exhilarating off-road drive down the vertiginous Wadi Bani Awf. Other highlights include the lovely traditional mudbrick town of Al Hamra and the even more picture-perfect village of Misfat al Abryeen. Slightly further afield lie two of the country's most absorbing forts: monumental Bahla, the largest in Oman, and the more intimate Jabrin, whose perfectly preserved interiors offer a fascinating insight into life in old Oman.
North of Muscat in the shadow of the Western Hajar lies the coastal region of Al Batinah, fringed with a long swathe of sleepy, palm-fringed beaches. A series of low-key towns dots the coast, including lively Seeb, sleepier Barka (home to a couple more interesting forts) and sprawling Sohar, one of the country's oldest cities, although few physical reminders of its long and illustrious past survive. The main attraction in Al Batinah is the day-long drive around the so-called Rustaq Loop, which winds inland in the shadow of the mountains via the majestic forts of Nakhal, Rustaq and Al Hazm, and provides access to some of Oman's most beautiful wadis – including Wadi Abyad, Wadi Bani Kharous and Wadi Bani Auf – en route.
At the far northern end of Oman (and separated from the rest of the country by a wide swathe of UAE territory) lies the Musandam Peninsula. This is where you'll find some of the sultanate's most dramatic landscapes, with the Hajar mountains tumbling down into the ultramarine waters of the Arabian Gulf, creating a spectacular sequence of steep-sided khors (fjords), best seen during a leisurely dhow cruise. Most visitors base themselves in the modest regional capital of Khasab, which also provides a good base for forays up into the magnificent interior, centred on the craggy heights of the Jebel Harim.
South of Muscat lies Sharqiya region, providing a beguiling microcosm of Oman, with historic forts, dramatic mountain canyons, rolling dunes and turtle-nesting beaches. The still largely unspoiled coastline is a major draw, thanks to its generous swathes of pristine sand, the historic town of Sur and the turtle-watching beach at Ras al Jinz. Inland, Sharqiya is centred on the rugged Eastern Hajar mountains, cut through by some of the country's most scenic wadis. On the far side of the mountains, most visitors head for the magnificent dunes of the Wahiba Sands, while it's also worth visiting the old-fashioned towns of Ibra and Jalan Bani Bu Ali nearby, home to some of the country's finest traditional mudbrick architecture.
Tucked away in the far southwestern corner of the country lies Dhofar, separated from the rest of Oman by almost a thousand kilometres of stony desert. At the centre of the region is the engaging subtropical city of Salalah, famous for its annual inundation by the monsoon rains of the khareef, during which the surrounding hills turn a lush green and cascades of water flow down the mountains, creating impromptu rivers, rock pools and waterfalls – one of Arabia's most memorably improbable spectacles. The city also makes a convenient base for forays into the majestic Dhofar Mountains and the interminable sands of the Rub al Khali – Oman's final frontier, stretching across northern Dhofar and on into Saudi Arabia.
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The Musandam Peninsula: Oman's final frontier
There's something of the Wild West about Khasab, the dusty capital of Oman's Musandam Peninsula. One hundred kilometres of the United Arab Emirates separate…
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|May 13, 2012, 11:36 PM
Senior Member
Join Date: July 4, 2006
Location: Spokane Valley
Posts: 336
Win 1897 takedown won't...
I picked up an 1897 Win in 16 Ga this past week. First step with a new gun is a thorough cleaning. It will not takedown. I can turn the magazine tube until it loosens but the tube will not come loose. Racking the slide does not work. Lots of CLP and penetrating oil have loosened it but it just seems to hang on something - moving a 32nd of an inch up then stops. I ordered AGI's DVD on the 1897 and it should be in some time this next week.
Any thoughts?
|May 14, 2012, 12:27 AM
Senior Member
Join Date: November 13, 2006
Posts: 5,942
I sold mine over 20 yrs ago,so this is a little fuzzy.
Don't get mad and break anything!Once again,I have forgotten,but I'll try.
I may have things out of order,but I think the bolt has to be back for the extractors to be back out of the extractor notches in the barrel.
The action bar has to be slid forward out of the window so the forward section can rotate.I forget how,but there is a widget or someting to disconnect the hook on the action bar from the slide
Then,when you push that button through on the mag tube and rotate 1/4 turn,the interrupted thread will allow you to push the mag tube forward.The shank of the mag tube has to disengage the rear receiver section before it can rotate.
I do not have one here to look at,but key,the extractors,the action bar,and the mag tube all have to be clear before it can take down.
That may be enough for you to get it done.
There are a lot of parts in a 97.Get all the video,takedown books,etc you can find.Study till you understand before you start.
If there is a group of cowboy shooters near,they may have a 97 guru.
Or,maybe if there is an old gunsmith around,he can walk you through it.
I think a large number of the 97's that are now cowboy shooting rose up out of basket case cigar boxes under benches....from when someone took them apart to clean them.
Good luck!
|May 15, 2012, 12:49 PM
Senior Member
Join Date: July 4, 2006
Location: Spokane Valley
Posts: 336
Thanks HiBC. Will give it a try. Ordered a DVD from AGI on the 1897.
|May 15, 2012, 05:48 PM
Senior Member
Join Date: February 13, 2006
Location: Washington state
Posts: 13,425
A couple of ideas:
* If someone took out the magazine cross pin, they could have installed the magazine tube upside down (it will not go in the wrong way with the cross pin in place). Take out the cross pin and try to see if it will turn more than 1/4 turn and come out.
* Did you loosen the magazine band screws before trying to remove the tube?
Never try to educate someone who resists knowledge at all costs.
But what do I know?
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|May 17, 2012, 12:34 AM
Senior Member
Join Date: July 4, 2006
Location: Spokane Valley
Posts: 336
Thanks Scorch. Been lookin' at it to see if I could tell if it was upside down - found the cross pin and I am not sure how it comes out. Looks like it could just pull and slide out. But the tube is pretty much at the limit of the ccw turning limit looking down on the tube. I think that the actuating bar isn't letting go of what ever holds it to the action block. Really scratching my head on this one...
How would I know the tube being upside down could cause it to hang...
Really checking the mail several times a day to see when the (magic) DVD from AGI gets here...
Thanks again
|May 17, 2012, 01:43 AM
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Location: Mississippi
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|May 17, 2012, 11:40 PM
Senior Member
Join Date: July 4, 2006
Location: Spokane Valley
Posts: 336
Thanks Hawg. Saw both his videos and the one from Midway. They just turn the tube and push the slide forward and the thing comes off. Mine doesn't. It may be that the threads are really dirty and I need to keep soaking it in CLP and working it. Am at a loss for anything more than that...
It does not appear to be on backwards - the tube turns the correct way to unscrew and seems to loosen and stop but the thing just won't let go.
|May 18, 2012, 10:32 AM
Senior Member
Join Date: July 4, 2006
Location: Spokane Valley
Posts: 336
Finally came loose. Just dirt and grime - soak with CLP and some elbow grease and it is done. Thanks for the help.
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Service-Oriented Architectures and Data Services
SOAs and Abstraction
Decoupling is the key concept in SOAs and is achieved through abstraction based on service interfaces. Business processes in an SOA represent a formalized, executable form of the actual enterprise's processes, but offer a layer of abstraction above the physical processes, be they automated or manual. Business processes are composed of business services. Just as business processes in an SOA represent an abstraction from their real-world counterparts, so do business services offer an abstraction of actual physical services. Decoupling through abstraction imbues SOAs with immense potential to model business operations independent of the IT infrastructure du jour.
SOAs, as their name makes clear, are architectures. These architectures, as we've seen, involve business processes composed of business services. Business processes and services both make use of business information, which is likely resident in many different types and instances of databases and files. This information can be exposed to business services using the same service-oriented paradigm - as data services.
Data Services
Just as business processes and services in an SOA represent abstractions - albeit executable ones - of their real-world counterparts, so too do data services represent an abstraction of underlying enterprise information. Data services expose information to business services in a form and through an interface amenable to those services.
The form is generally some representation of business objects to be manipulated by business services and passed between services by business processes. Business objects may be simple tabular structures or complex nested structures. Almost always, though, they must be composed from information residing in more than one data source, often in different persistence formats. So a key requirement of data services is that they:
- expose integrated information in one or more desired formats, even if the original data are in different formats.
The desired interface is dependent on the architecture being used. A Web service-based SOA will provide a SOAP or REST-based interface to XML-formatted business objects. A more traditional Java or C-language RCP-based architecture will require JDBC or ODBC access to tabular information, obtained from multiple data sources. So, a second key requirement of data services is that they:
- expose information through one or more consistent, standard interfaces, even if the original data are accessed through different interfaces.
These two key requirements of data services are achieved by two different technologies:
- modeling to define the required format of data, integrated from the underlying sources; and
- a query engine for processing these abstract definitions efficiently, exposing the integrated information through one or more interfaces.
Together these form the basis for a data services architecture underpinning a robust SOA, making data available to business processes and services in the required format and through consistent, standard interfaces.
- tei·id (TEE-id)
- adj. pertaining to a family of tropical American whip-tailed lizards noted for speed and agility.
- n. a set of open source enterprise information integration tools noted for their ability to rapidly create data services that can quickly adapt to changes in your IT environment.


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Opinion: Senate's Border Fix
Editorial board member Steve Moore on the Gang of Eight's immigration reform plan. Photo: Associated Press
This transcript has been automatically generated and may not be 100% accurate.
... I ... turn out to Washington where the gang of eight senators of bipartisan group ... police in outlined in these last hours of what could be a landmark immigration bill ... editorial board member Steve Moore is here to talk about it Steve ... I would put up ... a list of the bills and ... broad outlines here a ... thirteen year path to citizenship and ... four point five billion dollars for border security in fines for legal status ... I anymore man DVD buyer fine UW pieces increasing twenty pieces ... on ... is this bill improvements task While naturalist you know that they're a lot of somethings and all I don't like married that I think that well ... we're spending so much money on the border already ... you know that we've almost Milla Prize The ... Mexican border and I'm not sure spending five billion dollars more is going on is going to do much ... but what I really like about this Telesat actually make it creates a more generous immigration system and we need that we ... can warn aging population we get seventy five in a million baby boomers there to be retiring the next ten or twenty years ... we need that infusion of ... of ... you know young and talented people from around the world economy has been a formula for success for ... this country so it is dramatically increase in number people can come and legally ... that also provides a path to legalize status for about ten million or so that are here illegally I think those makes us so it's more he says an awesome smarter allocation has the right now so of ... the traditional way for the last top forty years or so we've really that the backbone of armor ration system has been the family insisted that the of a ... family member here or you know that's the best way to get in the country ... this moves us more towards what I think is a smarter ... and more productive system where we would take people will have the skills that we need and I think for one a growing and prosperous economy one American the Number one ... to take the best and brightest were all from the world but that makes a lot to see what about the delegation in this bill to committees to make decisions so they don't really write what they ... want in the bill they say an idea somebody else take care of that the salary is out of the imagine that ... Washington putting something new commission see that over half its Fed derided does not bother me but it but again I think the big picture here is you know we don't really ... reform our immigration system in terms of who we let them legally since nineteen sixty five so it's been ... almost fifty years since we've really ... dramatically overhaul or system ... I think is an economist this have very very large economic ... facts that will be very positive ... and by the way it's been a key advantage toward have over the countries that would compete with China Japan and Germany ... they don't have access to the young and Qala people the weekend if this bill actually a bit console on the site and let soften up the politics here on ... in this momentum here in the Senate but what you're hearing from your sources about how well the sentiment think it's I think this can get through this ... and I think it's a pass with a pre departure Mary ... but I think you're right the Hollis is a lot trickier you've got the Republican leadership which agrees look we just got clobbered this Republicans in the last election ... we lived at twenty percent of minority vote would never go when all options and an operation was a big reason why Republicans to sew for way with this task with the chilli is only so as to how such a don't have that ... in a large contingent of them were kind of traditional native best Republicans to CEC immigrants is a cost ... of many of them are from the southern states that the traditionally in all less receptive to immigration than in the north and south as can be tricky but I will make a prediction you actually think we're inning get this done sometime next twelve months and this would be a landmark piece of legislation stated the the anti immigration groups or to say we've got twenty million unemployed Americans white you wanna bring more and ... he think the Republicans are United enough ... to make the argument ... that for the benefits of the limelight as reversal of the order is very easy immigrants don't just take jobs they create jobs and if you look at the big companies the and ... the high technology companies in this country the crate so many ... odd jobs many of them were founded by immigrants they wouldn't exist if we get members are but here I am what Republicans need to learn how to talk about this issue to convince people look letting more people this country is not pointed to a opportunities for those were there in fact it's gonna make America richer ... and more jobs for everyone I really believe that going to make America richer more jobs for everyone how he maintains that any fancy ... editorial board member Steve Moore thank so much for being with us ...


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In case you missed my first live interview on Face The Nation this morning: cbsnews.com/videos/preside…— Pete Souza (@PeteSouza) November 05, 2017
In case you missed my first live interview on Face The Nation this morning: cbsnews.com/videos/preside…
The previous President, after the attacks of 9/11, engineered a war with a state which, though abysmal to its own people, had had no direct or indirect link with any terror attack on the United States. It was, if anything, a mortal enemy of the group which carried out the attacks, as that group saw the ruling regime as corrupt and un-Islamic. As the history of that war is being written, the regime sought to stave off war, willing to give the previous President anything he wanted, save for the regime's destruction. Of course, the regime as it existed stood in the way of the grand plan to remake the Middle East; its destruction, not its containment, was the goal. Anything short of political—and literal—suicide would not suit the ultimate purpose. So the country and the world were lied into a war, which cost nearly 5,000 American lives, and hundreds of thousands of Iraqi deaths; a war which was supposed to last a few weeks and pay for itself instead dragged on for nearly a decade, costing over $1 trillion. And the Middle East, far from being remade into a collection of benevolent American satrapies, teetered on the edge of all-out war for the eight years of the George W. Bush administration.
That President, however, was never asked to apologize for the disaster he had wrought. And if ever he had been asked to apologize in a face-to-face interview, he never offered one: no apology for the countless dead, for the treasure wasted, for the lives destroyed. It's just not the done thing.
Well, it used to not be the done thing.
Continue reading 'Repeat After Me: There Is No Liberal Media'
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Collage is usually put together without much photographic manipulation, it looks coarse, like it doesn't belong. Illustrations usually feature a center object in the middle of the screen, blend together with designed-from-scratch or actual drawing elements (example). Photo-montage aims to create a scene that looks like it's a real photograph or frame still, rather than a collection of separate photographs put together (example). Apart of the technical differences, the "moods" of the pieces are different. Photo-montage in art is mostly used for fantasy scenes, illustration is mostly used in commercial magazines, and collages as posters or high art.
I personally prefer collages exactly because they're so often coarse. Some pictures can be black & white, other can be colored, other can have a different print texture etc. And their cut-outs are also coarse, often visibly so. When I look at these kinds of collages, this non-perfection is part of the magic. The fact that things in the collage feel that don't belong together, enhance their surreal feeling, making them stronger as artworks. There are several sub-genres of collage, but currently the "vintage surreal" ones are in fashion.
Here's some advice about how to create digital collages that look like real, paper vintage collages.
"Unhid (My Homage to Magritte)"
1. You don't need to own Photoshop CS. Photoshop Elements 10 or The Gimp will do the job too. I don't find The Gimp's usability as good as Photoshop's, but collages don't need too advanced features, so you can get by with The Gimp just fine. Plus, the various freeware texture images you will need occasionally can be loaded via The Gimp too. Advanced plugins are very rarely used, since these are more suited for photo-montages. As long as you have the basics (curves, levels, exposure, saturation, contrast & brightness, sharpness etc), you'll be fine. I highly suggest to get a tablet though.
2. There is a standard poster size, at 24"x36" (printers that can print at that size cost about $1100). Create a 4320x6480 image, RGB, 8 bit, at 180 dpi, with a transparent background. You can also calculate and adjust the sizes for the other standard poster sizes, which are 18"x27", 12"x18", or you can go square (e.g. 24"x24", 18"x18", or 12"x12"). I'd avoid using 32bit color, since it's too slow, and not much photo-manipulation is happening on collages, so the quality degradation is minimal. I personally prefer to work with the RGB gamut and the "Adobe sRGB" colorspace, it deals fine with my 18" inkjet printer.
Update: The resolutions for standard poster sizes, set at 180dpi, RGB/sRGB:
24"x36" = 4320x6480
24"x24" = 4320x4320
18"x27" = 3240x4860
18"x18" = 3240x3240
12"x18" = 2160x3240
12"x12" = 2160x2160
"When you look into an abyss, the abyss also looks into you" (Nietzsche quote, philosopher/musician John Maus as model)"
3. The "real" paper vintage collages are made out of old magazines found on second-hand stores. I personally prefer to deal with digital images, so most of the time I use Creative Commons pictures found on FlickR. When cutting out an object to use in your collage, you can go either way: either use a block eraser which is pretty coarse, or you can go anti-alias and very precise. Either is fine. To give the illusion that this was a magazine cut-out, you can add a white stroke around the image, at 3px thickness. Avoid (large) shadows and glow, these are stylistically suited for photo-montage or illustrations only.
4. Put together your piece. To help with composition, use visual guides. If some of the images are too small for your big poster-sized documents, scaling them would pixelate them. The way I go around this occasional problem, is by using plugins that emulate painting looks (e.g. watercolor painting etc). When the scaled element is run through a painting plugin, it just looks like it was painted, it doesn't look pixelated anymore. It's just a trick, and here's an example of it. For other works, like the Nietzsche one shown above, I actually painted it manually. If you can't paint well, you can still draw a few simple things if the piece demands it (example).
"Look what I found!"
5. Then add a texture on each of the images consisting the collage. Different elements of the collage should have a bit different textures, to emulate that they were cut-out from different printed magazines. The textures to use are noise textures, or print textures. I usually use these at around 16% to 32% opacity. If you prefer to use the same texture in the whole document, use 8% opacity, and then also use a reversed radial gradient, which will give a "fall-off" look (it's like a vignette, but not exactly).
6. Then, bring saturation down. Old magazines had a bad color reproduction, so you'll need to emulate that. You might need to adjust brightness & contrast. Remember, film was low contrast. For some of the pieces you might want to "colorize" them, for example, some color pieces make them black & white, or sepia, or other monochromatic color. For other collage elements, you might want to keep their original full colors.
"Extraction of Precious and Other Stones"
7. Finally, use curves on the layers of the biggest pieces, or on the whole of the image to give it a vintage look: draw an S curve for RGB, and then pick the BLUE curve and draw it exactly the opposite. This will give your image a Polaroid blue look. You can also experiment with the RED and GREEN curves to emulate different old camera looks.
8. Enter EXIF information, linking to your Creative Commons source images, and export in high quality JPEG or PNG, and upload to your favorite image site. Note, TumblR is where most of that type of art is appreciated. I usually have 0 views on FlickR, but hundreds (or thousands) on TumblR for the same pieces. Just make sure you tag your TumblR post with the word "collage".
How would you know if a collage piece is good or not? Ask yourself the question: "would I pin it on my own wall?" If the answer is "yes", then that's a worthy collage piece. So, good luck, and go be artistic!


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After a long time contemplating weaving (and even giving a back-strap loom a few passes of the shuttle), I finally took the time to set up and get going on a Cricket Loom. I thought I'd share a few pictures and tips from my first attempts at weaving.
1. Set up with a friend. It really helps to have an extra hand when putting the Cricket Loom together. It was pretty simple, but I was happy to have the help. Also, as someone who is relatively unfamiliar with weaving terms (I know they are all related to weaving, but I can never remember which word means what), it was helpful to read the directions for setting up the warp out loud and decipher it together. Plus, it's just more fun with a friend.
2. Plan your project width. Learn from my mistakes. I thought we'd start the warp all the way at the end of the heddle and just go as wide as we wanted, but this caused our warp to be off center and the weaving to get a little funky. You don't need to know the exact length of your final project. Overestimate the length to ensure that your warp will be long enough.
3. Don't be afraid of mistakes. Even though I made plenty of mistakes, I had a lot of fun. When we were setting up the warp, I accidentally skipped the sixth hole in the heddle. I decided I'd just skip every sixth, and I think it made for an interesting effect. We made plenty of other mistakes, but instead of getting the perfect project, I'm learning a lot about weaving and all that you can do with it.
4. Play with color and texture. I played with fun color and texture combos. I used Sock-Ease in Green Apple for the warp. I started weaving with Cotton-Ease in Golden Glow and I liked how the two colors worked up together. When the first shuttle started running low, I decided to try something else, Fishermen's Wool in the new Birch Tweed. I loved the way it worked up! Even though it's a neutral color, the texture and flecks of color made it exciting to work with. Working with beautiful yarns is great motivation for finishing a project.
Overall, I really enjoyed learning to weave! The Cricket Loom was easy to understand and the directions were pretty straight forward. It was also nice and light so I could move it around as needed. For my next project, I think I'd like to try the Boyfriend Scarf. I love the design and think I'm ready to try following a pattern.
Trying weaving? Tell us about it by leaving a comment!
[…] Want more information on weaving for the first time? Check out this earlier blog post. […]


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Fox News talking head most famous for ignorantly trying an ambush on former President Bill Clinton. Clinton was to be interviewed about his charity work when Wallace jumped right in accusing Clinton of not doing anything to fight terrorist during his time office. He was severely bitch slapped by Clinton. Clinton called him out for the "conservative hitjob" and throwing softballs questions to those in Bush administration while not asking them what they did pre-9/11.
Clinton opened a can of whoopass on Chris Wallace for trying to blindside him. I heard Wallace still has nightmares of having his ass handed to him. I bet it's on YouTube.
by Jeremiah A. Wright Jr. March 15, 2008
A real sweetheart of a guy. Always makes everyone around him smile simply by being around. Smart, sexy, handsome, and has the best personality! Will be your best friend and is always there for you no matter what. Also quite possibly the best kisser on the planet and the best lover. Will surprise you with the sweetest things. When he's not around you miss him like crazy and can't wait to see him again. Just an amazing guy!
by Smoochesgirl May 01, 2013