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New Car Review
2013 Audi S6: New Car Review
Pros: Seductive mix of acceleration and refinement; genuinely entertaining handling; all the luxury and technology of a regular A6
Cons: Doesn't come cheap
What's New: The Audi S6 is all-new for 2013.
Doubling down is supposed to be risky, but putting chips on the 2013 Audi S6 must have been a complete no-brainer for Audi. That's because the regular A6 sedan on which it's based is already an excellent sport sedan in its own right. We've driven plenty of high-performance models that were based on subpar mainstream products, and that's a recipe for disappointment. But when you start with a car as solid as the A6, how can you go wrong?
Well, surely there are ways, but we're pleased to report that Audi has managed to avoid them with the new S6. It all starts under the hood, where Audi has ditched the A6's excellent supercharged V6 in favor of a much more excellent twin-turbocharged 4.0-liter V8. Audi fans might be dismayed that the exquisite 4.2-liter V8 has been passed over here-but fear not, the S6's twin-turbo V8 is a thing of beauty, delivering its formidable 420 horsepower and 406 lb-ft of torque in an incredibly well-mannered fashion.
Eagle-eyed observers will note that the S6's power figures are basically neck and neck with those of BMW's 550i sedan. This is significant, because it means that the 560-horsepower BMW M5 sedan remains unchallenged by Audi-in a straight line, at least. But if you're looking for a mid-size luxury sedan that can more or less do it all, from acceleration and handling to comfort and technology, the 2013 Audi S6 is one of just a few cars in the world that we consider safe bets.
Comfort & Utility
The 2013 Audi S6 is offered in one well-equipped trim level. It comes with 19-inch or 20-inch alloy wheels, quad exhaust tips, xenon headlamps, an adjustable air suspension, a sport rear differential, a sunroof, Audi's Drive Select system (featuring electronic adjustments for steering, throttle and transmission) and Multi-Media Interface (MMI), leather upholstery, a sport steering wheel with shift paddles, power sport seats with diamond stitching, a Google-Earth-based navigation system, Wi-Fi capability and a Bose audio system. Options include LED headlights, a head-up display, a top-view parking camera, massaging front seats and a Bang & Olufsen audio system.
The S6's cabin is beautifully constructed, with high-quality materials everywhere you look and touch. The basic design is a carryover from the A6, of course, but the S6 adds numerous S-specific touches such as a unique instrument cluster and S6 badging on the steering wheel. We love the sport seats, which provide that robust lateral support that the A6's standard seats lack. The back seat's bottom cushion is rather low by mid-size luxury sedan standards, but most folks should still be able to get comfortable back there.
The S6's ergonomics are generally satisfactory. As in other Audis, little things like adjusting the fan speed can be needlessly complex, but most major controls are straightforward. Happily, the MMI system has improved by leaps and bounds in recent years, with simplified menu structures and extra physical buttons that help streamline common tasks. The MMI control knob falls readily to hand, allowing the driver to use the center armrest and the knob at the same time.
Like the A6, the S6 is a high-tech haven inside. Well, unless you like to keep your MP3s on a flash drive, since the S6 features SD card slots instead of a USB port. Otherwise, this Audi's technology comes up aces, from the standard iPod/Bluetooth integration to the warm-sounding Bose stereo. Your passengers will undoubtedly be impressed by the crisp, colorful MMI screen, which displays vivid Google Earth images in navigation mode and automatically retracts into the dash when not in use. There's even a touch pad on the center console that can recognize commands you scrawl on it with your finger.
Performance & Fuel Economy
The all-wheel-drive S6 sports a twin-turbocharged 4.0-liter V8 rated at 420 horsepower and 406 lb-ft of torque. The transmission is a seven-speed dual-clutch automated manual. It's hard to overstate this drivetrain's excellence: acceleration feels impossibly swift and smooth, while the dual-clutch transmission delivers quick yet seamless shifts. Although the previous S6 enjoys bragging rights on paper with its 435-hp Lamborghini V10, the 2013 S6 is actually quicker, so the only thing missing is the V10's spine-tingling wail.
Oh, and the V10's miserable fuel economy is also gone, as Audi expects the twin-turbo V8 to return about 17 mpg city/26 mpg highway, thanks in part to a cylinder deactivation system that enables the engine to cruise with just 4 cylinders.
The 2013 Audi S6 comes with standard stability control and four-wheel antilock ventilated disc brakes. Ten airbags are located throughout the cabin (front, front side, front knee, rear side and full-length side curtain). The S6 also offers a blind-spot warning system and night vision assist with pedestrian detection.
The A6 family had not been crash tested by the government as of this writing, but the independent Insurance Institute for Highway Safety gave the A6 its top rating of Good in every category.
Driving Impressions
Audi likes to talk about all the S6's aluminum parts, but this mid-size sedan still weighs well over two tons, which makes its athleticism all the more impressive. Unlike the 550i or even the M5, the S6 feels light on its feet, and the responsive, precise steering imparts confidence in all situations. If you're really driving with enthusiasm, you can feel the rear-biased Quattro all-wheel drive working with the standard sport rear differential to keep power and grip in sync. Indeed, the S6 drives remarkably like the sporty S4, despite being considerably larger and heavier. Naturally, there's a tradeoff here: the S6's ride is on the firm side, even with Drive Select set to Comfort. If you want a car that's going to pound highways into submission, the Mercedes-Benz E-Class might be more your speed. But if nimble cornering is a priority, the S6 is as good as it gets in this segment.
Other Cars to Consider
BMW 5 Series: The 4-cylinder 528i won't cut it if you're cross-shopping an S6, but the six-cylinder 535i, eight-cylinder 550i and just plain ridiculous M5 give you a compelling range of high-performance options.
Infiniti M56: Infiniti doesn't really have a dedicated performance line like the Germans, but the M56 comes with a 420-hp V8 right out of the box, and the S version handles exceptionally well.
Mercedes-Benz E-Class: You can't go wrong with either the E550 or the E63 AMG: both now offer twin-turbocharged V8s in differing states of tune. The E-Class isn't what we'd call agile, but boy, does it devour miles on the Interstate.
AutoTrader Recommends
he S6 comes loaded up, so the only question is whether you like it more than its rivals. We're not sure which one we'd choose, but the S6 is an incredible all-around package, no doubt about it.


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Table of Contents:
This article provides information on troubleshooting the Timeout Detection and Recovery feature within Windows.
The Timeout Detection and Recovery (TDR) feature within Windows serves to determine if the Graphics Processing Unit (GPU) has frozen during a specific graphics operation. Once that determination is made, the TDR will then reset the graphics driver to prevent having to fully reboot the computer. TDR is most often used during periods of intensive graphical operations, such as during video editing or game play.
The default timeout period used by the TDR feature is set to 2 seconds. If the GPU (Graphical Processing Unit) cannot complete the current task within that time period, then Windows determines that the GPU is frozen and uses TDR to restart the video driver. The screen will flicker to show the recovery is in progress and the screen will redraw.
To prevent Timeout Detection and Recovery from occurring, hardware vendors should ensure that graphics operations take no more than 2 seconds for certain graphics-intensive scenarios (video editing, productivity applications, game play). If the hardware is not designed to meet this specification, then the TDR feature will report issues with the specific graphics-intensive process and recover the graphics driver before the process can complete.
An indication that this is the case will appear within the Windows Event Viewer. For instance, multiple instances of the warning event ID 4101 appear stating that the "Display driver nvlddmkm stopped responding and has successfully recovered" if there are timeout issues with an nVidia graphics driver.
The settings within the Timeout Detection and Recovery feature can be modified within the Windows Registry to help in troubleshooting specific TDR issues. For example, the default time for detection can be changed to a longer period than 2 seconds. Or the TDR feature, itself, can be disabled.
Reference the following article for additional information on using the Windows Registry to configure Timeout Detection and Recovery: TDR Registry Keys.
The following article from Microsoft provides further information on the TDR feature: "Timeout Detection and Recovery (TDR)".
Artikel-ID: SLN293089
Datum der letzten Änderung: 12/09/2014 12:25 PM
Vielen Dank für Ihr Feedback.

subset: commoncrawl


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Packaging Puts a New Spin on Old Products and Adds Convenience to New Ones
Frozen food processors are using packaging to put a new spin on familiar products and add convenience to new ones.
Innovative new frozen foods, including items such as organic baby food and freezer-to-oven brownies, are fostering growth of sustainable packaging and structures that deliver cook-in-pack convenience, portion control and other functional benefits.
The outside is a typical folding carton, but inside the Nummy Nums box is a six-cell plastic tray, resembling an ice cube tray, with each cell contains one portion of pureed baby food.
Frozen baby food, a recent entrant, is proving to be a category geared toward packaging creativity. Nummy Nums Inc. (www.nummynums.com), Monrovia, Calif., which sells six flavors of all-natural, gourmet, fresh-frozen baby food, is a case in point.
The company fills its products into six-cell plastic trays. Each cell contains one portion of pureed baby food, about two ounces. The filled tray is packed in a bag, which is inserted into a folding carton. The tray "looks like an egg tray, but instead of being divided into 12, it's divided into six," explains Arlene Yanover, Nummy Nums' founder and president.
Yanover, a professional chef, started Nummy Nums using concepts she developed when making baby food at home. "I basically tried to copy what I did when I was feeding my baby and filled an ice cube tray."
Prime Paper Packaging Supplies (www.primepaper.net), Irvine, Calif., provides the trays, which are pressure-formed using 25-mil, white high-impact polystyrene.
Another frozen baby food company, Plum Organics (www.plumorganics.com),
New York, adds value to its products with recloseable packaging. The baby food is filled into polypropylene cups and sealed with foil; each cup includes a plastic cover so leftovers can be stored easily and transported securely. The four-ounce cups are packed two per carton.
One sweet package
The packaging challenge for Los Angeles-based Mary Beth's Apple Pie Co. (www.marybethsapplepie.com) included both functionality and brand image. The package needed to protect the heavy frozen pies while presenting a gift-like appearance and harmonizing with the company's old-time image.
The Mary Beth's pie carton is hexagonal with a fanned top formed by folding leaves of paperboard into a three-dimensional shape. The bottom panel is designed with an intricate fold-and-tuck design that provides the strength needed to hold the hand-made, 4.5-lb. pies.
Corrugated board, though protective, was not appropriate for the package because of the gift aspect. And a plastic package would have clashed with the company's old-fashioned image. That left paperboard — teamed with a clever carton design, it's both visually appealing and strong enough to protect the product. The Mary Beth's pie carton is hexagonal and sports a dramatic fanned-out top formed by folding leaves of paperboard into a three-dimensional shape. But the bottom panel of the carton holds the package's true innovation.
The bottom is designed with an intricate fold-and-tuck design that provides the strength needed to hold the hand-made pies, which weigh 4.5 pounds each. Display Pack (www.displaypack.com), Grand Rapids, Mich., designed the unusual package. The cartons, which ship flat to Mary Beth's, include markings that explain how to set them up.
"It all started with the weight of the pie. That was the structural challenge we had to overcome," says Kristie Vos, packaging design manager at Display Pack. "Even though you don't see the bottom of the box, it has to support the pie without dropping out. The top is aesthetic, but the bottom is what holds the pie."
To come up with the package for Duncan Hines Oven Ready! Homestyle Brownies, Pinnacle Foods Group LLC (www.pinnaclefoodscorp.com), Mountain Lakes, N.J., leveraged its experience with savory frozen foods. Pinnacle's product portfolio includes Hungry-Man frozen dinners and Mrs. Paul's and Van de Kamp's frozen seafood.
Oven Ready is reportedly the first ready-to-bake frozen brownie. The product, which was formulated to taste like brownies made from Duncan Hines dry mix, is filled into trays made of crystallized polyethylene terephthalate (CPET) and sealed with film lidding. To prepare the product, the consumer removes the lidding and places the tray in a 350° oven for 27-29 minutes.
"The beauty for us as a company is that Duncan Hines is just one of our brands. We're in the frozen food business. In effect, that's what gave us the ability to do this," says Jim Seiple, senior vice president, product development and technical services.
"The CPET tray, carton and film seal is the packaging model for our Hungry-Man dinners. We actually make this product in a frozen-meals plant," Seiple says, adding that the only difference between Oven Ready and Hungry-Man trays is that the brownie tray has no compartments.
Because consumers are not familiar with ready-to-bake frozen brownies, the carton includes educational graphics. The front panel shows a photo of baked brownies in the tray, over a text banner that proclaims: "Ready to bake. No prep and no clean-up."
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Celtics welcome lowly Cavs to the Garden
The Boston Celtics finally clinched a spot in the Eastern Conference playoffs and will try to improve their standing when they host the Cleveland Cavaliers on Friday.
The Celtics are currently the seventh seed in the East and 2 1/2 games ahead of the Milwaukee Bucks. Boston trails both the Chicago Bulls and Atlanta Hawks by 2 1/2 games in a bid to improve its lot.
Boston clinched its sixth consecutive trip to the postseason with a 98-93 home victory over the Detroit Pistons on Wednesday.
"We knew we were a playoff team before the season started, you know despite the injuries and everything," said Paul Pierce. "Right now, we just want to focus on continuing to play well going into the playoffs."
Rajon Rondo has been gone for months. Kevin Garnett, only weeks, but the Celtics have found themselves a new star in the making in the form of Jeff Green.
He scored 34 points on Wednesday and is averaging 23.0 ppg over the last six games.
"I just think he's playing now," said head coach Doc Rivers. "I don't think he worries about who's on the floor with him or anything like that. I do think that takes time though, when you're playing with Paul and Kevin and Rondo earlier in the year. I think that's hard."
The Cavaliers will miss the playoffs for the third consecutive season. They've lost 10 straight and got clobbered on Wednesday by the Brooklyn Nets, who finished an eight-game road trip.
Cleveland fell 113-95 and infuriated its head coach.
"Nowadays, playing hard seems to be a skill," said Byron Scott. "To be playing hard is your job, simple as that. Basically, that's all we ask of you is to come out, just compete and play hard every single night. Not every other night. Every night. I don't know why we came out the way we did tonight."
Brooklyn took an eight-point lead after the first quarter, then extended the margin to 30 by the half. The Cavs scored 36 points in the first half, which was two less than they allowed the Nets to score in the second quarter.
"Effort, that's it," said All-Star guard Kyrie Irving. "Things went from bad to worse. Once we got down, our entire game plan went down the drain."
Irving and Marreese Speights led the way with 16 points apiece. Speights added 10 rebounds. Tyler Zeller added 14 points and C.J. Miles scored 11 off the bench.
The Celtics have taken two of three from the Cavaliers this season and are 3-1 in their last four at home in this series.


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Very Vintage Toys: Panda, Marbles & Toy Ambulance
These fun things are taking applications for new child owners. They need to fulfill their toy destinies, even if it just means sitting on a shelf in a nursery.
• Chicago, IL: Playground Panda - $295
• New York, NY: Vintage Marble Game - $180
• Brooklyn, NY: Keller Rocking Horse - $20
• Palisades Park, NJ: Toy Ambulance - $55
• Baltimore, MD: Puppet Theater Stage - $225
Shoppers, check out the Classifieds for many more listings. Sellers, gather up your goods and list them in our Classifieds to turn them into a little extra spending cash.
Go To: Classifieds Main Page
Apartment Therapy is not the seller of these items. This is an edited selection of our favorite offerings from our Classifieds. For more information, see How it Works. Happy Scavenging!


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Immigration Bill Gathers Momentum
Some Fence-Sitting Senators Come on Board After Border-Security Pact, Projection of Deficit Reduction
The Senate edged Thursday toward embracing a plan to put thousands more federal agents on the border with Mexico, in a bid to sway more Republicans to back a comprehensive immigration bill.
The deal appeared to give the Senate immigration bill its second major shot of momentum this week, following the news that the legislation was expected to significantly reduce the federal budget deficit. It quickly prompted several previously undecided Republicans to say they would support the bill, without alienating any Democrats who...


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Daniel Abraham
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Daniel Abraham (born November 14, 1969) is a Hugo-nominated, American fantasy/science-fiction writer. He is the author of the The Long Price Quartet series and the The Dagger and the Coin series.
|This article on an author is a stub. You can help Wikiquote by expanding it.
- I was listening to Tim Powers talking and he said he didn't want his villains just defeated, he wanted them humiliated and destroyed. And I thought: 'I don't. I want my villains to be understood and forgiven.
- interview with Jack Womack in Orbit Books Podcast
- Writers are a basically insecure bunch. We are convinced that everything we do sucks, all the time. It's something you have to fight. The best way to make sure that your writing will never be particularly good is to use it for something besides telling the story. And I think there's a real tension between sophistication and accessibility.
- interview with Locus Magazine, June 2008
- I don't find fantasy to be more or less suited to philosophical questions than any other genre, really. I think that the soul of fantasy—or second-world fantasy at least—is our problematic relationship with nostalgia. The impulse to return to a golden age seems to be pretty close to the bone, at least in western cultures, and I wouldn't be at all surprised if it's a human universal. For me, it's tied up with the experience of aging and the impulse to recapture youth. Epic fantasy, I think, takes its power from that. We create golden eras and either celebrate them or—more often—mourn their loss.
- Interview with Peter Orullian
- I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you've found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You've found a place where the things that stories offer are most needed.
And since the thing that stories most often offer is comfort, you've found someplace rich with anxiety and uncertainty. (That's what I meant when I said to Melinda Snodgrass that genre is where fears pool.)
- On his blog, talking about genre
- For the moment, it's called the Dagger and the Coin, but with any luck, that'll swap out for a better name. There are some things in the proposal that need to get smoothed out so that everyone's on board, but I think it'll happen.
It's a very different from the Long Price books. It looks and feels more like traditional epic fantasy -- quasi-Europe, ferinstance, and some dragons in the background, no 15-year gaps between books -- but the plot structure is packed with everything I think is cool. There are echoes I'm intentionally building in of from things as familiar as Firefly and The Count of Monte Cristo and as obscure as Tevis' Queen's Gambit and Reck-Malleczewen's Diary of a Man in Despair. And the magic system is all about faith and deception, which will be tricky and fun both.
What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16.
- talking about his epic fantasy series The Dagger and the Coin
Leviathan Wakes (2011)[edit]
- All page numbers from the trade paperback first edition published by Orbit Books
Published in collaboration with Ty Franck under the pseudonym James S. A. Corey
Nominated for the 2012 Hugo Award
- Say what you will about organized crime, at least it's organized.
- Chapter 2 (p. 20)
- If Miller had ever been called upon to describe her, the phrase deceptive coloration would have figured in.
- Chapter 2 (p. 21)
- "Too many dots," Miller said. "Not enough lines."
- Chapter 10 (p. 109)
- The enlisted guys will be okay, but the officers get the sense of humor trained out of 'em.
- Chapter 11 (p. 113)
- It was a real book—onionskin pages bound in what might have been actual leather. Miller had seen pictures of them before; the idea of that much weight for a single megabyte of data struck him as decadent.
- Chapter 14 (p. 150)
- If things got out of hand, it would mean six or seven million dead people and the end of everything Miller had ever known.
Odd that it should feel almost like relief.
- Chapter 16 (p. 164)
- He couldn't fix the cancer of war, couldn't even slow down the spread, but at least he could admit it was happening.
- Chapter 16 (p. 164)
- She didn't care. Not caring was how she got through the day.
- Chapter 16 (p. 170)
- "See, this is why I can't ever be in command," she said.
"Don't like making tough calls with incomplete information?"
"More I'm not suicidally irresponsible," she replied.
- Chapter 17 (pp. 178-179)
- The beautiful thing about losing your illusions, he thought, was that you got to stop pretending.
- Chapter 18 (p. 184)
- Never knew if you had any luck left unless you pushed it.
- Chapter 18 (p. 187)
- It's the problem with politics. Your enemies are often your allies. And vice versa.
- Chapter 19 (p. 194)
- He probed himself like a doctor searching for inflammation. Did it hurt here? Did he feel the loss there?
He didn't. There was only a sense of relief so profound it approached giddiness.
- Chapter 22 (p. 226)
- All bluster, no balls.
- Chapter 22 (p. 228)
- This was the kind of man who'd killed Julie, Miller thought. Stupid. Shortsighted. A man born with a sense for raw opportunity where his soul should have been.
- Chapter 28 (p. 281)
- When, Miller wondered, does someone stop being human? There had to be a moment, some decision that you made and before it, you were one person, and after it, someone else...If he'd seen it in someone else—Muss, Havelock, Sematimba—he wouldn't have taken more than a minute to realize they'd gone off the rails. Since it was him, he had taken longer to notice. But Holden was right. Somewhere along the line, he'd lost himself.
- Chapter 28 (p. 284)
- "There's a right thing to do," Holden said.
"You don't have a right thing, friend," Miller said. "You've got a whole plateful of maybe a little less wrong."
- Chapter 36 (p. 363)
- "We regret the necessity of this action," she said to everyone everywhere. "But in the cause of freedom, there can be no compromise."
That's what it's come to, Miller thought, rubbing a hand across his chin. Pogroms after all. Cut off just a hundred more heads, just a thousand more heads, just ten thousand more heads, and then we'll be free.
- Chapter 36 (p. 364)
- There was life out there. They had proof of it now. And the proof came in the shape of a weapon, so what did that tell him?
- Chapter 38 (p. 379)
- Holden decided that he was okay with not feeling any remorse for them. The moral complexity of the situation had grown past his ability to process it, so he just relaxed in the warm glow of victory instead.
- Chapter 41 (p. 412)
- Liquor doesn't make you feel better. Just makes you not so worried about feeling bad.
- Chapter 42 (p. 427)
- "Stop," Holden said. "I don't care. I don't want to hear any more of your stories about how being a cop makes you wiser and deeper and able to face the truth about humanity. As far as I can tell, all it did was break you. Okay?"
"Yeah, okay."
"Dresden and his Protogen buddies thought they could choose who lives and who dies. That sound familiar? And don't tell me it's different this time, because everyone says that, every time. And it's not."
- Chapter 43 (p. 437)
- And now they were making music from the screams of the dying. Of the dead. The were dancing to it in the low-rent clubs. What it must be like, Miller thought, to be young and soulless.
But no. That wasn't fair. Diogo was a good kid. He was just naive. The universe would take care of that, given a little time.
- Chapter 44 (p. 445)
- Miller was staring at him like an entomologist trying to figure out exactly where the pin went.
- Chapter 45 (p. 457)
- If Fred couldn't build himself a peace treaty, the OPA would never win against the discipline and unity of an inner planet navy. But they would also never lose. War without end.
Well, what was history if not that?
And how would having the stars change anything?
- Chapter 46 (p. 467)
- He considered recording it. His suit would be able to make a simple visual file and stream the data out in real time. But no. This was his moment. His and Julia's. The rest of humanity could guess what it had been like if they cared.
- Chapter 48 (p. 488)
- It was as easy as keying in a door code. Somehow he felt that arming fusion bombs to detonate around him should have been more difficult.
- Chapter 50 (p. 504)
- He cut the connection before she could answer. Long goodbyes weren't anyone's strong suit.
- Chapter 50 (p. 504)
- That man could take a visitation from God with thirty underdressed angels announcing that sex was okay after all and make it seem vaguely depressing.
- Epilogue (p. 560)
Abaddon's Gate[edit]
- Annie, If I wanted to suck vile fluids out of a flaccid and indifferent tube, I'd have stayed on Earth with my husband.


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Feminist News
A new study of Kentucky's sex-offender treatment program recommends that released offenders receive at least two years of state supervision after they leave prison. Katherine Peterson, the program's administrator, commented that most sexual offenders who commit another offense do so within two years of being released from prison. Kentucky House Judiciary Chairman Mike Bowling commented, "I support these tougher requirements because government's number one mission is public protection."
Media Resources: The Lexington Herald Leader - February 21, 1997


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In And Out Of The Trees
Near Cresco Tank
Comming out of the changing aspens near Cresco Tank.
Print Only
Print Only
The most affordable option printed on high quality archival high gloss paper without any matting or framing. You have the option on how you want the final process to look on your wall
Matted Print Black
Matted in black and ready to frame
Metal Print Flat - No Hanger
Infused Aluminum Flat no Hanger
This option has no hanger to hang just flat so you can put a custom frame on your image that will match any decor in your room.
Economy Metal Print - Ready To Hang
Infused Aluminum Economy Metal Print
This option is my most popular and affordable on infused aluminum. This option has no frame just a keyhole hanger on the back ready to hang right out of the box and floats 1/2 inch off the wall. There are several sizes (depending on crop ratio) to choose from for that empty space on your wall.
Metal Print - With Shadow Frame
Infused Aluminum Print With Shadow Frame
A look that compliments metal prints perfectly. This option come with a black brushed anodized frame and floats the metal print 3/4 off the surface. Comes with a wire hanger and ready to hang right out of the box.
Metal Print - With Floating Frame
Infused Aluminum Metal Print With Floating Frame
For a modern look the float frame makes for a stunning presentation of your metal print. The brushed anodized in black floats your print 1.3" out from the wall for an amazing look. A preinstalled wire enables you to hang it right out of the box.
Metal Print - With Euro Frame
Infused Aluminum Metal Print With Euro Frame
Almost like a box frame the euro frame is 1.3" thick with a brushed anodized black frame with a preinstalled wire that enables you to hang it right out of the box.
Metal Print - Shadow Grande Frame
Infused Aluminum Metal Print With Grande Shadow Frame
A very powerful frame that compliments very powerful images. Comes with a rich black brushed anodized finished frame and is sturdy enough to support the largest metal prints. Comes with attached hanging. 20x30 metal print or larger is recommended for this frame. (It will overpower smaller sizes).
Please allow 3-4 weeks for production and delivery time, though most items are often shipped sooner than that.
If you receive your artwork damaged please let me know and I will replace it and will let you know the best way to return it at no cost to you.
If you are simply not satisfied with you artwork please contact me within 10 day of receiving your artwork for a money back guarantee. You will have to repack and send it back to me and when I receive it I will generally refund you the same day. I do not refund any shipping cost to or from you and I also charge a 25% restocking fee on all returned items. I do not refund any damaged items.
* Free shipping for all U.S. orders!


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A week ago I wrote about a recent parenting mistake I made: I called my son a girl. It led some readers to comment on my skills as a caregiver (one wrote that I was a "parenting fail," which is a succinct way of saying "me bad talker to kid person"). Interestingly, my parenting fail was the most trafficked post I've done to date. Which underscores something we all already know: failure and dysfunction equal ratings. The most popular reality shows are those where people fist fight, break up, are housewives in major metropolitan cities, etc. Have you watched School Pride, the excellent new show on NBC that's basically Extreme Makeover: Home Edition for broken down schools? Probably not. Have you watched Jersey Shore? Exactly.
Wth the idea that failure equals ratings, I've decided to create the horrible dad handbook. It's an easy-to-follow guide to falling well short of fathering excellence. I expect this post to be huge. The Landlord huge. Tween boy playing "Papparazzi" on YouTube huge.
Go missing
According to the National Fatherhood Initiative (NFA), one in three children live in a fatherless household. "We have more absent fathers today than at any point in the past," Roland Warren, president of the NFA, told me back in May. "In these cases, the definition of fatherhood is reduced to the act of conception."
Don't do no learnin'
The mother-baby connection begins long before the water breaks. Mom must make conscious diet and lifestyle decisions during the conception period. Once pregnant, there are nine months of growing and showing. For Dad, the connection largely begins in the delivery room. In other words, when the baby is born, Dad is on Day One, and Mom is on Day 462. "For the mother, the connection is biologically constructed," says Warren. "Fathering is less so." So it's incumbent upon guys to educate themselves. But moms, if you give him your dog-eared copy of What To Expect When You're Expecting, all you're doing is giving him a thick coaster for his nightstand. Guy can use dad blogs and message boards, and dad-targeted parenting books. (Like this one, out next spring.)
Make fun of people
Show me a dad, and I'll show you a d#@$. In other words, guys are by nature insulters, ribbers, jabbers, botherers, and not-let-go-of-the-issuers. But a father needs to know when to turn it off, otherwise expect your little monkey to mimic or repeat your offhanded jabs. To a kid, watching you make fun of an obese person at the mall is like a d#@$ flash card.
Expose your kids to adult advertising
One Sunday afternoon, Jackon was quietly playing with Legos. Out of nowhere, he said, "Not too heavy, not too light, Bud Light." A good friend of mine recently told me about a trip to the playground with her son and one of his little friends. While on the swings, they sang a song together: "Like a good neighbor, State Farm is there." Be mindful of what's on the tube, even when it's not tuned to child programming. Be especially wary of the local news, which focuses on death, tragedy and disaster.
Buy a treat on every trip
You go to Target to buy a new blender (for healthy, kid-friendly smoothies, not pina coladas of course!), and next thing you know you're in the checkout line with a Ben 10 Omnitrix glow-in-the-dark alien DNA containment unit (aka a green fannypack). You go to 7-11 for a gallon of milk, and leave with a ring pop. This is hardly an awful thing to do, but it's a bad habit to get into. Soon, every time the car starts it triggers a Pavlovian expectation of a treat, and when you say no they lose their every-loving minds.
Be their waiter
First off, I was a terrible waiter when I was a waiter. Secondly, I didn't appreciate the sassy way some people ordered you around and expected you to do the impossible. Patron: "Do you have root beer?" Me: "No." Patron: "Hmm. Do you think you could get some?" Me: "Sure. [wiggling fingers] Alakazam!!!" So naturally, I don't like being ordered around by my children. My youngest boy Tanner likes to say "I want...." and then trail off until he thinks of something, which can take minutes. "I want.... uh.... uh.... uh... tomatoes." Now, I don't give them my attention until I hear magic words. (Alakazam doesn't qualify, by the way).
Underappreciate Mom
Children model their relationships on the ones they observe. So Jackson won't learn to treat people well unless I treat people well. And it all starts with treating Brandy well and making her feel special. Most dads don't know that it's the little things that upgrade mundane to marvelous. Planning a night out on the town? Make an invitation and put it in the mailbox. Cooking dinner for her at home? Create a menu in PowerPoint (and get funky with the fonts and clip art!). Movie night at home? Buy a strip of red carpet and put a "world premiere" sign on the front door. I know you can do it, guys, because you already have: Your charm, sensitivity and powers of persuasion are the reasons you're reading this in the first place.


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Of all the parenting problems I am asked for help with, the following is the most common: Babies HATE cots and cribs.
Babies even tend to hate cosleeper cribs yes, I did say that and no, I have never and would never buy one myself. Most parents I speak with who have a cosleeper crib say something like the following: Why do babies hate cots and cribs?
Because they are just not normal for our species. Think about it, cots and cribs really are a very bizarre concept. We are the ONLY mammal in this world who invents an artificial containment device in which to place our offspring away from us to sleep.
All other species sleep like this: The very act of putting a baby down, into the cot or crib, causes their falling reflex to trigger, startling them awake because of the presence of imminent danger falling.
If you do want to place a baby in a crib or a cot without waking them you need to start from a position that is level with the mattress so that no downward motion is necessary. This is presuming that you have a baby that is OK with point number 1 however. Because they have no control about when they get in, or out of, the crib or cot.
In many ways a cot or crib is like a prison to a baby, if they want to get out of it they are at the mercy of somebody else. If they are tired and want to go in they have to be put in there by somebody else. If you want to create really good sleeping patterns in your children allowing them control over their own tiredness cues is the way to go.
How can you do this?
You give them a sleeping surface that they can choose to go to whenever they want to sleep, or rest and one they can leave at their choosing. Check out this great video which shows the concept being used by a nursery: Meet the floor bed.
Floor beds coincidentally also address points 1 and 2 as well. If your baby is like any other mammalian baby on the planet floor beds allow them to fall asleep snuggled next to you. If you wish you can choose to leave them when they are asleep. They also avoid the need to put the baby down and thus bypass the falling reflex issue.
Most importantly of all though they allow the baby some really important autonomy. How do you make a floor bed?
It really is very simple. Ditch your crib or cot apart from the mattress, put the mattress on the floor et voila — a floor bed. Some people opt for single mattresses, some prefer padded mats, some prefer kingsize mattresses so the whole family can share a floor bed, like this: The jury is out on this one.
Does the mattress need some airflow underneath it? Some people use a couple of bed slats underneath the mattress to give it a little bit of airflow, some lift the mattress and stand it against a wall for a couple of hours a day, some just turn it regularly.
What if the baby rolls off? This is the beauty of a floor bed.
Some people choose to surround the floor bed with a cushioned mat, but often you will find the baby sleeping peacefully on the floor next to the bed if they have rolled off. How long can you use them for?
Many people sleep on floor beds forever. Just ask many Japanese families. It is quite possible that in time, think a few months, that your baby may be happy to nap in their cot or crib again. Lots of people decide to stick with the floor bed idea though as they see it working so well.
An infant bed with raised mattress, mobile and now-discouraged traditional crib bumpers Bumpers cushioning are marketed to keep children from bumping against the hard sides and hurting themselves or becoming entrapped between the crib slats; breathable bumpers are intended to reduce the risk of suffocation. Designing, making and delivering for free everything ourselves lets us keep the costs down which makes for happy parents and comfy babies.. Firmness Don't choose a mattress that feels comfortable for you.
For the purpose of this article however I have concentrated on floor beds. Did you like this post?
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Company encourages "no burn" legislation to further impede stolen copper sales.
Union, New Jersey (August, 12 2014) — Paige Agwire announces release of its new comprehensive product line to deter copper theft. The three-part package designed for growers will make it easier to identify and prosecute copper thieves, which is a significant challenge nationwide.
The product line includes three components to combat the multimillion-dollar menace of copper theft: Proof Positive® Signage, Paige Agwire Theft Alert, and Proof Positive® Span Cable. Proof Positive Signage is a four-piece kit of reflective security signs written in both English and Spanish to post on irrigation equipment and the field perimeter to deter would-be thieves and warn of prosecution. Paige Agwire Theft Alert sends an alert immediately to owners and authorities when cable is tampered with or cut, decreasing the delay in tracking thieves.
Last, but certainly not least, is the core product that stands to dramatically alter the landscape of copper theft prosecution: Proof Positive Span Cable. Created with cutting-edge technology, Proof Positive Span Cable has a signature, bright yellow outer jacket and unique TraceID codes to verify original ownership. At the moment of sale, these TraceID codes enter a master database that is searchable by law enforcement and recyclers, proving ownership. And in the legal realm, it's proof of ownership that counts.
Copper theft from span cables is a nationwide epidemic, plaguing individuals and businesses alike with approximately 30,000 cases of span cable theft every year, costing more than $40 million in replacements. This problem affects most industries, but the agriculture industry has taken a hard hit. The copper inside stolen span cables may be worth a few hundred dollars and trade just over $3 per pound, but the thefts leave growers with thousands of dollars of repairs, damaged crops, and rising insurance costs.
Compounding the problem of copper theft is the individual scrap dealer. Thieves often burn stolen cable before selling it to scrap businesses. "The challenge to drastically decrease agricultural copper theft still lies among states who allow scrap dealers to accept burnt cable. Encouraging more states to pass 'no burn' laws would take our campaign to the next level. We believe this will greatly decrease the amount of stolen copper in both the agriculture and utility industries," said Julie Bushell, Director of Sales and Marketing for Paige's Agwire Division.
With the critical tools needed for prosecution now in the marketplace, lawmakers are more driven to press for "no-burn" laws. Paige Agwire is actively seeking ways to educate growers and affiliated agricultural businesses, encouraging them to press state legislators to pass "no burn" laws, which will prevent scrap dealers from accepting burned cable and further discourage copper theft.
Seventeen states have adopted "no burn" laws in support of growers. To date, Paige Agwire has worked with numerous state legislations, including Maryland and Missouri, to push for "no burn" laws, but without continued grower support, momentum is limited. More public support is needed to push for the legislation needed to hold scrap dealers accountable for accepting burned cable.
Paige Agwire also supports the End Copper Theft™ campaign, created by Southwire Company, North America's leading manufacturer of wire and cable, and supported by the Institution of Scrap Recycling Industries (ISRI),Valley® Irrigation, an original equipment manufacturer and worldwide leader in precision irrigation, Schnitzer Steel Industries, Inc., one of the nation's largest recyclers of scrap metal, and Net Irrigate, LLC, a manufacturer of Wireless Agricultural Irrigation Monitoring technology.
The campaign was initiated to raise awareness among growers, irrigation dealers, metal recyclers, law enforcement, and legislators about how they can be part of the solution. Agriculture is foundational to the U.S. economy and the future of this industry will be impacted by who makes the next move — growers or thieves.
Visit www.endcopppertheft.com to get involved with the End Copper Theft movement and help eliminate copper theft.
To learn more about Complete Theft Deterrent Solution, visit agwire.paigeelectric.com/
About Paige Agwire: For over 20 years, Paige Agwire, a division of Paige Electric Co., LP, has been providing pivot dealers worldwide with the most reliable agricultural irrigation wire and cable available. Established in 1958 and headquartered in Union, New Jersey, Paige Electric Co. is a global specialist in electric wire, connectorized cable, and accessories. To find out more, please visit: agwire.paigeelectric.com.


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The central dogma of molecular biology DNA-> RNA-> Protein shows the direction of flow of information of how the cells use the information stored in our DNA to make the necessary proteins. But the situation in most eukaryotes is a little more complex than that simple statement. In most eukaryotes, a gene sequence in a DNA is interrupted by non- coding information. Hence to make a protein, a cell first has to transcribe the gene (make a RNA copy of the gene, called pre-mRNA) and then modify the pre-mRNA by removing the non-coding sequence (intron) and joining the coding sequences (exons) together. The modified mRNA is then exported from the nucleus (where it was made) to the cytoplasm where the ribosome uses it as a template to make the protein. In simple English, the gene for making a proteinA looks like this "HEREabhjhdyfrhUSEndcbldfhdfmMEd ldshhglgmcFORdbfhdflhfnmc PROTEIN A". The task of the cells is to remove the gibberish and make a readable text out of the given instruction - HERE USE ME FOR PROTEINA. The cells then send this information to the ribosome (the protein factory) to make the protein.
Pre-mRNA splicing is the process in which the intronic sequences are removed within a large RNA-protein complex called spliceosome.
Why is splicing important? A spliceosme can remove the non-coding introns present in a given transcript varying combination in response to cellular cues, a process called alternative splicing. The recent completion of a draft of the human genome indicated that more than 59% of the human genes seem to be alternatively spliced (Hastings and Krainer,2001) and thus we can have more complexity (make a larger number of proteins) without increasing the number of genes present. For eg, the Dscam gene in flies has 38,000 alternatively spliced isoforms from four variable exon clusters!
More importantly, it is estimated that aberrant splicing causes about 15% of genetic diseases in humans (Philips and Cooper,2000). Thus, the spliceosome plays a critical role in generating the right template for making a protein and any abnormality in this process would be deleterious to the organism.
What do we know about this process? From genetic and biochemical experiments in the humble budding yeast, scientist have been able to understand how this process occurs. Because both the mechanism of splicing and the splicing machinery are highly conserved throughout eukaryotes, knowledge of yeast splicing gives us insights into the basic process in humans.
The spliceosome is the largest structure in the cell and is composed of five small nuclear RNAs ( called U1, U2, U4, U5 and U6 snRNAs) and over 100 different proteins (Stevens and Abelson , 2002). Under standard in vitro (i.e. in a test tube) assay conditions, the spliceosome assembles in a step wise manner through the addition of the U1 -> U2-> U4/U6.U5 snRNP particles (the small nuclear RNA along with its associated proteins, represented by a colored blob in the picture) on the pre-mRNA (See Figure). This assembly is an expensive process for the cell as each step consumes energy. But it also allows the apparatus to check each step and hence allows for a greater control over the overall process. Remember, a single mistake here would result in a protein that either does not function or functions abnormally. That to a cell would be hazardous and hence the cells err on the side of caution. After the assembly of the spliceosome, it undergoes structural rearrangements, resulting in the loss of U1 and U4 snRNAs, to become catalytically active (Brow D. A, 2002). Then, it proceeds to remove the intron by two transesterification reactions.
The resultant message is released from the spliceosome along with the intron. The spliced RNA is exported to the cytoplasm for translation into the protein and the intron degraded by enzymes in the cell. The spliceosome is disassembled and the components (proteins and the snRNAs) recycled for another round of splicing.
Though much is known about the overall process, there is no insights into what triggers the activation. What informs the spliceosome that everything is set in place and hence go ahead and splice? How does the cell control the ATP driven helicases that remodel the spliceosome at each step? Or what cues the cell about abnormal spliceosome and how does it take a stalled spliceosome apart?
Next time I will try and address the role splicing plays in Humans. How does a cell choose which exon to keep? How do DNA elements present in the gene (ISEs) affect choice of exon? Does the rate at which the transcript is made affect exon choice? So keep your eyes out for Splicing -part deux.
References -
Brow D. A, Annu Rev Genet., 2002, Jun 11; 36:333-60.
Hastings and Krainer, Curr Opin Cell Biol., 2001, Jun; 13(3):302-9
Philips and Cooper, Cell Mol Life Sci., 2000, Feb;57(2):235-49
Stevens and Abelson , Methods Enzymol. 2002;351:200-20.
Check this Animation


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Teddy Roosevelt and Gerald Ford Quotes
John Lynn is the Founder of the HealthcareScene.com blog network which currently consists of 10 blogs containing over 8000 articles with John having written over 4000 of the articles himself. These EMR and Healthcare IT related articles have been viewed over 16 million times. John also manages Healthcare IT Central and Healthcare IT Today, the leading career Health IT job board and blog. John is co-founder of InfluentialNetworks.com and Physia.com. John is highly involved in social media, and in addition to his blogs can also be found on Twitter: @techguy and @ehrandhit and LinkedIn.
I thought it would be fun to look at some quotes from Presidents on President's day that might inspire you. I hope you enjoy the following quotes.


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BabyNewblet wrote:
I dunno why his dying will/deathperation flame is orange.
What in the world would make you think it would be anything but orange?
Because Basil has a blue dying will flame. Even when he is in hyper mode. Wait sorry, I'm referencing the anime. My bad.
BabyNewblet wrote:
Because Basil has a blue dying will flame. Even when he is in hyper mode.
What does Basil have to do with anything here?..
back online! add me and chat!
The new kid doesn't look as epic like Tsuna
vc é muito chata garota
viva_cmpunker wrote:
narutopiratekingreborn wrote:
viva_cmpunker wrote:
narutopiratekingreborn wrote:
i still think tht it will return and for those who says its just in the magazine have you guys actuall bought the magazine i think not so how would u guys actually knw
Because the freaking news post by Crunchyroll and Anime News Network said "A poster by Akira Amano." It didn't say a one-shot or a new series.
If you want to ask someone who bought the Jump VS. issue. Go to manga helpers forums. Go to the Weekly Shonen Jump [2012-2013] - Discussion and TOC Talk - Part 4 thread. Go to page 118, scroll down to the last post, post #1770. There's a guy named lasleels who bought the issue and you can ask him for yourself. If you still believe this is a one-shot, well tough luck because you'll be waiting forever for it and then maybe when you're old you'll finally realize that you were wrong.
haha who said that i think its a oneshot i just said thati think it will return so tht whole process was a waste of your time bro no need because i didnt ask for it orineversaid anything about it be i ng a one shot lol but thnks for the info about how to tell if something is a one shot or not lol
LMFAO. You just posted that guys video talking about a new Reborn series just because he saw the poster, and you said "heck yes im supppeerrrr excited for this REBORN FTW." That just says it all. You actually believed that it was a new series or a one-shot. Now I'm done talking with a 15 year old, who doesn't know what he's saying, but it was fun.
Cara, você é muito chato
so since no one bothered to actually go to translate the words on the poster, i went to my friend who's japanese and let her translate the poster. yes, POSTER. it's nothing more than just a poster, she said. so apparently this other mangaka, i forgot the name, but my friend said it might be from the artist of death note, drew a poster of how he imagined how vongola 15th would look like. in other words, it's just a fanart by a mangaka of how he imagined the 15th vongola boss would look like, not a new series. when my friend told me that it crushed all my hopes of a new series, cause i just finished khr TODAY and now i'm sad ; u ; asdlkjfsklhdfhlas it wouldn't hurt if amano did a one shot of khr!
i wish i can could change my weaboo-ass name
No... i know it was a poster i was just sating the similarity, i'm not sure how it turned into a discussion about a new series, and this poster was by Akira Amano
@xxAznPockiexx: I'm pretty sure Akira Amano drew it.. your friend may have been messing you about or something. Mangakas drawing in the style of anothers' work and being made public is generally done as a celebration of something, E.g. a famous manga reaching legendary status because of huge success, or reaching 1000 chapters like Hajime no Ippo Also props to Flackenstien. Been seeing you battling with the people that seem to lack common sense or just don't want to take no for an answer. Guys, accept that the poster, is a poster. The ending was wrapped up quickly and made no sense or progress no matter how you look at it. I've loved KHR for 4-5 years but geez, get a grip.
♪ ✖ Breath of The Wild | Persona 5 | Gravity Rush 2 ∧(◉A◉ ∧)
Yeah, it's merely a poster. However, I'm pretty sure it was Amano herself that drew it, not the Death Note artist (who, if I'm not mistaken, drew a different poster for that magazine).
Forum cleanup. Clearing out threads that have been inactive more than 6 months.
locked and closed


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Featured News - Current News - Archived News - News Categories
Doodle Bugs! Children's Centers, a leading education-based child care organization in Western New York, makes it a priority to help teach children about the importance of generosity and thankfulness through the activities in its curriculum. However, staffers also practice what they preach.
Mr. Doodle Bug brought a box full of donations from the Orchard Park Doodle Bugs! center to the food drive hosted by Kiss 98.5 FM and DJ Anthony (pictured). The food was collected as part of the center's annual food drive, which also benefits the Food Bank of WNY. The center began collecting food Nov. 4, and it will conclude Nov. 22.
"The food drive is a perfect opportunity to introduce children to the joy of giving and the value of generosity. They take pride in giving back to the community and the parents are terrific supporters as well," said Sara Utech, director of Doodle Bugs! in Orchard Park. "We were happy to assist Kiss 98.5 in their initiative and our united goal of helping families in WNY this holiday season."
The Orchard Park center is located at 215 Redtail Road. It provides education-based care for children ages six weeks to 12 years, including preschool/pre-K and summer camp programs. The BRAVO! curriculum, which is professionally designed and exclusive to Doodle Bugs!, combines theme-related, developmentally appropriate classroom experiences, all-inclusive enrichment activities, and a series of center events. Enrichment activities include tae kwon do and "Doodle Dance & Fitness."
Doodle Bugs! utilizes unique safety features, including the new SafePass system, which is a biometric access system allowing only authorized family members to enter the center by scanning their thumbprint. The center is also equipped with Finger-Safe door guards, an automated external defibrillator, and real-time, password-protected online viewing for families, via WatchMeGrow.com.
For more information on Doodle Bugs! or the Orchard Park center, visit www.doodlebugs.com or call 716-677-9900.


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Wendell Clausen (ed.), Vergil Eclogues. Oxford: Oxford University Press, 1994. Pp. xxx + 238. ISBN 0-19-814916-6.
Reviewed by James Clauss, University of Washington.
Wendell Clausen was in the early stages of work on his commentary on the Eclogues in the seventies when I was a graduate student. Ever since becoming aware of his important work in Latin poetry in the course of my studies, I have eagerly awaited this book. The project, as Clausen tells us in the Preface, originally called for a joint publication with R. A. B. Mynors' commentary on the Georgics, but different timetables and the unfortunate death of Mynors, to whose memory the book is dedicated, resulted in the earlier publication date of the latter's work (Virgil: Georgics, Oxford: Oxford University Press, 1990). In short, the commentary was well worth the wait.
The Introduction, brief -- only sixteen pages -- but effective, consists of three sections: Pastoral Poetry, The Book of Eclogues, The Composition of a Landscape. In the first section, different from other editors who often go on at length on the murky issue of the origin of pastoral verse, Clausen cuts to the chase: pastoral was invented by Theocritus. He proceeds to describe the genre quite simply: it is "never simple, though it affects to be; and in this affectation of simplicity, the disparity between the meanness of his subject and the refinement of the poet's art, lies the essence of pastoral" (xv). I have not found a better definition. And in describing an essential difference between Theocritus and Vergil, he notes that, while the former gives little evidence of the intimacy with the countryside which Vergil evinces, still he is more consistent in maintaining the pastoral fiction. Vergil, on the other hand, shows more affection for the country but breaks the idyllic setting by including "a wider range of experience -- politics and politicians, the ravages of civil war, religion, poetry, literary criticism ..." (xix-xx).
In the second section, Clausen provides a masterful summary of the design of the book in only six and one quarter pages. I found his comparison between Vergil and Catullus particularly interesting: Catullus wrote his poems first and later published them together, but Vergil is envisaged as conceiving of his book first and then writing and rewriting the individual poems until they conformed to the design of the collection. For this reason, the order of composition of the individual poems, a time-honored chestnut, is consigned to a footnote, with the warning that "any attempt to determine the exact order of their composition will prove illusory" (xxii). More on this below.
The third section brings us back to a comparison between Greek and Roman pastoral poets. A pleasing symmetry. Here Clausen contrasts the landscapes that emerge from the two poets from which he can draw several conclusions. 1) Vergil's countryside is heavily, Theoctitus,' sparcely wooded. 2) Because, different from Theocritus, Vergil did not have a long poetic tradition to draw on, "the proportion of unliterary to literary plants and trees in the Eclogues is therefore higher than it is in the pastoral Idylls" (xxviii), though Theocritus' shepherds are in general better botanists. 3) Vergil is the more daring of the two.
While the text used is Mynors' (which he does not hesitate to emend when necessary; cf. ad 3.102), the commentary, like the introduction, is vintage Clausen: mollis atque facetus. The commentary on each Eclogue is preceded by its own introduction and it is upon these introductions that I shall focus my attention. Not only does Clausen set the scene for an informed reading of the poems; more than that, he creates an atmosphere for each reading through his highly sensitive touch. In this he reveals what his students have long acknowledged and admired: Clausen's passion for, and intimacy with, this poet and ancient poetry in general. As an instance of the editor's sensitivity and passion for his subject, I cite his description of the well-known adynaton in the first Eclogue: "Tityrus' 'impossibility' is a painful reality for Meliboeus; and thus prompted, he conjures up the most remote and barren regions of the earth (64-6). Mainly, however, his second speech is concerned with the pathos of leaving a native place. Will he ever, he wonders, and after how many long years, see his farm, his little kingdom, again? He fears, knows he will not; will never again, stretched at ease in a mossy cavern, watch his goats hang browsing on some tufted crag; will sing no songs." Clausen's attenuated style both delights and informs.
In addition to creating a tone for a reading of each Eclogue, the introductory sections explore the literary background, in particular the Theocritean and other Greek or Roman models. For instance, he concludes the introduction to the Second Eclogue, modelled on Theocritus' Eleventh Idyll in typical style: "Corydon's song is similarly disjointed (sc. as that of Polyphemus) ... And yet Corydon seems different, not so naïve, so simply true as Polyphemus, nor so passionate; he seems self-conscious, as though aware -- as Vergil expected his reader to be aware -- of Polyphemus. Corydon's is a more composed passion" (63). The discussions of models are never inert. In the introduction to the Third Eclogue, a poem modelled on the Fifth Idyll, Clausen problematizes a central issue of the amoebean poem, namely, why one competitor defeats another. The problem, as he sees it, lies in the apparent need of the poet to include an inferior creation within the poem. While the problem does not exist in the Third, Fifth and Eighth Eclogues, where there are no winners or losers, it emerges in the Seventh. Clausen argues, quite effectively, that Thyrsis, the loser, should not be judged as inferior to Corydon, but subordinate, stating: "No doubt Corydon is the more musical of the two, yet the voice of Thyrsis is essential to the harmony of Vergil's composition" (212).
The individual introductions also take up some of the well known issues that have occupied scholars from the ancient world on, of which I shall look at a few. For instance, on the Fifth Eclogue, Clausen prefers to leave open the identification of Daphnis, setting aside the commonly accepted view that behind the mythical shepherd lies the deified Julius. His rationale: Vergil is "never so simple, and such an identification, grotesque if insisted upon, would be an inadequate response to the allusiveness and complexity of his poem" (p. 152, n. 4). Vergil is indeed hard to pin down and so this advice is well taken and perhaps would have been well applied elsewhere in the commentary.
From late antiquity scholars have gone back and forth on the identification of the general and tragic poet alluded to in Ec. 8.6-13 -- Octavian or Pollio. In his introduction to the Eighth Eclogue, Clausen, opting for Octavian, follows the Bowersock line (or rather the Garrod line, since as pointed out on page 234 (n.5) Bowersock was anticipated in this position in 1916): inter alia, the river Timavus, past which the unnamed patron is said to sail, lies 400 miles north of where the Parthini live, which people Pollio defeated in 39 BC, and closer to the area where Octavian had a series of campaigns in 35 BC. Nonetheless, one must keep in mind that Vergil does not name names here. Are we wrong to insist? After all, the description of his patron's journey mentions the area of the Timavus as one of two options (seu magni superas iam saxa Timavi / sive oram Illyrici legis aequoris, 6-7). The second option, the Illyrian shore, is surely vague enough to include the area where Pollio campaigned (cf. Coleman ad Ec. 8.7). Perhaps the poet's elusiveness is purposeful: since the individual components of the book, as Clausen states, were constantly being rewritten, quite possibly failure to specify the general/tragedian -- he does not hesitate to mention contemporaries elsewhere, including Pollio -- arose from an important change that occurred or seemed likely to occur during the last years spent writing the Eclogues; namely, the eclipse of Pollio and the emergence of Octavian. Since cases can be made for both patrons, silence might be inclusive.
Along a different line, insisting on the exact location of this river as a significant fact might be dangerous for two reasons: mention of a large river in the anticipation of singing the military accomplishments of a general could possess a secondary, metaliterary sense, that was more important than any specific river (if so, could there be a pun in the poet's choice of legis at Ec. 8.7?) and Vergil's geography can involve a long stretch of the imagination as well as distance (see Georgics 1.489-492, if Thomas ad loc. and many others are correct). One final observation on the introduction to this Eclogue. Clausen provides a map featuring the Roman Conquest of Dalmatia on page 234 to show the distances between the two theaters of war. The map, marked with the various military campaigns held in the area, seems out of tune with this delicate commentary, like Roman generals in a pastoral setting.
To return to the issue of silence, Vergil's unwillingness to name the god in the First Eclogue might derive from the same change that occurred during the years in which the collection was completed. The poet did not shy away from naming Octavian in his next work, and, what is more, describing him as a god; why does he demure here? While I, like Clausen (cf. pp. 31-32), always think of Octavian when reading the First Eclogue, it is after all the reader who provides the name, not the poet. Are we wrong to insist here as well? What then of the unnamed child of the Fourth Eclogue? On the basis of the allusion to the Pact of Brundisium, packed into mention of Pollio's consulship, and to Hercules at Ec. 4.15-17, Clausen reasonably concludes that the child was the expected offspring of Anthony and Octavia. Failure to appreciate the second allusion, given Anthony's claim of descent from Hercules, it is argued, has caused scholars to miss the point. He states: "In the year 40 BC ... Anthony, not Octavian, was 'the greatest prince o' the world', and of this their contemporaries, spectators of the mighty drama, could be in no doubt. In the year 40 BC, Octavian was a sickly if determined and ruthless young man; the future Augustus unimaginable." (p. 125). The argument is hard to resist. Still I -- and I am not alone in this -- find it hard to believe Vergil would have risked investing such a magnificent poem in a boy who might not -- and did not -- exist. If the poet wanted to celebrate an important political birth, he would have been wiser to follow the example of Callimachus in the Hymn to Delos and predict the birth of a dynast after the fact. Instead, I prefer to follow Clausen's pronouncement that identification can prove to be an "inadequate response" to so allusive, and I would add mysterious, a poet. Vergil didn't tell; perhaps we shouldn't ask, or at least harbor our suspicions without insisting.
I return to the introduction to the Eighth Eclogue. Clausen argues that Damon's song postdates that of Alphesiboeus for two reasons. First, the presence of a refrain, necessary for the latter's composition modelled on Simaetha's incantation in the Second Idyll, was inappropriate to that of the former, modelled on the lament of the unnamed goatherd in the Third Idyll. Second, the metrical technique of Alphesiboeus' song more closely resembles the technique of the Second and Third Eclogues. The conclusion: Vergil reused Alphesiboeus' song, an earlier composition, in a later poem and set it opposite Damon's song that was in turn given a refrain to respond to it. "If so, then Damon's song may be among the latest of Virgil's pastoral compositions, and the Eighth Eclogue, as a whole, contemporary with the First, which, like the Eighth, honours Octavian" (p. 239). The logic is clear and convincing in part (see previous paragraphs). Yet, employing a line of thinking sugggested by the editor, I would have to wonder if this attempt to determine the exact order of the composition might be illusory within a wholistic view of the Eclogue book. Or perhaps we might emend the earlier statement and conclude, as Clausen's discussion on the Eighth Eclogue prompts us to do, that there is after all something to be learned from an investigation into the relative chronology of the individual Eclogues, and that the book can tolerate, even benefit from, two different perspectives -- diachronic and synchronic.
The commentary proper is magisterial without being pedantic, patronizing, or overly inflated. Clausen covers a range of topics -- diction, grammar, tone, rhetoric, meter, specific imitations, general parallels, even botany among other issues -- and brings in the views of ancient and modern commentators appropriately and helpfully. The reader will discover a treasure of fascinating and informative observations. Best of all, this long awaited book gives students and scholars alike the opportunity to encounter Vergil's Eclogues through the eyes of one of the finest American Latinists of this century. Regarding Vergil's Arcadia Clausen states: "Rarely, if ever, can a poetic act be explained satisfactorily ..." (p. 289). In reading this commentary, I have been satisfied.


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FAIRIFELD, CT (March 24, 2013) - Junior Shelby Vaccaro (Brightwaters, NY) tied the Sacred Heart Division I school record with 10 points in leading the Pioneers to a 15-12 win over Saint Mary's (CA) Sunday afternoon on Campus Field. Vaccaro scored five goals and dished five assists, both career-highs, as the Pioneers improve to 2-5 on the season.
The Pioneers (2-5) got three goals apiece from senior Emily Pepe (East Quogue, NY), junior Kelsey Russo (Lindenhurst, NY) and freshman Jesslyn Joseph (Bolton, MA) and sophomore Taylor Babin (Ellicott City, MD) tacked on the other Pioneer goal.
Russo gave the Pioneers the early lead, scoring 2:29 into the game, unassisted. The Gaels (2-5) took their only lead of the afternoon when Jaclyn Biggers scored back-to-back just 16 seconds apart for a 2-1 lead at 26:36. The Pioneers responded with three-straight and outscored the Gaels 6-1 over the next 17 minutes.
Vaccaro scored her only goal of the first half on the run while Pepe tacked on a pair. The Gaels closed the first half with a goal by Allie DeBruhl and opened the second half with markers by Rachel Minarovich and DeBruhl, forcing a SHU time-out trailing just 7-6 with 22:20 on the clock.
The Pioneers responded out of the time-out with three-straight, one by Russo and two-straight off the stick of Vaccaro to push the lead to 10-6. Sacred Heart extended their lead to 13-8 with 10 minutes left as Vaccaro set up scores by Joseph, Pepe and Babin.
Saint Mary's pulled within 13-10 as Biggers stuck for another two quick goals, this time 25 seconds apart at 7:58 and 7:33. Vaccaro pushed it to 14-10 at the 5:45 mark and after Gael goals cut it to 14-12, she iced the game away with her fifth with 2:50 left.
SHU held a 30-24 edge on shots and won the ground ball battle, 17-12. Vaccaro finished with seven of the Pioneer's 14 draw wins on the day. Defensively, SHU forced 18 turnovers and five failed Saint Mary's clears.
The Gaels got four goals from Biggers and three goals and an assist from DeBruhl. Goalkeeper Katherine Herzog had 11 saves in the loss.
The Pioneers return to Northeast Conference play fulltime as they hit the road for stops at Central Connecticut and Bryant this week.


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Cantatas 198 (Trauerode),
1: CANTATA 198: Trauer Ode for the Funeral of Queen Christiane Eberhardine of Poland/Saxony,
performed at a special Memorial Service in the University Paulinerkirche, Leipzig, October 17th, 1727
CHORUS: Lass, Fürstin / Soprano Recit / Soprano Aria / Alto Recit / Alto Aria / Tenor Recit / CHORUS / Tenor Aria / Bass Recit / CHORUS: Doch, Königin! Du stirbest nicht.
Magda Laszlo, Soprano / Hilde Roessel-Majdan, Alto / Waldemar Kmentt, Tenor / Alfred Poell, Bass
Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part8 Part9 Part 10
2: CANTATA 54: Widerstehe doch der Sünde
3: CANTATA 106: "Actus Tragicus" - Gottes Zeit ist die allerbeste Zeit
Total Time 78:26
Of all Bach's great Cantatas, the composition and performance of the Trauerode was probably the most significant to the composer, the performers and the citizens of Leipzig.
In 1697, Friedrich August, Elector of Saxony, assumed the Polish crown, a move requiring him to adopt the Catholic faith. Despite the Elector's, and Saxony's solid Lutheran Protestant background, this was no problem for the opportunist Friedrich August who readily acceded despite a storm of public protest. His wife, Queen Christiane Eberhardine however, positively refused to renounce her Protestant faith. She went into self-exile in Pretzsch Castle on the Elbe where she remained until her death on September 5th, 1727. Her death was deeply mourned in strongly-Lutheran Saxony, and it was felt in Leipzig that some special memorial was required. Hans von Kirchbach, a nobleman student at the University of Leipzig, proposed a memorial service in the Paulinerkirche (University Church) during which he would deliver a valedictory address. Von Kirchbach commissioned Johann Christoph Gottsched to write verses for a Mourning Ode, and Bach to set these verses to music.
The scoring of this work is extraordinary. A large and expressive grouping of instruments is used, including the usual complement of violins, violas, two flutes, two oboes and the usual continuo bass and harpsichord, together with a pair of those sweetly sorrowful instruments the oboes d'amore, two violas da gamba and two lutes. This pairing of so many highly contrasted and richly colored instruments is remarkable for Bach's time and must have occasioned considerable amazement and satisfaction, quite aside from the gratifying musical sound. The multiplicity of instruments also indicates the readiness, if not insistence, on the part of every capable musician in the city, to participate.
A great catafalque bearing the Queen's emblems stood in the center of the crowded church, and the service began with the ringing of all the bells of the city. The Service was attended by all the civic, and many visiting dignitaries and diplomats, together with as many citizens who could get in.
Hermann Scherchen gives his performance all the gravity and solemnity it requires, and any listener following the text can hardly fail to be moved by the outpouring of loyalty on the death of Leipzig's beloved queen.
"Trauerode" at BaroqueMusic.org.
We follow this with Cantata 54 in which we are given a strict, almost Bible-thumping injunction to resist temptation, a text which Bach accompanies with suitable dissonances and diminished chords. In this particular recording, the legendary alto Hilde Roessel-Majdan gives the key recitative with such feeling and clarity that its message cannot possibly be lost! "Die Art verruchter Sünden ist zwar von außen wunderschön; Allein man muß hernach mit Kummer und Verdruß viel Ungemach empfinden. Von außen ist sie Gold; Doch, will man weiter gehn, So zeigt sich nur ein leerer Schatten und übertünchtes Grab." The array of despicable sins is indeed from outside very attractive; but they bring only sorrow and frustration and much hardship. From outside Sin is gold, but when you explore more deeply it is but an empty shadow, a whited sepulchre.
We end with yet another of Bach's finest cantatas, the Actus Tragicus, a Funeral Cantata with the message that "God's time is the best time". The text contrasts the Old Testament fear of death with the New Testament joy in death. As usual with Bach, it is the latter which triumphs. The opening Sonatina sets the mood of peace and tranquility which pervades the whole work. The Duet is particularly beautiful. The bass has the text: "Heute, heute wirst du mit mir in Paradies sein" Today thou shallt be with Me in Paradise,while the alto sings the chorale "Mit Fried und Freud ich fahr dahin" With peace and joy I journey there.


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Giant Panda
(Ailuropoda melanoleuca)
Facts about this animal
The Giant Panda is unmistakable (WWF logo). It is a large headed, heavily built bearlike animal with a striking black-and-white colour pattern. The head-body length is up to 160 cm, the height at the shoulder is 65-75 cm and it can weight 75 to 130 kg. The females are about 20 % lighter than the males, but otherwise the sexes are alike.
The coat is harsh, long and dense. The black often has a brownish tinge, and the white becomes soiled in an old coat. Sometimes the white parts are washed with brownish or reddish. Gestation lasts 135 days, the pups are born blind, pink, and weigh about 100-200g. The cubs gain 2.5 kg per month during the first year of their lives. One to two weeks after birth, the cub's skin turns gray where its hair will eventually become black. A slight pink color may appear on cub's fur, as a result of a chemical reaction between the fur and its mother's saliva. The colour pattern is as in the adult. The panda's diet is 99% bamboo, in the wild will occasionally eat other grasses, wild tubers, or even meat in the form of birds, rodents or carrion. he coat is harsh, long and dense.
Did you know?
That the most popular name in China for the giant panda is literally "large bear cat", or "bear cat". And that the name may have been inspired by the giant panda's eyes? which have pupils that are cat-like vertical slits – unlike other bear species, which have round pupils
|Name (Scientific)
|Ailuropoda melanoleuca
|Name (English)
|Giant Panda
|Name (French)
|Panda géant
|Name (German)
|Grosser Panda
|Name (Spanish)
|Panda gigante
|Local names
|Daxiongmao, Damaoxiong (Chin.)
|CITES Status
|Appendix I
|CMS Status
|Not listed
Photo Copyright by
Heather Angel
|China: about 6000 sq.km in Shaanxi and Sichuan. Regionally extinct in other provinces.
|Bamboo forests.
|Wild population
|Approx. 1,000-2,000 (Red List IUCN 2011)
|Zoo population
|242 in 2008, of which 22 reported to ISIS (2008). 67 animal are kept at the breeding centre in Wolong, China. Recent births outside China at Vienna Zoo and San Diego Zoo.
In the Zoo
How this animal should be transported
There is no Container Note for the air transport of giant pandas in the IATA Live Animals Regulations.
Find this animal on ZooLex
Photo Copyright by
Jeff Kubina
Why do zoos keep this animal
The giant panda is an endangered species with a small wild population. With a view of building up a viable reserve population, an International Studbook has been established already in 1976 under the WAZA umbrella, and coordinated conservation breeding programmes are operated at the regional level by AZA and JAZA.


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M-Audio Firewire 410 Application Guide
M-Audio designed the FireWire 410 to be a professional, portable solution for getting audio and MIDI in and out of your computer. Using the high-bandwidth IEEE-1394 (FireWire) bus, the FireWire 410 provides your computer with a high-resolution multichannel audio interface, as well as sixteen channels of MIDI in and out.
With its built-in low-noise mic preamps, XLR mic and 1/4" line level analog inputs, the FireWire 410 gives you a professional quality audio "front end" for your Digital Audio Workstation. You can connect an instrument or microphone to the FireWire 410's front-panel inputs, with switchable phantom power for condenser mics. With its eight line level analog outputs, you can connect to a mixer or surround matrix, or
directly to powered monitors. And with two channels of digital I/O on TOSLink's optical and RCA coaxial connectors, you can record to and from a CD, MiniDisc, or DAT. In all, the FireWire 410 gives you a total of four inputs and ten outputs of connectivity to your computer, in a rugged but compact package that can travel with you anywhere.
Audio Setup
Connect the FireWire 410's outputs to your amplifier, powered monitors or surround system. For two-channel stereo operation, the default outputs are channels 1 and 2. (You may change this in the FireWire 410 control panel if you desire.) For multi-channel surround output, connect up to eight powered monitors to the FireWire 410's eight analog outputs.
If you are monitoring through headphones, connect one or two sets of headphones to the FireWire 410's headphone outputs. Connect your microphones, instruments or other line level analog sources to the FireWire 410's front or rear panel analog inputs. Note that the front and rear panel inputs do not function simultaneously. To use the mic/inst inputs, the mic/line switch must be in the "out," or "mic" position. Connect your S/PDIF digital devices to the FireWire 410's optical or coaxial digital I/O. Note that only one digital I/O (optical or coaxial) may be active at a time; the active digital I/O is selected in the FireWire 410 control panel.
Midi Setup
Connect your MIDI device's MIDI Input to the FireWire 410's MIDI Output. Connect your MIDI device's MIDI Output to the FireWire 410's MIDI Input. Use the front-panel MIDI Thru switch to operate the FireWire 410 in stand-alone mode. In this mode connection to a host computer is not necessary to pass MIDI information.
Shown in the illustration below is a MIDI controller keyboard plugged into the FireWire 410's MIDI input. A MIDI sound module is connected to the FireWire 410's MIDI output.


text: In 1943 North Africa, George Patton (George C. Scott) assumes command of (and instills some much-needed discipline in) the American forces. Engaged in battle against Germany's Field Marshal Rommel (Karl Michael Vogler), Patton drives back The Desert Fox by using the German's own tactics. Promoted to Lieutenant General, Patton is sent to Sicily, where he engages in a personal war of egos with British Field Marshal Montgomery (Michael Bates). Performing brilliantly in Italy, Patton seriously jeopardizes his future with a single slap. While touring an Army hospital, the General comes across a GI (Tim Considine) suffering from nervous fatigue. Incensed by what he considers a slacker, Patton smacks the poor soldier and orders him to get well in a hurry. This incident results in his losing his command-and, by extension, missing out on D-Day. In his final campaign, Patton leads the US 3rd Army through Europe. Unabashedly flamboyant, Patton remains a valuable resource, but ultimately proves too much of a loose cannon in comparison to the more level-headed tactics of his old friend Omar Bradley (Karl Malden). Patton won 7 Academy Awards, including Best Picture and Best Actor for Scott, an award that he refused.~ Hal Erickson, All Movie Guide


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Nigel Adkins believes Jack Cork and Morgan Schneiderlin have the potential to be a central midfield powerhouse pairing for Saints.
Cork's return to the team after injury has resulted in four points from the last two games as Saints start to show the kind of form that could drag them to Premier League safety.
It should hardly be surprising when you consider that Cork has lost just 11 of the 52 games he has started since making a permanent move to the club from Chelsea just over a year ago. More than that, Adkins (pictured left) has been desperate to pair Cork and Schneiderlin together in a new look Continued: Page 37 midfield that sees the 23-year-olds sitting in front of the back four.
With Cork's energy and dynamism and Schneiderlin's fantastic passing ability they look every inch a Premier League partnership.
"He (Cork) was yet again outstanding – him and Morgan Schneiderlin together," raved Adkins.
"I played Jack Cork in every game after I signed him last season.
"He was called up for the Great Britain team for the Olympics which is a great honour obviously but we didn't have him for pre-season.
"He came back and in his first game he got injured, he came back after that and got injured straightaway in his comeback game.
"We've not had an opportunity to have Jack Cork and Morgan Schneiderlin together until now.
"They are two young 23-year-olds who I believe have got so much potential and we can get a good partnership going with them."We also have young James Ward-Prowse who is going to be phenomenal for us and Steven Davis we have brought in and is still very young in footballling terms but has a wealth of experience he can help the players with."
Schneiderlin and Cork also have enviable statistics in games they have started together over the past season and a bit.
In that time they have been on the losing side on just six out of 21 occasions.
More Saints news in today's Daily Echo


text:
pcc (Portable C Compiler) is based on the original Portable C Compiler
by S. C. Johnson, written in the late 70's. About 50% of the frontend
code and 80% of the backend code has been rewritten.
Maintained by: Armin Besirovic
Keywords: pcc,c,compiler,c99
ChangeLog: pcc
Download SlackBuild:
pcc.tar.gz.asc (FAQ)
(the SlackBuild does not include the source)
|Individual Files:
| pcc.SlackBuild
| pcc.info
| slack-desc
© 2006-2018 SlackBuilds.org Project. All rights reserved.
Slackware® is a registered trademark of Patrick Volkerding
Linux® is a registered trademark of Linus Torvalds
Web Design by WebSight Designs | Managed Hosting by OnyxLight Communications


text:
The term "Cosmetic Doctor" refers to any licensed physician (MD or DO degree) or oral maxillofacial surgeon (DDS or DMD degree) who claims to have specialized training and/or experience in cosmetic medicine, and a proficiency in performing cosmetic procedures.
Several different types of doctors perform cosmetic procedures, each with different training, experience, and credentials. "Core" cosmetic physician specialties, which include Plastic Surgeons, ENT/Otolaryngologists, Dermatologists, and Ophthalmologists, are those specialties which are widely recognized as having the requisite training, certification, and experience associated with performing cosmetic procedures. Although the core specialties account for the majority of cosmetic procedures performed, cosmetic medicine is no longer limited to just core physicians. Other specialties, including, family practice, internal medicine, anesthesia, obstetrics/gynecology, and others, now perform cosmetic procedures as well.
The term "Board-Certified" refers to doctors who are certified by one of the 24 Member Boards recognized by the American Board of Medical Specialties (www.abms.org), an organization formed in 1933 and is widely recognized as the gold standard in establishing standards for recognizing medical specialists. The 24 Member Boards recognized by the American Board of Medical Specialties are:
Doctors who perform cosmetic procedures may be credentialed and/or certified by various cosmetic medicine organizations that are not Members of the American Board of Medical Specialties.
Zwivel provides the following categories of cosmetic doctors to search from when deciding who will receive a Request:
Disclaimer: Cosmetic doctors listed in the Zwivel database are categorized according to information provided to Zwivel by the doctors, themselves, as well as from information gathered through Internet searches when no other information was provided. Although Zwivel attempts to verify that the cosmetic doctors listed in our database are categorized correctly, Zwivel makes no assurances that this is always the case. Furthermore, credentials and certifications listed for Zwivel member doctors are based upon information provided by the doctors. Zwivel makes no claims or guarantees about the veracity of such certifications, nor about the expertise or proficiency that such certifications may signify in performing osmetic procedures. It is the responsibility of the patient to verify the credentials, qualifications, and expertise of each cosmetic doctor to whom a Request is sent and with whom a cosmetic procedure is contemplated.
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text:
Vicki Gunvalson and Tamra Judge were hospitalized after a four-wheeling accident in Glamis, Calif., on Saturday.
TMZ was the first to report the story, saying the "Real Housewives of Orange County" stars were enjoying some fun in the desert while filming for their Bravo reality show. Judge took a few of the ladies, including Gunvalson, for a spin in a Polaris RZR four-wheeler when it flipped and rolled several times.
Gunvalson was reportedly airlifted form the accident to a local hospital, where she was treated for minor injuries and released Sunday morning. Judge was hospitalized and released that night.
Both women took to social media to thank friends and fans for their thoughts and prayers.
"So many text , tweets and phone calls asking if this is true," Judge wrote on Facebook. "I can confirm it is. Thank you for your prayers and concerns. We are both beat up but very lucky to be alive. I've never been so scared in my life. As the driver I have an overwhelming amount of guilt and just happy that the 4 of us are alive."
Gunvalson also took to Instagram to share a photo of the helicopter that had to airlift her to the hospital.
"Thank you everyone for your thoughts and prayers," she wrote alongside the hashtag, "#itwasntourtime."
(E! News, NBC and Bravo are both members of the NBCUniversal family).
PHOTOS: The Most Dramatic "Real Housewives" Trips Ever
PHOTOS: Famous "Real Housewives" Superfans


text:
Rob Simonelli is a national educational assistant at Life Time Fitness, where he oversees the development of his personal training colleagues. He is certified with the American College of Sports Medicine and the National Strength and Conditioning Association. He earned a bachelor's of science degree in exercise science from the University of Tennessee, where he served as a student strength and conditioning coach for the university's athletic department. He earned a master's of education degree at the University of Wyoming, where he studied sports administration and served as a graduate assistant strength and conditioning coach. Simonelli also has been the assistant strength and conditioning coach at the University of Miami and the strength and conditioning coordinator at Evert Tennis Academy in Boca Raton, FL. Throughout his 10 years at Life Time, Simonelli has trained NHL and NFL players.
A recent experience with a client's dog has changed my perspective about how our personal trainers should approach their clients. After the 100th time that Bentley, my client's bull terrier dog, tried to attack me, my client decided to schedule a session with a dog trainer to remedy the situation. I didn't think it would do any good since during the previous two years, I had barely escaped Bentley's wrath several times. One time in particular, only Bentley's paws losing traction on the marble floor allowed me to scurry to the safety of another room as he ambushed me.
I tried to imagine how the dog trainer would convince Bentley not to kill me. Would I have to learn a safe word, or would I always have to carry a remote control for the shock collar? Pepper spray? A cattle prod? I couldn't imagine how a trainer could possibly help, given this particular dog's desire to taste my flesh.
Regardless, the day finally arrived, and Eddie the dog trainer explained that Bentley was just a misunderstood, if over-protective, dog. Our session began with Eddie and Bentley in one room and me in another. Eddie told me to come into the same room as the dog. This was crazy, I thought, but I did it.
Eddie explained that for our first session, I would just be in the same room as the dog. So, there I was, face to snout with the beast. Good boy. Nice dog. All that stuff. My heart was racing. I was scared. But I learned to exist in the same room as Bentley. By the second session, I threw Bentley a ball and petted him. We didn't need a third session. I carry a ball now. Problem solved.
The training began with the dog and me in the same room. That's it. It was ingenious, and it got me thinking about the training clients receive in my club. How do they feel when they start their first session? How much trepidation do they feel regarding training with our personal trainers or just walking into the gym in general? I bet a good portion of them are scared. I bet how our trainers interact with them at first determines whether they succeed or fail. How many people go to a fitness facility and, because of a poor experience, walk out, not to return?
Are your trainers too aggressive with new clients because they want to show their wares and impress the clients or distinguish themselves? Perhaps they are trying too hard to sell a product. Are they forgetting to properly acclimate people and get them accustomed to the gym environment? Instead, they need to build trust first and ask the right questions. Since my experience, I have re-evaluated how I perform my initial consultations and how I suggest our trainers do the same.
Instead, I now ask questions such as, "How do you feel about the club? Are you excited or nervous about your assessment today?" I make statements such as, "Today's session is about establishing you into your new lifestyle. Don't worry. This is going to be a good experience for you."
Minimally, I believe the whole Bentley experience has made me slightly less scared of the dog and possibly a slightly more conscientious fitness professional. I hope it does the same for you and your trainers.


text:
Hello again,
It would seem a few people have registered and not provided an accurate email address in the registration process.
In order to register for the board you *must* provide a vaild email address, this is because an email is sent to you with a validation link you must click on to activate your account.
Unless you put in a vaild email address you will never recieve this link and will never be able to activate your account.
If anyone is still having trouble after they put in a valid email address, contact us via the contact form and we will help you as soon as possible
hope this helps


text: The majority of working Australians drive to and from work. AAP/Dan Himbrechts August 24, 2017 Getting serious on roads reform is one way our political leaders can get back on track Michael de Percy, University of Canberra Australians are crying out for political leadership. One way our leaders can redeem themselves is by getting to work on a complete shake-up of how we pay for and use transport infrastructure.


text:
Event: After the verdict of the Supreme Court, Bollywood's high profile actors and filmmakers like Hrithik Roshan, Abhishek Bachchan, Ranbir Kapoor, Vidya Balan, Ajay Devgn, Sanjay Kapoor, Karan Johar, Mahesh Bhatt, David Dhawan, Milan Luthria, Anubhav Sinha, Prabhudeva, Indra Kumar and Anees Bazmee rushed to meet Sanjay Dutt at his residence to support the actor.
Guest List: Hrithik Roshan, Abhishek Bachchan, Farhan Akhtar, Vidya Balan, Ajay Devgn, Karan Johar, Mahesh Bhatt, David Dhawan, Milan Luthria, Anubhav Sinha, Prabhudeva, Indra Kumar, Anees Bazmee
Bollywood celeb Aamir Khan along with wife Kiran Rao were spotted at PVR.
Bollywood producers-directors Vidhu Vinod Chopra, Krishan Kumar, Ravi Bahl, Divya Khosla Kumar, Sajid Nadiadwala, Wardha Nadiadwala celebrate diwali with Bhushan Kumar
Bollywood celebs Kareena Kapoor Khan, Malaika Arora, Sonali Bendre, Nimrat Kaur among others were snapped by paparazzi.Bebo looked super cool in a casual look. She wore a white t-shirt with yoga pants...
Bollywood actress Shama Sikander celebrated Diwali festival at her residence.
Bollywood celebs Aamir Khan, Zaira Wasim, Fatima Sana Shaikh, Sanya Malhotra, Anil Kapoor, Nitesh Tiwari, Aparshakti Khurrana, Bhushan Kumar, Javed Akhtar, Shabana Azmi, Sachin Tendulkar, Rajkumar Hir...


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The Virginia estate of Patricia Kluge, a philanthropist and ex-wife of TV mogul and Metromedia founder John Kluge, has a new price tag of only $24 million (via C'ville Bubble Blog).
This is a huge discount from the initial listing price of $100 million back in October 2009. The price was dropped to $48 million in the spring of 2010.
The massively discounted property is still listed at Sotheby's.
Patricia Kluge, a former belly-dancer and pinup model, kept the house (and received a settlement of $1 billion) in an amicable divorce from her husband John Kluge, founder of Metromedia.
John was ranked the richest man in the U.S. with $5.2 billion in 1989.