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IRVINE — The final goal of the season for the Corona del Mar High boys' water polo team was impressive.
CdM senior Jake Wyatt passed the ball the length of the pool to senior Danny Marshall, who redirected it into the net at the buzzer Wednesday night at Irvine's Woollett Aquatics Center.
Unfortunately for the Sea Kings, this wasn't a game-winning play or anything close to it. They were able to keep up with top-seeded Mater Dei for exactly one quarter before the Monarchs took charge.
Mater Dei took control in the second quarter and cruised to an 18-9 victory in the CIF Southern Section Division 1 semifinal match, ending CdM's season.
Mater Dei (30-0), which registered its Southern Section-record 78th straight victory, will go for its third consecutive Division 1 crown on Saturday night at 7 p.m. back at Woollett. The Monarchs will play No. 2-seeded Long Beach Wilson, which edged No. 3 Loyola, 6-5, in another semifinal.
CdM (23-7), which had an nine-match winning streak snapped, will still take positives out of its season.
"I think we competed," CdM Coach Barry O'Dea said. "I'm real proud of the fact that they kept going; they didn't just shut down. We kept preaching that. I'm obviously disappointed, but ecstatic with the year. I thought we had a great season. I thought the boys played real hard in the last couple weeks here, and I'm proud of what they were able to accomplish, getting to the semis after getting moved up to D1."
Wednesday's match was the second time this season the Sea Kings and Monarchs had met. The first time the teams played, CdM scored the game's first two goals before Mater Dei rallied to post a 13-5 nonleague victory on Oct. 13. In that game, Mater Dei scored 10 unanswered goals at one point.
It was more of the same in the rematch. CdM hung with Mater Dei early. Armen Mavusi, Kyle Trush and Blake Motal all scored goals as the Sea Kings trailed just 4-3 after the first quarter.
But Mater Dei scored five consecutive goals in the second, taking a commanding 9-3 halftime lead. CdM was held scoreless for a period of 11:43 until Trush scored again midway through the third quarter, on a pass by Reid Chase.
By then, the Monarchs had scored eight unanswered and built a 12-4 lead, largely on the strength of junior Kent Inoue (seven goals) on the counterattack. Many of those counter opportunities were created after tough saves by junior goalie McQuin Baron, who finished with 15 saves.
"They're big and they're strong, but they weren't good on defense on the counterattack," Mater Dei Coach Chris Segesman said. "They got lost in transition. So that was our goal, to push the counterattack even if we didn't have the advantage, just to try to create something off that counterattack. And it worked.
"[Baron] was shaky the first quarter, then he just really got comfortable. When McQuin's on, we could play an all-star team and we'd still be in the game. It's hard to score on him. Obviously, he's the backbone of our team and the heartbeat of our team. We rode off him tonight, especially in the second quarter."
Newport Beach resident Nick Silvers, a sophomore, had four goals and a steal for Mater Dei. Newport Beach resident Jon Walters, a senior center bound for USC, had three goals and also drew two exclusions.
Jon's younger brother, James Walters, scored once and led all players with four steals. Other Newport-Mesa residents on Mater Dei include Jeff O'Brien, Neil LeVecke, Connor Talleur, Stig Terrebonne and Carter Yonkers, a backup goalie who had a save in the fourth quarter.
Trush, Chase and Marshall all had two goals for CdM, and Chase added a team-high three steals. Jack Harryman also scored for the Sea Kings, who got six saves and three steals from senior goalie Patrick McKenzie.
CdM centers Mavusi and Ty Hack combined to draw five exclusions for CdM.
Chase, CdM's leading scorer with 84 goals, did not find the back of the net until late in the third quarter.
"They were shadowing on Reid everywhere he went tonight," O'Dea said. "They weren't going to let him get off; they did a good job there on Reid."
O'Dea, who had 13 seniors on his squad, said he was proud of his players.
"It was a good year," he said. "We're 23-7 at the end of it all. We finished top four, and we're in the semifinals in a 7 o'clock game. It's good.
"We were just playing the best high school team around."
Twitter: @mjszabo


text:
US newsroom shooting was 'targeted attack': police
Eurozone inflation hits 2.0 percent in June: Eurostat
Madagascar to hold presidential vote in November
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Art dynasty heir Wildenstein cleared at Paris fraud trial
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EU summit agrees deal on migration: Tusk
Mattis vows 'strong defensive stance' despite US-SKorea drill halt
US-Japan alliance 'cornerstone' of regional stability: Mattis
US newsroom shooting was 'targeted attack': police
Eurozone inflation hits 2.0 percent in June: Eurostat
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There are a number of great resources online to do research. (Read more about those resources )
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Think about this: Do you want to sell to everybody? Or just to people who have a specific need you fill?
It's much more profitable to tailor your message to a very small audience segment that is going to resonate with you.
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That message is all about a very specific problem. Helping people who would like to move life forward byaccomplishing their goals. It's assuming that they are stuck in the process (or need help) because if they weren't, they would not be looking for help.
This narrow niche that I market to makes a lead who fills out the form 10x more qualified than a more "generic" or "hypey" offer.
Take this information and work on your offer. Keep it concrete and watch your sales conversions rise.
If this article resonated with you and you'd like help crafting an offer that resonates with your market, then check out our " " program.
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Fois Gras, Fois Gras, Fois Gras
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Joined: 29 Sep 2004
Posts: 97
Location: Paris, France
Posted: Sat Dec 04, 2004 10:30 am
Post subject: Fois Gras, Fois Gras, Fois Gras
In November, Clotilde helped to organize, and invited us all to a Fois Gras tasting. (You can read the post and all ensuing comments on the blog) This generous offer, and simple post, has generated a heated debate, most vocally between three of us. I am suggesting that if there is more to be said, that it be continued here.
As a follow up to the tasting Monday night, November 29; the fois gras was superb, the wine really wonderful, the accompaniments of raw veggies inspired, and the company great fun. Thank you Nicolas and Clotilde!
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Joined: 30 Sep 2004
Posts: 1855
Location: Ottawa, Ontario, Canada
Posted: Mon Dec 06, 2004 10:29 pm
Post subject:
Ihadn't noticed the debate waging around foie gras until Alisa graciously pointed it out. It is the closest to controversy this group has experienced and I was pleased at the sophiticated tone of proper debate taken by the participants. It all seems to have blown over now, and I just wanted to thank list members for showing maturity and propriety while handling a difficult issue. This is such a pleasant and rewarding little bit of the world it is good to know that it is inhabited by such civilized individuals.
Vivant Linguae Mortuae!!
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Joined: 29 Sep 2004
Posts: 97
Location: Paris, France
Posted: Tue Dec 07, 2004 12:01 am
Post subject:
David, that is such a nice note.
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Joined: 13 Nov 2004
Posts: 899
Location: Gold Coast Australia
Posted: Tue Dec 07, 2004 4:39 am
Post subject:
I have always enjoyed foie gras and earlier this year visited a manufacturer in the South of France. I viewed a film on the raising of the geese and production of foie gras. I was not disturbed and will continue to enjoy foie gras. We enjoyed it with Juracon wine from the same region.
However I do understand why it does bother some people.
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Joined: 29 Sep 2004
Posts: 97
Location: Paris, France
Posted: Tue Dec 07, 2004 10:18 am
Post subject:
Fois gras is also often accompanied by a good Sauternes. If you get the chance, give that a try too!
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Joined: 29 Nov 2004
Posts: 32
Location: Salt Lake City, UT
Posted: Thu Dec 09, 2004 3:28 am
Post subject: Re: Fois Gras, Fois Gras, Fois Gras
good to know that there is healthy debate and conversation with good food. I am often baffled by those who condemn the rearing of foie gras without recognizing the other offenses we as humans have to commit to eat and savor life. A dinner companion and I did debate foie gras at a restaurant recently. She wasn't vegetarian, but refused to eat it on moral grounds. But sadly, she left herself open to contradictory criticsm by enjoying a veal piccata in my company the week before.
everyone is different, i suppose.
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Joined: 05 Dec 2004
Posts: 3
Posted: Thu Dec 09, 2004 4:54 am
Post subject: fois gras
I second the sauterne fois gras pairing, it works very well
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Joined: 05 Dec 2004
Posts: 2
Location: Oakland, California
Posted: Fri Dec 10, 2004 4:29 am
Post subject: Re: Fois Gras, Fois Gras, Fois Gras
wasabi wrote:
But sadly, she left herself open to contradictory criticsm by enjoying a veal piccata in my company the week before.
Just to be pedantic, 'cause I can't help it, I will note that there are ethical forms of veal production. Niman Ranch is starting a program to make this more widespread, but there are already some small producers doing it. "Veal" is equivalent to "lamb". It's the modern take on it that's given it such a bad name (breaking the knees, sticking them in little crates, depriving them of light, etc.). Of course, the chances are pretty good that the veal your friend ate was inhumanely raised to some degree.
I'll also note that there are animal welfare groups that support ethical veal but still oppose foie gras (the Animal Welfare Institute to name just one). These are groups that recognize that the food is destined for dinner, but they want to ensure humane conditions until then. To their minds, force-feeding is inherently inhumane.
I'll second the comments about the pleasure of reasonable debate about this; it's too easy for a conversation about foie gras to devolve into a screaming match.
Derrick Schneider
My blog:
You have to eat. You might as well enjoy it!
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Roll up your sleeves!
Outside view of the porch
The screened in porch is light and airy.
Inside view of the porch
The screened porch offers a nearly unobstructed view of the outdoors.
A screened in porch is a big improvement, but building a porch is also a big project, one that might consume most of your spare time this summer. So, we're keeping this how to build a porch design simple. You can build it with standard dimensional lumber, and it doesn't require heavy beams or complex joints. The simple 2×4 walls are light and airy looking. Two horizontal bands of 2x4s, set 10 in. from the top and bottom of the wall, add a design element and stiffen the 2×4 framing enough to support the hand-built trusses. With this how to build a porch design, there's no need to precisely align the overhangs. And the exposed rafters and open soffit look great on many house styles.
The total cost of this how to build a porch was $6,500, but you could save hundreds of dollars without sacrificing quality by substituting treated decking for the cedar or using tongue-and-groove pine rather than cedar on the ceiling. Even though how to build a porch project is a large project, most of the construction is straightforward. If you've built decks or sheds, you'll be able to tackle this job with confidence. In this how to build a screened in porch article, we'll show you the key steps for building this porch. Study the drawings and photos for more details.
You'll need a full set of basic carpentry tools, a circular saw and a drill to build this porch. In addition, a reciprocating saw, a table saw and a power miter box will make the job go quicker and give you better results. To reach high places safely and easily, we recommend renting a rolling scaffold system (Photo 8) for a month.
Plan ahead to avoid construction headaches
You can add this screened in porch to almost any house, but attachment details may vary from what we show here. On most two-story houses, you won't have to worry about tying in to the roof, but you may have to situate the porch carefully to avoid covering a window. The house roof sloped 5 in. per foot (this is called a 5/12 slope) and extended 18 in. at the overhang. Your roof may vary from this, and the details of how the porch ties in will vary as well.
If you're not sure how to neatly join the screened in porch and house roofs, we recommend hiring an architect to help work out the details. Another option is to build a full-size mockup of a roof truss out of inexpensive and lightweight 1x4s. Figure out where the top of the wall plate would be if you built the porch according to our plans (Figures A – H). Then support the mocked-up truss at this height to see how the porch overhang meets the roof. If you don't like the way the overhangs intersect, adjust the level of the deck slightly, alter the wall height or change the width of the overhang.
Contact your local building inspections department to find out what's required to obtain a building permit. Start this process at least a month before you plan to build. This will allow enough time to work through potential problems.
Figures A through H
These illustrations show the plans for the screened in porch, deck framing, gable framing, ledger, truss block, side walls and the end wall.
To print these how to build a porch plans, see Additional Information at the end of this story.
Build the deck square and level
Photo 1: Assemble the perimeter joists
Bolt the ledger to the house. Then nail the perimeter joists together and level and square the assembly. Measure, cut and set the 6×6 posts.
Photo 2: Install the joists and joist hangers
Cut the joists to length and nail them into place with a pair of nails at each end. Then slide joist hangers onto the end of each joist and nail the hangers.
Start by marking the ledger board location on the house wall. We located the top of the ledger board 90 in. below the bottom of the soffit. On our house, this left a 6-in. step down from the patio door to the deck surface. Remove the siding and attach the ledger with 1/2 x 4-in. galvanized lag screws (Figure D). Make sure it's perfectly level. If the ledger attaches to concrete, predrill holes and insert lead shield lag screw anchors before installing the lags.
After you mount the ledger, use stakes and string lines to outline the deck frame according to the dimensions in Figure B and mark the footing locations. A few days before you plan to dig the footings, call 411 to have underground utilities marked in the vicinity of the porch. Your local building department will specify how large and deep the footings should be for your climate and soil conditions. Pour a concrete pad in the bottom of each footing hole after they've been inspected. Let the concrete set overnight.
Next choose the six straightest 2x10s for the perimeter beams. Cut the 2x10s for the two side beams to length and nail the pairs together. Use 16d stainless steel or double-dipped galvanized nails for all of the joist framing and to attach the joist hangers to the ledger board. Rest one end of each side beam in the double joist hangers and prop them up level with a stack of wood (Photo 1).
Nail through the joist hangers into the beams at the house to hold them in place. Then connect the opposite ends of the two beams at the front with a 2×10 cut to the same length as the ledger. Adjust the resulting frame until the diagonal measurements are equal. Then brace the frame against stakes pounded into the ground to hold it square while you install the treated posts, joists and decking (Photo 2). Sight along the outside rim joist occasionally and adjust the length of the joists as needed to keep the front rim joist straight.
Cut away the overhang and siding to make way for the porch
Photo 3: Cut through the siding
Make a mark 1-5/8 in. out from the deck on both sides. Then make another mark 5-1/8 in. inside the first mark. Draw plumb lines up from these marks and cut a 5-1/8-in. slot through the siding but not the sheathing.
Photo 4: Cut away the roof
Mark the roof portion that overhangs the deck. Then cut the roof sheathing back even to the edge of the house and pry it off. Cut the rafter tails off flush with the house wall.
If your house has an overhang, you'll have to cut it back flush to allow the innermost truss to fit against the wall. Start by removing the soffit and fascia boards above and several feet to each side of the deck. It's easier to remove extra soffit and fascia boards and patch them back after the porch is done than to calculate cutoff points now. After the soffit boards are removed, use a level to plumb up from the house wall to the underside of the roof boards, in line with the outside edges of the porch.
Mark the two points. Then drive a long screw or nail up through the roof boards at the two marks. Snap a chalk line between the nails and remove the shingles below and about 6 in. above the line. Chalk a new line and remove nails along the line. Then saw along the line and pry off the roof boards (Photo 4). Be sure to wear safety glasses and hearing protection when you're sawing. Finally, cut off the rafter tails flush to the house wall.
You'll have to decide whether to cut a slot where the porch walls meet the siding (Photo 3). If your siding is stucco, brick or stone, you may want to butt the walls to the siding. Photo 3 shows how to cut a slot for the wall. Set the saw blade just deep enough to cut through the siding only. Remove the siding. Waterproof the slot with No. 15 building paper.
Construct a jig to assemble the roof trusses
Photo 5: Build the trusses
Screw two sheets of plywood to the deck and mark the truss shape on them (Figure J). Screw stop blocks along the rafter lines and crosstie line. Assemble the trusses.
Prime and paint the truss parts, wall frame and screen stops before assembly. Prime the wood with a special stain-blocking primer such as Zinsser's oil- based Cover-Stain. Then brush on a coat of acrylic exterior house paint. Make sure to prime every cut end as you work; otherwise these areas will absorb moisture and cause staining. We prefinished the roof boards with an oil finish (Cabot Clear Solution Natural).
It's easiest to assemble the roof trusses first, using the deck platform as a work surface. Screw two sheets of plywood to the decking and use the dimensions in Figure J to chalk lines indicating the top of the rafters and the bottom of the 2×6 crosstie. Cut triangular blocks and screw them to the plywood to hold the rafters in alignment as you assemble the trusses (Photo 5).
Cut a rafter using the dimensions in Figure J and use it as a pattern to mark the remaining rafters. Place a pair of rafters in the jig and screw the tops together. Next screw the 2×6 crosstie and 2×8 spacer to the pair of rafters. Keep the crosstie screws clear of the bolt hole locations. Complete each truss by screwing another pair of rafters on top.
Check the ends and tops of the rafters as you assemble the trusses to make sure they're perfectly aligned. The trusses must be identical so that your roof boards and soffit trim will line up. Finally, elevate the truss on blocks of wood while you drill a pair of 1/2-in. holes into each end of the crosstie for the carriage bolts (Figure J). Run the 1/2 x 5-1/2-in. carriage bolts through the rafters and crosstie ends and tighten the nuts.
Figure J: Truss Details
This illustration shows how to construct the trusses.
Frame the walls accurately for smooth assembly
Photo 6: Assemble the walls
Cut the wall parts according to the plan and screw them together. Use the crosspieces as spacers to position the posts. Screw the crosspieces between the posts. Use a spacer block to ensure perfect alignment
Since the wall framing for this screened in porch is the finished surface, it's worth taking a little extra time to make the framing material look good. We chose the nicest cedar 2x6s we could find and ripped them into 3-1/2-in. and 1-1/2-in. boards. We did this to create sharp, clean edges (we also ripped off all the factory rounded edges).
Cut the studs and crosspieces to length and screw the walls together (Photo 6 and Figures F – H). We used a power miter saw for clean, square cuts, but a circular saw will work too. Use a crosspiece as a spacer when you're attaching the studs to the top and bottom plates (Photo 6). Then cut a 10-in. spacer block to position the crosspieces for assembly.
Plumb and brace the walls, then set the trusses
Photo 7: Brace the walls to they're plumb
Stand the walls and screw the wall corners together. Align the walls flush to the deck and screw them down. Finally plumb and brace the walls.
Photo 8: Attach the trusses
Stand a truss against the house. Plumb and brace it. Set the outside truss and screw a 1×4 brace to it. Then stand and brace the remaining trusses. Toe-screw all of the trusses to the top wall plate.
The key to standing the walls is to check and double-check along the way to make sure they're straight along their top and bottom plates, perfectly plumb and square, and securely braced (Photo 7). Start by positioning the walls with their outside edge flush to the deck and screwing them down. Next screw the corners together, making sure the top plates of adjacent walls are even with each other. Use a long level to plumb the walls while you attach diagonal braces to hold them in position (Photo 7). Leave the braces in place until after the roofing is complete.
Round up a couple of strong helpers to assist in setting the trusses. Start by marking the position of the trusses on the top plate and onto a 16-ft. 1×4 (you'll use the 1×4 to brace and position the tops of the trusses as you stand them up). The first truss simply butts to the house wall. The outermost truss aligns with the edge of the top plate, and the three interior trusses are centered on the studs below. Set the first truss against the house and carefully center it so that 1-1/2 in. of the bottom 2×6 overhangs the top wall plates on each side.
Screw the truss to the top plates. Then use a straightedge and level to stand the truss perfectly plumb and brace it to the roof (Photo 8). Make sure this brace is securely screwed to the roof and the truss because the remaining trusses will be supported by this truss until the roof tie-in framing is complete.
Lift the remaining trusses onto the top of the walls and rest them on the first truss. Slowly and carefully slide the outermost truss to the outside end of the porch. Align the marks on the 1×4 with the truss at the house and the outermost truss and screw it to the trusses.
Center the outermost truss on the walls and toe-screw it to the top plate of the walls. Stretch a string line between nails at the peak of the two trusses. Align the remaining trusses with the string line and the marks on the 1×4 and top plates and screw them in.
Line up the tie-in framing with the porch for a seamless blend
Photo 9: Run a mason's line for the roof tie-in.
Stretch a mason's line across the peak of the trusses to position the roof tie-in framing. Use 3/4-in.-thick spacer blocks to raise the line to the correct tie-in framing height.
Photo 10: Install the ridge and rafters
Cut 2×8 plates and nail them to the roof. Measure for the ridge. Cut the ridge and a pair of rafters and nail them to the plates. The framing should be exactly 3/4 in. above the top of the trusses.
Photo 11: Install the roof boards
Bevel the first roof board and nail it flush to the end of the trusses. Nail the remaining tongue-and-groove roof boards to the trusses. Cut the last board on each side to fit at the peak.
One of the trickiest parts of the porch construction is joining the two roofs. The key is to extend lines from the new porch and mark where they intersect the existing roof. Do this by using a taut string line or a long, straight board. Remember to raise the tie-in framing on the existing house roof ¾ in. above the porch framing to compensate for the difference in thickness of the 3/4-in. plywood and 1-1/2-in. roof boards (Photo 12).
Start the tie-in framing by locating the point where the peak intersects the existing roof (Photo 9). Then cut the 2×8 roof plates. If you're not good at calculating roof angles, start by estimating the angles and cutting the plates an extra 6 in. long. Then set them in place, remark the angles and recut them until they fit. Screw the roof plates through the roof boards into the rafters below. Next measure for the ridge, estimate the angle and cut it a little long. Trim the angle to fit and screw the ridge rafter to the first truss and roof plates. Complete the tie-in by installing a pair of rafters (Photo 10).
Photo 11 shows installation of the roof boards. Set your table saw or circular saw to 23 degrees and rip a bevel on the groove edge of the first board. Align the board with the ends of the trusses and nail it with 16d galvanized nails. Install the remaining boards, making sure to snug the joints tight before nailing them. Let the boards hang out past the last truss to form the gable end overhang.
When you're done installing the roof boards, snap a chalk line at the gable (outer) end and saw them off to leave an 18-in. overhang. Finish the gable end overhang by installing a pair of rafters and the 1×3 trim. Hold the gable end rafters tight to the underside of the cutoff roof boards and screw through the roof boards to hold the rafters in place. Then cut 1×3 trim to cover the end grain of the roof boards. Extend the trim around the corners and return it along the roof edge to the house.
Pay attention to flashing and roofing details for a watertight job
Photo 12: Nail plywood over the tie-in framing
Cover the tie-in framing with 3/4-in. plywood. Add blocking as needed and fill in the triangular areas between the existing roof and the new roof.
Photo 13: Install flashing in the roof valley
Adhere ice-and-water barrier along the eaves and up the valleys. Then nail metal valley flashing overtop. Add No. 15 building paper, then shingles.
Building the tie-in framing on top of the existing shingles is a good way to keep the house waterproof as you construct the porch, but when it comes time to install the roofing you'll have to cut the shingles along each of the valleys with a hook-blade utility knife. Then pry loose the cut shingles to make a wide path for the valley flashing (Photos 12 and 13).
We won't go into roofing details here. In general, cover the eaves and valley with strips of waterproof membrane (Photo 13) and install the sheet metal valley. Place roofing nails about 12 in. apart along the edge of the metal valley. Cut a short piece of valley metal to complete the top on each side, overlapping it about 6 in. onto the long piece.
Staple No. 15 building paper to the remainder of the porch roof, starting at the bottom and working up. Overlap each row 3 in. onto the one below. Install shingles to match the house. Follow the manufacturer's instructions for starting, overlaps and nail placement. Use 1-in.-long galvanized roofing nails to avoid nailing through the tongue-and-groove ceiling.
Fill in the gable ends
Cover the triangular opening in the truss above the house wall by building a 2×2 frame and nailing 1×6 tongue-and-groove boards to the back. Then slide the frame into the opening and screw it into place. Fill the triangular space above the outside wall with a 2×4 frame (Figure C).
Then staple screening to it and cover the screens with stops, just as you do with the walls below. Practice on scraps to make accurate patterns for the steep angles. Then transfer the angles to the actual framing members. You may have to cut these angles with a handsaw; they're too steep for a miter saw unless you build a special jig.
Install the screens and screen door
Photo 14: Attach trim and sill to the outer walls
Nail a 2×10 trim board over the outside joist, 1-1/2 in. below the top surface of the deck. Cut a 2×4 sill piece to width and bevel the top on a table saw. Miter the ends and nail the sill to the top of the 2×10 trim board.
Photo 15: Staple the screen to the walls
Cut lengths of screening and staple them to the framing. Start by tacking the two corners, making sure the screen is square to the opening. Then stretch the screen slightly and staple the sides, top and bottom. Place 1/4-in. staples every 3 in.
Photo 16: Attach 2x2s over the framing
Cut 2x2s to fit and screw them to the framing to cover the staples along all the edges. Frame and screen the outer gable end following Figure C.
The charcoal aluminum screening we used is strong and long lasting, but you have to handle it carefully to avoid creases and dents. Carefully unroll the screen on a large work surface and cut lengths about 3 in. longer than you need. Reroll each piece and carry it to its location. Photo 15 shows how to staple the screening to the framing.
After you stretch and staple each section, cut off the excess screen with a sharp utility knife. Then cover the edges with 2×2 trim pieces (Photo 16). We screwed these on to allow for easy removal for future screen repairs.
If you use a wood door like ours, start by trimming it just enough to fit in the opening. Then set it in place and mark the door for final fitting. Use a sharp plane or belt sander to trim the door. You may have to repeat this process a few times to get a good fit.
Nail 1/2 x 2-in. wood stops to the framing at the door opening. Then hang the door using galvanized or brass screen door hinges. Mount a latch and door closer to complete the job.
Figure K: Corner Details
This illustration shows how the corners are assembled and the trim is installed.
Additional Information
Required Tools for this Project
Have the necessary tools for this how to build a screened in porch DIY project lined up before you start—you'll save time and frustration.
- Chalk line
- Circular saw
- Cordless drill
- Drill bit set
- Hammer
- Hearing protection
- Level
- Miter saw
- Reciprocating saw
- Safety glasses
- Socket/ratchet set
- Speed square
- Stapler
- Stepladder
- Table saw
- Tape measure
- Tin snips
- Tool belt
- Utility knife


text:
Jennifer Lawrence Was Awesome Even Back When She Was Bullied as a Kid
Jennifer Lawrence may be a well-loved Oscar-winner now, but as a kid, the other chicks didn't like her so much. Probably because some of those same endearing, human qualities she has now that we love so much made her the odd girl out back then.
Little did those bullies know they were noogying a future Academy Award winner.
"I changed schools a lot when I was in elementary school because some girls were mean," Lawrence admitted to the Sun of her pre-acting days. "They were less mean in middle school, because I was doing all right, although this one girl gave [me] invitations to hand out to her birthday party that I wasn't invited to."
When asked how she responded to the mean task, Lawrence replied, "I just hocked a loogie on them and threw them in the trash can."
Well done. If we'd been there, we'd have given that move a slow clap.
Considering her past experience with bullying, J.Law had some advice for the recipients of similar treatment: "Don't worry about the bitches. That could be a good motto, because you come across people like that throughout your life."
It's possible that truer words have never been spoken.


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Joe Fouche needed a new print or packaging design and created a contest on 99designs.
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The County Reporter
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Should be replicable in both color & B/W.


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Windows 8 includes two fantastic features for people using multiple monitors. The first feature lets you choose which background image to have on which monitor, so you don't have to have the same background on all monitors. The second feature is an easy keyboard combination which lets you move any Windows Store App to another monitor.
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To switch a Windows Store App from one monitor to the other, simply open the App and hold down the Windows Key (next to the Ctrl key) and press Page Up to move the app to your monitor on the left. Press Page Down to move your app to your monitor on the right.


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McKesson is in the business of better health and we touch the lives of patients in virtually every aspect of healthcare. It starts with the chain of events you initiate when you work with McKesson Pharmaceutical - a chain that extends across the country and results in millions of people getting more from their healthcare.
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Wasted Our Time
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Posted by reinspruch on 2007-08-12
We had two phone calls and a presentation. We asked no less than a dozen times if our stage (pre-adoption) or location (not in Boston) were an issue. They kept telling us no and invited us out to pitch to a partner. Two days later we get an email that they are not comfortable investing in an pre-adoption company, particularly one not in Boston. Very very unprofessional and wasted our time.PRIVATE: Members Only (245 Characters)


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Hi everyone! Today I wanted to share with you my style crush on Miroslava Duma. I can't get enough of this gorgeous Russians style and I am always able to draw inspiration from her. She has an innate ability to combine prints and textures, making her outfits appear just like a piece of art. She presents herself in polished, daring and exciting head to toe looks, which has turned her into a major style icon on the international fashion scene.
Mira (as she is known amongst her friends) used to be an editor for Harpers Bazaar (Russia) and has since written for numerous other publications including Vogue. However, now Mira is focussing on her own online media platform, Buro24/7. I can't wait for her to launch the English version.
Mira describes her style as experimental, playful and mixed. She enjoys combining expensive designer pieces with inexpensive ones. I loved her quote in a Vogue interview, referring to being experimental in her style, she stated "The one who doesn't do anything doesn't make any mistakes."
I've selected some of my favourite ensembles From Miroslava Duma. I hope she inspires you as much as she does me.
Images courtesy of Google Images


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1. Re: Slow typing in DW CS6 / OSX?Ben M May 9, 2012 5:33 AM (in response to Ldude32)1 person found this helpful
Is it with all files Luis or just particular files. If it's with something particular I'd be more than willing to look at the file trying to replicate your actions. I have a MBP 2.8ghz C2D with 8GB ram & GeForceM 9600GT 512MB and 7200RPM drive.
Also file a bug report so the team can look into it:
2. Re: Slow typing in DW CS6 / OSX?Ldude32 May 9, 2012 6:01 AM (in response to Ben M)
Hi SnakEyez02,
It appears to be all files - in code view or split view - even a blank file.
I have a few other Macs around - I'll check to see if they exhibit the problem, in which case I'll report back here and submit a bug report.
3. Re: Slow typing in DW CS6 / OSX?Concept211 May 9, 2012 7:51 AM (in response to Ldude32)
I'm experiencing the same issue on my Windows 7 machine. It appears that CS6 is eating away at 100% of one of my CPU cores and is performing extremely slow. Still can't determine what's causing it. I have no choice but to go back to CS5.5 for now.
4. Re: Slow typing in DW CS6 / OSX?Ldude32 May 9, 2012 8:10 AM (in response to Concept211)
hi concept211 - actually, now you mention it - the CPU usage for DW jumps from idle up to 50% (sometimes 70%) whenever I type anything.
Even if I type a bunch of zeros. (50% cpu usage). pause for a while (drops to 2%), type another couple of zeros (junps to 50% again).
Pasting in a chunk of text only jumps to 20%.
Both of these are in Code view.
It's as if the predictive code typing is overburdoning the app.
Just did this test with DW CS5.5 and the CPU doesn't go over 5%...
Will test on my other machines to see if I can replicate the issue - just trying to get some work done at the moment.
5. Re: Slow typing in DW CS6 / OSX?Concept211 May 9, 2012 8:54 AM (in response to Ldude32)
Yeah, there's something seriously wrong. I hope Adobe is paying attention and will provide a fix (or at least a workaround until the fix) ASAP. It's simply unusable at the moment
6. Re: Slow typing in DW CS6 / OSX?Jon Michael Varese May 9, 2012 11:35 AM (in response to Concept211)
Hi folks . . . I'm alerting the Dreamweaver team about this issue right now. Cheers, Jon
7. Re: Slow typing in DW CS6 / OSX?ArunKaza May 9, 2012 10:22 PM (in response to Ldude32)
Hi Everyone,
Are you running Dreamweaver CS6 Trial version or a licensed version?
Can you check if there are no other apps running in the tray(i.e. close any mail client, browsers anti-virus apps etc) when running Dreamweaver? After a re-start of the system if you just happen to run DWCS6, do you still see typing being slow?
8. Re: Slow typing in DW CS6 / OSX?shdskj_gfd May 10, 2012 2:07 AM (in response to ArunKaza)
I'm using Trial version of Dreamweaver CS6. Didn't had that issue with CS5.5.
Once I open any Preference in Dreamweaver, CPU goes back to zero.
I had the issue before with CS5 and CS5.5. Before it was fixed by disabling "Related Files". Now even this do not work!
Please advise,
9. Re: Slow typing in DW CS6 / OSX?ArunKaza May 10, 2012 2:41 AM (in response to shdskj_gfd)
Are you having any DW extensions installed on your machine?
Did you open a new blank html page from inside any site defined in DW. Just wanted to make sure you dont have any heavy sites defined which might cause the problem.
It would also be good if you can send us a Screen capture/video showing this behavior on your machine.
You can choose to reply back to me directly at firstname.lastname@example.com
10. Re: Slow typing in DW CS6 / OSX?shdskj_gfd May 10, 2012 2:47 AM (in response to shdskj_gfd)
I disabled RELATED FILES and now it works OK. Intresting, before I had the issue, but now it's fixed.
11. Re: Slow typing in DW CS6 / OSX?ArunKaza May 10, 2012 2:50 AM (in response to shdskj_gfd)
Great to know this, Thanks!
Can others also who is facing similar issue try it out. Does disabling of Related Files option in Preferences dialog solving the slow typing issue?
12. Re: Slow typing in DW CS6 / OSX?Ldude32 May 10, 2012 3:02 AM (in response to ArunKaza)
Hi again,
(purchased version)
MacPro 1,1 : 2.66GHz 4 core (the original problematic machine)
I've just upgraded to OS X 10.7.4, and it appears to be much better (possibly a combination of the reboot!).
The typing is now only slightly slow - not too bad at my typing speed, but it could annoy faster typers. Still - it's much faster than 3 characters per second.
The CPU usage, however still remains.
Within the body tag of a new html file, if I type any text the CPU usage for the Dreamweaver process leaps from 1.5% to 58%.
Again, this drops down the second I stop typing, and goes back up when I resume.
I have no DW CS6 extensions enabled on this machine.
NOTE: When I returned to DW6 to disable the RELATED FILES option, it had gotten really slow again (so it slowed down after some time passed).
Disabling the Related Files Option seemed to fix that slowness, but then that required a re-launch which could have masked the elapsed time bug (possibly a memory leak?).
HOWEVER, the CPU usage remains very high whilst typing, regardless of perceived slowness, or status of RELATED FILES option.
On a slower, but newer MacPro 4,1 : 2.26GHz 8 core ; running 10.6.8 with same SSD & RAM, the fresh installation runs quickly (without post-install reboot) and the CPU only goes to 20% whilst typing in the same situation.
I have no DW CS6 extensions installed on this machine.
I have an old MacBook Pro 2,2, also on SSD with 2GB RAM currently on 10.7.3 I'll do some tests on it when I get a moment, but this may have to wait until next week.
13. Re: Slow typing in DW CS6 / OSX?ArunKaza May 10, 2012 4:46 AM (in response to Ldude32)
Can you share access to your site/server credentials using which we can also open the same test files and see the issue reproducing at our end?
You can directly send it over an email only to me at email@example.com
Please note that all your data will be fully protected, and be used only for internal testing purposes only.
14. Re: Slow typing in DW CS6 / OSX?Concept211 May 10, 2012 5:53 AM (in response to ArunKaza)
I have a trial version of DW CS6 installed. It looks like by default the "related files" option is disabled. I tried enabling and disabling and it doesn't make a difference on the CPU usage. I also don't have any extension installed. It's completely blank and I even deleted the old site cache, preferences, etc. I'm attaching screenshots so that you can see how the CPU usage drops from 50% to 0% from simply pulling down the toolbar menus.
15. Re: Slow typing in DW CS6 / OSX?Artikweb May 10, 2012 2:26 PM (in response to Concept211)
I'm having this exact same problem.
Any HTML/CSS file that I open DWCS6 eats up my CPU - but if I open a menu, it goes into a normal state (0-4% of CPU usage).
On CS5 this problem occured once in a while, but it was random... now it's constantly happening. However, I don't have the "slow type" problem... the text appears as fast as I write.
I'm running it on a P6100 Dual Core 2.1Ghz, 4Gigs of DDR3 Ram, AMD Mob. Radeon 5470 + Switchable Graphics (Intel) and 320Gig HDD using Windows 7 Ultimate x64.
16. Re: Slow typing in DW CS6 / OSX?Janaki Lakshmikanthan Jun 12, 2012 10:58 PM (in response to Artikweb)
Please drop an email to jlakshmi_at_adobe_dot_com or arunk_at_adobe_dot_com for Adobe Connect session, through which we can identify the root cause of this issue. These high CPU usage issues does not seem to be common. If you could join Connect session, we will be able to identify what settings are different in your machine or in the installed DW that leads to this issue.
We highly appreciate your cooperation to nail down this issue.
Janaki L
17. Re: Slow typing in DW CS6 / OSX?KaBaDaBrA May 10, 2012 11:27 PM (in response to Artikweb)
I have the same problem, my current machine is a Quad core Q6600, Win7 64bit, 4GB ram, SSD HDD and Dreamweaver 6 constantly eats 25% cpu usage. When im in the menu state it drop to 0% to 2%.
Dont have any files open, and when I do same problem. Slows down the whole computer. I realize this is the OSX discussion, but same thing on Win7 64.
CS5.5 runs nice and smooth. Had a random CPU usage problem once with CS5.5 but that went away.
18. Re: Slow typing in DW CS6 / OSX?TWSoftware May 11, 2012 11:47 AM (in response to Ldude32)
I'm having the same problem. I too have a MacPro 1,1. I've got 7GB of RAM. I tried the "Related Files" tip and this hasn't helped (although it did bring back my icons that had been missing since Dreamweaver CS5 and the upgrade to 10.7.3).
Mine is a purchased copy of Dreamweaver (downloaded via Creative Cloud). I agree that the software is unusable like this. I found CS5 pretty buggy so aren't keen to go back to that. I may have to look for alternative software if this problem can't be fixed quickly.
For the record, nothing else does this on my machine. Even with large fonts and complex documents in InDesign there's no lag. Dreamweaver's CPU usage goes to 75%+ as I type anything (and then have to wait for it to catch up).
19. Re: Slow typing in DW CS6 / OSX?curtStaubach May 11, 2012 5:45 PM (in response to Ldude32)
I'm also having the same issue. I've got a Macbook Pro 5,5, 8GB of RAM. I'm currently using the trial version of Master Collection. I've also tried the related files fix to no avail. Please fix the issue as quickly as possible. The program is basically useless at this point. I'd be happy to help in any way I can to fix the problem.
20. Re: Slow typing in DW CS6 / OSX?TWSoftware May 14, 2012 6:30 AM (in response to Ldude32)
A quick update to the message I posted to this thread about this problem on 11 May. I upgraded to 10.7.4 over the weekend and also tried running Dreamweaver with no other applications running and this problem still happened. It reminds me of the very first DTP package I used on a Commodore Amiga in the mid-1980's - you had to wait for the text to draw on the screen as you typed.
I'd uninstalled DW CS 5 but I'm going to dig out my install disks and go back to it as this is driving me nuts.
As others have said, I'd be very happy to aid anyone at Adobe to help fix this issue. I posted a bug report this morning.
21. Re: Slow typing in DW CS6 / OSX?ndekruijk May 16, 2012 6:35 AM (in response to Ldude32)
Same problem here. Even did a clean OSX 10.7.4 install to test if it would help. Currently running Creative Cloud Trial
Disabling related files didn't make any difference either.
Intel Core 2 Duo 2,8 GHz
Idle CPU usage (by dreamweaver) about 2-3%
As soon as I start typing it jumps to 60-65%
Typing in Design view works fine by the way. It's only Code view that's bugging some how.
Could it be related to code completion or syntax checking/highlighting?
22. Re: Slow typing in DW CS6 / OSX?themortalgod01 May 20, 2012 3:55 PM (in response to Ldude32)
Was just wondering if any progress has been made on this? I just installed my Creative Cloud subscription and am having this problem. Here are my system specs:
2 x 2.66 Ghz Dual-Core Inel Xen MAc Pro
8 GB Ram
Whenever I type the CPU spikes to 80%+ as others have mentioned.
As for Dreamweaver it is a completely fresh install, I havent changed any prefs (other than disabling related files to see if that helped which it did not)
23. Re: Slow typing in DW CS6 / OSX?Janaki Lakshmikanthan May 21, 2012 5:41 AM (in response to themortalgod01)
Please respond back if you have installed Non-English version of Dreamweaver CS6 in your machine? If yes, please mention the language pack that you have installed.
Janaki L
24. Re: Slow typing in DW CS6 / OSX?ndekruijk May 21, 2012 6:22 AM (in response to Janaki Lakshmikanthan)
I'm using English (International)
By the way: It's not just typing that's slow but also scrolling (with mouse) is terrible and uses high cpu...
25. Re: Slow typing in DW CS6 / OSX?themortalgod01 May 21, 2012 11:17 AM (in response to Janaki Lakshmikanthan)
I'm using English (United States). I also noticed that sometimes when I first launch the app it works fine for a bit and slowly gets slower and more resource intensive.
I also noticed that it gets worse the larger the file is. While a 1 line document still is slow the delay is much worse on a document with hundreds of lines of code.
26. Re: Slow typing in DW CS6 / OSX?MMD8005 May 21, 2012 11:57 PM (in response to Janaki Lakshmikanthan)
Same problem. I'm using English (international).
27. Re: Slow typing in DW CS6 / OSX?gregsanderson May 22, 2012 3:29 PM (in response to Ldude32)
The Dreamweaver code window "lag" makes the product unusable. I've already reverted to CS3 after one week using the creative cloud suite. The Dreamweaver CS6 perfomance issue aside, there have been already more than too many bugs in PhotoShop and Flash CS6. I can't believe they released this suite to the public, it's full of holes. Typical Adobe I guess.
28. Re: Slow typing in DW CS6 / OSX?Janaki Lakshmikanthan May 23, 2012 2:40 AM (in response to gregsanderson)
Thanks for your response!
Please do let us know the size of your monitor and its display resolution settings. Share the details even if you have more than one monitor.
Janaki L
29. Re: Slow typing in DW CS6 / OSX?ndekruijk May 23, 2012 2:46 AM (in response to Janaki Lakshmikanthan)
Using a 24" Apple LED Cinema display (1920x1200) next to my 1440x900 15" Macbook Pro screen. When unplugging de 24" monitor and running DW only on Macbook doesn't feel any better.
30. Re: Slow typing in DW CS6 / OSX?TWSoftware May 23, 2012 2:49 AM (in response to Janaki Lakshmikanthan)
Hi Janaki
I'm using a 30" Apple Cinema Display running at 2560 x 1600
For others following this post, Janaki and I spent a good deal of time the other day running through various tests and he's been very helpful trying to find a solution despite not being able to reproduce the problem on his system.
During the session I found (like themortalgod01 above) that the longer the file I was editing the less responsive DW became.
Adobe are on the case! :-)
31. Re: Slow typing in DW CS6 / OSX?KaBaDaBrA May 23, 2012 3:11 AM (in response to Janaki Lakshmikanthan)
Hi Janaki,
I am using 3x 23" LED monitors @ 1920 x 1080 resolution.
I am running Windows 7 64bit - 16GB Ram - Intel Ivy 3770K processor
I have installed the International English version
I did a fresh install few days ago and ran adobe without any antivirus software etc, dreamweaver straight off utlilized 1/8 of my processor. My old Quad Core Q6600 used 1/4 of processor.
Thanks for your hard work and assistance so far Janaki, much appreciated!
32. Re: Slow typing in DW CS6 / OSX?themortalgod01 May 23, 2012 7:45 AM (in response to KaBaDaBrA)
I'm using a 30" Apple Display at 2560x1600 and a second Sharp screen at 1360x768.
33. Re: Slow typing in DW CS6 / OSX?ndekruijk May 24, 2012 5:06 AM (in response to Janaki Lakshmikanthan)
I hope you find a fix soon. Good timing for Panic releasing Coda 2 today.
Trying it now and I kinda like it so unless an update arrives soon I might stop using Dreamweaver completely.
34. Re: Slow typing in DW CS6 / OSX?Ldude32 May 24, 2012 5:24 AM (in response to Ldude32)
Here's an update for you all: I worked with Adobe yesterday and they took a look at my system exhibiting the problem.
Together we managed to identify that the problem appears to be dependent on the SIZE of your coding window.
Try reducing the size of your coding window to see if the problem is lessened. It's not really a practical work around, but you can at least make it more bearable until the fix comes.
35. Re: Slow typing in DW CS6 / OSX?Concept211 May 24, 2012 5:51 AM (in response to Ldude32)
Tried resizing the window but it doesn't make a bit of difference for me
36. Re: Slow typing in DW CS6 / OSX?curtStaubach May 24, 2012 5:58 AM (in response to Ldude32)
Well, the good news is that reducing the size of the code does indeed "fix" the problem. The bad news is that I have to make the code view window so small that the Dreamweaver is again unusable. I guess the positive side of all this is that you guys at least have a better idea of the cause.
37. Re: Slow typing in DW CS6 / OSX?TWSoftware May 24, 2012 6:31 AM (in response to Ldude32)
Reducing the window helped me too. Agree with curtStaubach, though, I have to make the window tiny to get the response back to anything near to usable.
Someone else mentioned Coda 2. I've just downloaded a demo of it and, out of interest, tried it full screen with the same files that are slow in DW. Unsurprisingly Coda 2 whizzed along as fast as I could type.
Coda 2 looks very nice, but DW has jQuery code completition built in now and Coda doesn't appear to (tried a plug-in but not very successfully). So... I'd like to stick with DW (especially having bought it) but only if Adobe can fix the problem.
38. Re: Slow typing in DW CS6 / OSX?themortalgod01 May 24, 2012 7:45 AM (in response to TWSoftware)
Exactly the same for me, reducing the size of the coding window helps but I have to make it very tiny (too tiny) to completely get rid of the problem.
39. Re: Slow typing in DW CS6 / OSX?ndekruijk Jun 7, 2012 6:57 AM (in response to Janaki Lakshmikanthan)
Any news on this? My Creative Cloud trial is over soon and $50 a month for this buggy product ain't worth it...


text: Dave's ESL Cafe's Student Discussion Forums :: View topic - I believe In ghost Dave's ESL Cafe's Student Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in I believe In ghost Goto page Previous 1, 2 Dave's ESL Cafe's Student Discussion Forums Forum Index -> The Strange and Mysterious View previous topic :: View next topic Author Message JialiJoined: 27 Nov 2008Posts: 1 Posted: Tue Dec 09, 2008 5:46 pm Post subject: Do i believe in ghosts? i'm from Malaysia. My belief in evil spirits is vague. I don't believe it completely; but at the same time i never really doubt its existence. Hence, i'd regard myself as the neutral one. Back to top ThohaJoined: 28 Nov 2008Posts: 1Location: malaysia Posted: Thu Dec 11, 2008 6:40 am Post subject: hello niiz... i want 2 see a real ghost but how??? did u have a way how 2 see ghost?? Back to top only5iceJoined: 01 Dec 2008Posts: 1Location: Malaysia Posted: Sun Jan 18, 2009 2:13 am Post subject: Hi,I'm from Malaysia. I do believe in ghost. For me,it is a dispersed spirit after death.Perhaps it's another life after death.But,I think they should be told that this is not their world anymore since they have past away. They should go to another better world. We can pray to them.Let them leave the world and step to another world. Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Dave's ESL Cafe's Student Discussion Forums Forum Index -> The Strange and Mysterious All times are GMT - 8 HoursGoto page Previous 1, 2 Page 2 of 2 Jump to: Select a forum Student Forums----------------ComputersCurrent NewsCultureEnglish SchoolsFamilyFilm and CinemaFoodHealth and FitnessHelp CenterHobbiesHolidaysLearning EnglishLiteratureMaking FriendsMusicOpinionsPetsScienceSportsThe Strange and MysteriousTOEFL and Other English ExamsTravel You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum Dave's ESL Cafe is maintained by the one and only Dave Sperling. Banner Advertising | Bookstore / Alta Books | FAQs | Articles | Interview with Dave Copyright © 2018 Dave's ESL Cafe | All Rights Reserved | Contact Dave's ESL Cafe | Site Map Teachers College, Columbia University: Train to Teach English Here or Abroad Powered by phpBB © 2001, 2002 phpBB Group


text:
Rare Freestyle Of The Week: Nicki Minaj - Dirty Money + Acapella In The Hood
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text:
The Moon has a thin atmosphere/exosphere and no global magnetic field. Earlier measurements back to Apollo era have inferred the absence of a global magnetic field at the Moon by the absence of a standing shock wave in the solar wind upstream from the Moon as well as at the limb of the Moon. Rather, limits on the scale sizes of the lunar fields were indicated from both the Apollo surface measurements and orbiter observations. These small-scale magnetic fields, called magnetic anomalies, are regions of crustal magnetization distributed over the lunar surface. Recent in situ measurements show that these local magnetic fields can be quite strong even at 20–30 km altitude, and range in size from less than a km to hundreds of km. Studies have shown that the lunar magnetic anomalies may have strong influence on the solar wind flow.
The solar wind interaction with the lunar surface, especially in regions of crustal magnetic anomalies, remains of great interest for in situ plasma measurements. Small- scale laboratory experiments cannot reproduce the conditions near the lunar surface, but provide a unique opportunity to identify and examine several of the physical processes.
NLSI's CCLDAS team studied the plasma interaction with a magnetic dipole field over an insulating surface for the case of the magnetized electrons and unmagnetized ions. The emergence of non-monotonic sheaths and complex potential variations along the dipole axis were identified. The potential on the surface in the dipole center was found to be slightly more positive than the bulk plasma potential due to the ion charging, while the electrons remained shielded away.
The experiments showed that both electron-electron and electron-neutral collisions can cause the electrons to migrate into the shielding region. A potential minimum was thus formed when these electrons were trapped between the symmetrical cusps due to the magnetic mirror effects. The potential variations on the surface were a consequence of the inhomogeneous dipolar field, which displayed an electric field enhancement at the cusps. The laboratory results showed that the charge separation could occur at the lunar surface in the regions where the solar wind interacts with the smallscale magnetic anomalies, leading the surface to charge to large positive values in order to reflect a fraction of the incoming protons. At the Moon, a non-monotonic sheath may also form due to the photoelectrons and secondary electrons trapped in the electron-shielding region. The enhanced electric fields in such regions may increase dust transport, possibly explaining lunar swirl formation.
You can read the entire paper, published today online in the Journal of Geophysical Research for Space, here:
Wang, X., M. Horányi, and S. Robertson (2012), Characteristics of a plasma sheath in a magnetic dipole field: Implications to the solar wind interaction
Posted by: Soderman/NLSI Staff
Source: NLSI Team


text:
9:00 pm
Globe Trekker "Around The World - Panamericana: Conquistadors, Aztecs & Revolutions" Trekker Judith Jones travels south to the lands of ancient empires. In Mexico, she explores the myths and treasures that once drew the Conquistadors to a country rich in natural resources. Following their trail, her first stop is colonial Chihuahua, where Pancho Villa was a Mexican revolutionary leader.G
10:00 pm
Outdoor Idaho "Backroad Adventures" Taking three routes - Owyhee Backcountry Byway (Mud Flat Road), Magruder Corridor, and Lolo Motorway - the program samples what Idaho's 40,000 miles of backroads offer travelers. Along the way, there are scenic vistas, a bit of history, and opportunities to spot wildlife.G
10:30 pm
Dialogue "Author Ethan Watters: Conversations from the Sun Valley Writers' Conference" Ethan Watters joins Franklin for a discussion of the themes in his book, The Urban Tribe, which looks at the ways in which young, unmarried Americans create their own sense of "family."G
11:00 pm
Oregon Field Guide "Non-Lethal Predator Control/Cutthroat Trout/Green" The episode looks at some of the non-lethal methods of predator control that are available and the people who are giving them a try.G
11:30 pm
Travelscope "Chile - The Driest Place On Earth" Joseph travels north to the driest place on the planet, Chile's Atacama Desert. He finds that the desert, though it appears dry and barren, is alive with varied wildlife and vibrant cultures. During his journey he encounters the friendly Atacameno Indians and witnesses spouting geysers, endless sand dunes and the area's breathtaking natural beauty. D


text:
Divided States of America Notes on the Decline of a Great Nation
The United States is frittering away its role as a model for the rest of the world. The political system is plagued by an absurd level of hatred, the economy is stagnating and the infrastructure is falling into a miserable state of disrepair. On this election eve, many Americans are losing faith in their country's future.
The monumental National Mall in Washington, DC, 1.9 miles (3 kilometers) long and around 1,586 feet wide at its broadest point, is a place that showcases the United States of America is in its full glory as a world power. A walk along the magnificent swath of green space, between the white dome of the Capitol to the east and the Lincoln Memorial, a temple erected to honor former president Abraham Lincoln, at its western end, leads past men in bronze and stone, memorials for soldiers and conquerors, and the nearby White House. It's a walk that still creates an imperial impression today.
The Mall is lined with museums and landscaped gardens, in which America is on display as the kind of civil empire that promotes the arts and sciences. There are historic sites, and there are the famous steps of the Lincoln Memorial where Martin Luther King, Jr. once spoke of his dream, and of the dreams of a country to be a historic force, one that would serve the wellbeing of all of mankind. Put differently, the National Mall is an open-air museum for an America that, in 2012, is mostly a pleasant memory.
After a brilliant century and a terrible decade, the United States, in this important election year, has reached a point in its history when the obvious can no longer be denied: The reality of life in America so greatly contradicts the claim -- albeit one that has always been exaggerated -- to be the "greatest nation on earth," that even the most ardent patriots must be overcome with doubt.
This realization became only too apparent during and after Hurricane Sandy, the monster storm that ravaged America's East Coast last week, its effects made all the more devastating by the fact that its winds were whipping across an already weakened country. The infrastructure in New York, New Jersey and New England was already in trouble long before the storm made landfall near Atlantic City. The power lines in Brooklyn and Queens, on Long Island and in New Jersey, in one of the world's largest metropolitan areas, are not underground, but are still installed along a fragile and confusing above-ground network supported by utility poles, the way they are in developing countries.
No System to Protect Against Storm Surges
Although parts of New York City, especially the island of Manhattan, are only a few meters above sea level, the city still has no extensive system to protect itself against storm surges, despite the fact that the sea level has been rising for years and the number of storms is increasing. In the case of Sandy, the weather forecasts were relatively reliable three or four days prior to its arrival, so that the time could have been used to at least make improvised preparations, which did not happen. The only effective walls of sandbags that were built in the city on a larger scale did not appear around power plants, hospitals or tunnel entrances, but around the skyscraper of the prescient investment bank Goldman Sachs.
Large parts of America's biggest city and millions of people along the East Coast could now be forced to survive for days, possibly even weeks, without electricity, water and heat. Many of the backup generators intended for such emergencies didn't work, so that large hospitals had to be evacuated. On the one hand, these consequences of the storm point to the uncontrollability of nature. On the other hand, they are signs that America is no longer the great, robust global power it once was.
Europeans who make such claims have always been accused of anti-Americanism. But now Americans themselves are joining the chorus of those declaring the country's decline. "I had to catch a train in Washington last week," New York Times columnist Thomas Friedman, whose columns are read worldwide, wrote last April. "The paved street in the traffic circle around Union Station was in such poor condition that I felt as though I was on a roller coaster. I traveled on the Amtrak Acela, our sorry excuse for a fast train, on which I had so many dropped calls on my cellphone that you'd have thought I was on a remote desert island, not traveling from Washington to New York City. When I got back to Union Station, the escalator in the parking garage was broken. Maybe you've gotten used to all this and have stopped noticing. I haven't. Our country needs a renewal."
Such everyday observations are coalescing into a new, tarnished image of America. Screenwriter Aaron Sorkin, the creator of many legendary television series, has come up with a new, brutal look at America. The 10-part drama, "The Newsroom," tells the story of a cynical news anchor who reinvents himself and vows to do everything right in the future. In the show's brilliant premiere, he is asked at a panel discussion to describe why America is the greatest country in the world. After a few tired jokes, the truth comes gushing out of him. "There's absolutely no evidence to support the statement that we're the greatest country in the world," he ways. "We're seventh in literacy, 27th in math, 22nd in science, 49th in life expectancy, 178th in infant mortality, third in median household income, number four in labor force and number four in exports. We lead the world in only three categories: Number of incarcerated citizens per capita, number of adults who believe angels are real, and defense spending, where we spend more than the next 26 countries combined."
A Land of Limited Opportunities
In the show, the audience reacts with shock, just as a real-life American audience would. But the truth is that America has transformed itself into a land of limited opportunities. In fact, that was the way SPIEGEL referred to the United States in a 1979 cover story, when the US economy had been hard-hit by the oil crisis.
But today's crisis is far more comprehensive, extending to the social, political and spiritual realms. The worst thing about it is that the country still refuses to engage in any debate over the reasons for its decline. It seems as if many Americans today no longer want to talk about how they can strengthen their union. Criticism is seen as a betrayal of America's greatness.
But that notion of greatness leaves much to be desired. Other numbers can be readily added to those rattled off by the protagonist in Sorkin's "The Newsroom," and the results are sobering. For instance, the United States is no longer among the world's top 10 countries when it comes to the state of its infrastructure. In fact, it spends less than Europe to maintain its roads and bridges, tunnels, train stations and airports.
According to the US Federal Highway Administration, one in four of the more than 600,000 bridges in the world's richest country are either "inadequate" or outdated. According to some studies, the United States would have to invest some $225 billion a year between now and 2050 to regain an adequate, modern infrastructure. That's 60 percent more than it invests today.
A Lack of Strength
It isn't hard to predict that this won't happen. The hatred of big government has reached a level in the United States that threatens the country's very existence. Americans everywhere may vow allegiance to the nation and its proud Stars and Stripes, but when it comes time to pay the bills and distribute costs, and when solidarity is needed, all sense of community evaporates.
Then the divides open up between Washington and the rest of the country, between the North and the South, between the East and the West, between cities and rural areas, and between states whose governors often sound as if the country were still embroiled in a civil war.
The country has forgotten the days when former President Franklin D. Roosevelt courageously told his fellow Americans that a collectively supported social welfare system didn't translate into socialism but freedom, a "New Deal" that would strengthen America in the long term. Gone are the days when former President Dwight D. Eisenhower launched bold government programs to cover a country 27 times the size of Germany with a network of interstate highways. Gone are the years when former President Lyndon B. Johnson declared war on poverty and enacted federal laws declaring that there could be no second- or third-class citizens, regardless of skin color. And gone is the spirit of renewal after former President John F. Kennedy's visionary promise to send Americans to the moon within a decade, a program that would cost taxpayers billions.
Today America lacks the financial strength, political courage and social will to embark on such large-scale, government-directed programs. The United States has long been drawing down its savings, writes Fareed Zakaria, another American critic of his own country and a respected columnist with Time. "What we see today is an American economy that has boomed because of policies and developments of the 1950s and '60s: the interstate-highway system, massive funding for science and technology, a public-education system that was the envy of the world and generous immigration policies."
- Part 1: Notes on the Decline of a Great Nation
- Part 2: Two Hostile Camps
- Part 3: America Falls Behind
- Part 4: The Mother of all Austerity Measures


text: Gain Succession Planning Momentum at a Legacy Project Workshop December 23, 2011 12:00 AM Tweet It's a common misconception that "whatever Dad decides goes" in regard to the future of the family farm. Just the opposite is true. Succession planning requires involvement from the entire family—young and old alike. At the Kansas City, Mo., Farm Journal Legacy Project Workshop held in December, families brought the next generation of leaders to the event to learn firsthand why succession planning is so important. In fact, the crowd had the youngest demographic of any Legacy Project event in 2011. Each of the workshops is facilitated by Farm Journal succession planning expert Kevin Spafford. Families are equipped with the necessary information and tools to start the succession planning process. One couple at the Kansas City workshop was eager for their son to return home now that he has finished college. Another couple was urging their son to attend college. David Boland, a farmer from Paris, Ill., has been to several Legacy Project events. After finally convincing his son it was important, the two attended the Normal, Ill., workshop together. As a result, they realized they share common goals for the farm and set the wheels in motion to figure out the next steps in the process. Louis and Martha Rone traveled from their cattle operation in Portage-ville, Mo., to Memphis, Tenn., because they realize the importance of preparing for generational transition. If you didn't attend a Legacy workshop last year, make plans to attend one of the 2012 events near you. See a full list of 2012 workshops (now open for registration) and check out the agenda. Back to news


text:
Due to popular demand we have issued Cate Ferris's cut to the Hustling rhythm on a very limited edition 7".
A) Cate Ferris - "Blaze Bright"
B) Manasseh - "Just One Dub"
Limited edition run of 300 only.
Mastered to 2" tape and pressed on pristine virgin vinyl. Comes in a rustic style cardboard sleeve.
David Rodigan's "scorcher of the week" two weeks running!!!
These will hit the shops next week.
get your early bird copies here: http://www.ebay.co.uk/itm/Cate-Ferris-M ... 1066749855


text:
The specialist publisher, whose titles include Total Film, Classic Rock and flagship technology title T3, reported pre-tax profits of £1.1m in the year ending 30 September, compared to an £18m loss the year before.
Its performance was helped by the restructuring of the business over the past 18 months which took out £4.5m annual savings out of the business.
Future has also managed to turn around the fortunes of its US arm and said the business will return to profitability in 2013.
Revenues in the overall business were down, however, from £141.7m to £123.5m.
Future said digital revenues jumped 30% to £20.6m in the year and digital advertising now accounts for 44% of its total advertising.
Future is increasingly looking to launch tablet-only titles, as it looks to become a pioneer in digital publishing.
The publisher, headed up chief executive Mark Wood, said that digital edition sales of its titles were now hitting $1m a month and that visits to Future website are up 70% to in excess than 50m global unique users a month.
Peter Allen, Future's chairman, said: "The new senior executive management has succeeded in refashioning the business and demonstrated that it has the strategic and execution skills to achieve further progress in the year ahead."
Mark Wood, Future's chief executive, said: "This has been a year of substantial progress for Future and the Group is now well positioned to grow and diversify revenues as a global digital business. Our US operations have been restructured and are heading for profit in 2013.
"We are a leading publisher in tablet markets and our online audience has grown by 70% to more than 50 million unique users a month. These advances are opening new opportunities and we will accelerate Future's digital transformation in the year ahead."
The results follow Future's recent launch of Tech, the weekly iPad title.Follow @nickbatten2