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It could be a blaze of glory for Bon Jovi at the Rock and Roll Hall of Fame.
The Jersey boys are up for possible induction in the hallowed hall, along with first-timers Donovan, Dr. John, Alice Cooper and Neil Diamond.
The Rock and Roll Hall of Fame released its list of nominees Tuesday. There were some familiar names: Darlene Love, LL Cool J, Donna Summer and the Beastie Boys which have been up for the prestigious honor before.
Other previous nominees include the J. Geils Band; Tom Waits; Chuck Willis; Chic and Joe Tex.
To be eligible for the hall, an act must have released its first batch of music at least 25 years ago.
Inductees will be revealed in December, and the ceremony will be in March in New York City.
Rock and Roll Hall of Fame Press Release
The Rock and Roll Hall of Fame Foundation Announces Nominees for 2011 Induction
New York (September 28, 2010) — The nominations for induction into the Rock and Roll Hall of Fame in 2011 were announced today. The nominees are:
· Alice Cooper
· Beastie Boys
· Bon Jovi
· Chic
· Neil Diamond
· Donovan
· Dr. John
· J. Geils Band
· LL Cool J
· Darlene Love
· Laura Nyro
· Donna Summer
· Joe Tex
· Tom Waits
· Chuck Willis
Ballots will be sent to more than 500 voters, who will select artists to be inducted into the Rock and Roll Hall of Fame at the 26th Annual Induction Ceremony. To be eligible for nomination into the Rock and Roll Hall of Fame, an act must have released its first single or album at least 25 years prior to the year of nomination. The 2011 Nominees had to release their first recording no later than 1985.
"We believe our nominating committee has put forth a list of artists that truly represent the wide variety of music that defines rock and roll," commented Joel Peresman, President and CEO of the Rock and Roll Hall of Fame Foundation.
The 2011 Rock and Roll Hall of Fame inductees will be announced in December 2010 and the Induction Ceremony will take place on March 14, 2011 at the Waldorf Astoria in New York City. The Rock and Roll Hall of Fame Induction Ceremony will be televised live on Fuse, Madison Square Garden's national music television network.
All inductees are ultimately represented in the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, the nonprofit organization that exists to educate its audiences on the global impact of the rock and roll art form via the museum, as well as its education programs and library and archives.
For more information, please contact:
Margaret Thresher, Rock and Roll Hall of Fame + Museum, 216-515-1215, email@example.com
About the Rock and Roll Hall of Fame 2011 Nominees
Before there was Ozzy Osbourne, Marilyn Manson or KISS, there was Alice Cooper, the original self-proclaimed "rock villain." Born Vincent Furnier, Cooper and his mighty band of the same name – lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bass player Dennis Dunaway and drummer Neal Smith – pioneered the dark spectacle of heavy metal with their huge blues-rock sound and extravagant stage show. Drawing from horror movies and vaudeville, Cooper brought a new level of visual theatrics to arenas with guillotines, electric chairs, boa constrictors and fake blood; their 1973 tour broke box-office records previously held by the Rolling Stones, and raised the bar for major rock tours. What made it stick were some of the catchiest, most reckless hard-rock songs of all time: "Eighteen," "School's Out," "No More Mr. Nice Guy." Along with the New York Dolls and David Bowie, Alice Cooper was a starting point for the glam rock of the Seventies; it's impossible to imagine the hair metal of the Eighties without them; you can hear and see the band's influence in bands from the Sex Pistols to Guns n' Roses. The original lineup split in the mid-Seventies, and singer Cooper would continue on with an evolving lineup; in the meantime, the pure shock value of America's first shock rockers has faded but their legacy is safe.
At different times over the past three decades, the Beastie Boys have been shaven-head punks, hip-hop bad boys, Seventies-funk students, political activists and style icons. Most important: they have had one of the richest, most important careers in hip-hop and rock, introducing rap to a huge new audience and then pushing the frontiers of what a hip-hop group could do. Their 1986 debut album Licensed To Ill – a supremely bratty, hard-punching, pitch-perfect mix of rap and hard rock – was hip-hop's first number one album, and remains near the top of the Billboard catalog charts to this day. The single "(You Gotta) Fight for Your Right (to Party)," became a teenage party anthem of the 1980s; a generation of hip-hop fans memorized hits like "Brass Monkey" and "Paul Revere," songs which are now part of the rap canon. Their follow-up, 1989's Paul's Boutique, was one of the high points of hip-hop's golden age of sampling, piling hilarious, streetwise rhymes over everything from Loggins and Messina to the Ramones. In the 1990s, they came full circle musically, picking up their instruments and bringing back hardcore punk and funk into their music repertoire. They recorded three classic albums, Check Your Head, Ill Communication and Hello Nasty, and smash hits like "Sabotage" and "Intergalactic." Along the way, they've kept experimenting with what a hip-hop band can be: becoming the most politically active group of their generation with the Tibetan Freedom Concerts; recording classic videos; putting their fans behind the camera with their film Awesome I F**king Shot That, and recording two new albums in the last decade, 2004's To the Five Boroughs and 2007's The Mix-Up.
Hard-working musicians and prolific songwriters from blue-collar backgrounds in New Jersey, Jon Bon Jovi, Richie Sambora, David Bryan, Tico Torres and Alec John Such created a dedicated global following that spans every continent. Along the way, they have carved out a place on the charts with their most familiar songs – "You Give Love a Bad Name," "Livin' on a Prayer," "Bad Medicine" and "I'll Be There for You" in the 80s; "Blaze of Glory," "Bed of Roses" and "Always" in the '90s; "It's My Life," "Have A Nice Day," the Grammy-winning "Who Says You Can't Go Home" and "We Weren't Born to Follow" in the 2000s. Beyond the numbers – over 120 million albums sold (more than 34 platinum titles cumulative in the U.S. alone), more than 2,600 concerts performed in over 50 countries for more than 34 million fans, including The Lost Highway World Tour, ranked as 2008's #1 top-selling tour, and 2010's 30-country, 135-show The Circle World Tour – there is also Bon Jovi's enormous influence on innumerable young bands seeking to follow in their footsteps. Bon Jovi steadfastly follows their own instincts, ignoring obvious trends and providing a model for other bands and musicians just starting out on their careers.
Chic's founding partnership consisted of songwriter-producers Nile Rodgers (guitar) and Bernard Edwards (bass, whose untimely death occurred in 1996), abetted by future Power Station drummer Tony Thompson (who passed away in 2003). They pushed disco forward in 1977 with a combination of groove, soul and distinctly New York City studio smarts. Rodgers' chopping rhythm guitar beside Edwards' deft bass lines were the perfect counterpart to melodic arrangements with their two female vocalists Alfa Anderson and Norma Jean Wright (replaced by Luci Martin). Out-of-the-box chart smashes "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)," the #1 "Le Freak" and #1 "Good Times" (ranked on Rolling Stone's 500 Greatest Singles of All Time) made Chic the preeminent disco band – emphasis on the word 'band' – of the late '70s. Their music also extended disco's tenure at a critical moment, as hip-hop (and later in the '80s, New Jack Swing) began to take the stage. Over the years, artists such as Sugar Hill Gang and Diddy have turned to Chic for beats and samples: "Good Times" has been checked everywhere from "Rapper's Delight" and Blondie's "Rapture," to Queen's "Another One Bites the Dust." Rodgers and Edwards followed their five years in Chic with careers as top-flight producers and writers working for an A-list of megastars. Edwards worked with Rod Stewart, Kenny Loggins and Robert Palmer among others, while Rodgers produced David Bowie, Madonna, Mick Jagger and countless more. Under Rodgers' leadership, Chic has continued to tour, releasing live performances of its shows in Japan and Amsterdam.
Neil Diamond's half-century as a prolific singer, songwriter, recording artist (nearly four decades on Columbia Records) is one of the eternal verities of American popular music. He attended to pre-med studies at NYU, but was interrupted in 1962 by an offer to write songs for $50 a week at 1619 Broadway, the Brill Building. Like many writers there, including fellow Brooklynites Neil Sedaka and Carole King, Diamond was writing as much for himself as for others. Thus, "I'm a Believer" was grabbed up for the Monkees, who turned it into the top song of 1966 (followed three months later by their take on Neil's "A Little Bit Me, A Little Bit You"). No matter, because Bert Berns had already signed Neil to his new Bang Records indie label. He rocked the Hot 100 in 1966 with "Solitary Man" and "Cherry, Cherry," followed in '67 by "Girl, You'll Be a Woman Soon," "Thank the Lord for the Night Time" and "Kentucky Woman" (a Top 40 hit for Deep Purple in '68). Produced by Brill-mates Jeff Barry and Ellie Greenwich, these acoustic-guitar-driven rock and roll songs were the first notches in Neil's singles discography. There are more than 70 U.S. chart entries to date including "Sweet Caroline," "Holly Holy" and "Cracklin' Rosie" (along with some 48 charted albums). He has stayed true to his roots as a rocker onstage, including a performance at the Band's Last Waltz concert. Diamond continues to be a world-class, top grossing concert draw, slinging his custom Gibson flat-top with a fury that remains undiminished at age 69.
The first British folk troubadour who truly captured the imaginations of early Beatles-era fans on both sides of the Atlantic, Donovan Leitch made the transition from a scruffy blue-jeaned busker into a brocaded hippie traveler on Trans Love Airways. As a folkie on the road with Gypsy Dave, Donovan became a Dylanesque visual presence on the BBC's Ready Steady Go! starting in 1964 and released several classics: "Catch the Wind," "Colours," Buffy Ste.-Marie's "Universal Soldier," "To Try for the Sun" and more. That changed in 1966, as he came under the production arm of UK hit-maker Mickie Most, and was signed by Clive Davis to Epic Records in the U.S. Donovan ignited the psychedelic revolution virtually single-handedly when the iconic single "Sunshine Superman" was released that summer of '66 (and the LP of the same name with "Season of the Witch"). His heady fusion of folk, blues and jazz expanded to include Indian music and the TM (transcendental meditation) movement. Donovan was at the center of the Beatles' fabled pilgrimage to the Maharishi's ashram in early '68 (where, it is said, he taught guitar finger-picking techniques to John and Paul). Donovan's final Top 40 hit with Most was "Goo Goo Barabajagal (Love Is Hot)" in the summer '69, backed by the Jeff Beck Group. Donovan continued to record and tour sporadically during the 70s and 80s. During the 1990s, Rick Rubin (after working with Johnny Cash) produced Donovan's Sutras. In the six years since Beat Café (2004), we're learning just how much we miss Donovan.
New Orleans own Dr. John has been recording for more than fifty years. He is steeped in the rhythms and traditions of the city, and has spent his career championing its music. As he told New Orleans R&B historian Jeff Hannusch, "[New Orleans music] is part of whatever I'm about. The importance of it is beyond anything I do." Born Mac Rebennack, he learned piano and guitar as a child. Schooled by Crescent City legends like Papoose Nelson, James Booker and Cosimo Matassa, Rebennack began recording in 1957; between 1956-1963, more than 50 of his songs were recorded in New Orleans. In 1965, Rebennack moved to Los Angeles and worked as a session player. Working with Harold Batiste, he created the Dr. John the Night Tripper character, a tribute to New Orleans musical and spiritual traditions that meshed perfectly with psychedelia. His first album Gris-Gris, was a masterpiece, evoking voodoo legends over a funky mix. In the first half of the 1970s, he released a series of albums that mixed New Orleans classics with his own original material, all driven by his remarkable piano playing and great bands, most notably his collaboration with Allen Toussaint and the Meters on "Right Place, Wrong Time," a smash funk hit. He has produced albums for Professor Longhair and Van Morrison, collaborated with Doc Pomus on a group of songs recorded by B.B. King on There Must Be a Better World Somewhere (1981), and released several acclaimed solo piano records. In recent years he has become a spokesman for the city and its musical history, all while continuing to record creative, challenging music.
Four decades after releasing one of rock's supremely hard-driving debut LPs, and nearly three decades after the splintering of the group in the early '80s, the J. Geils Band reunited in the summer 2010, for a historic homecoming date at Boston's Fenway Park with fellow bad boys Aerosmith. Rolling Stone called it "the ultimate Boston experience" as prayers for a full-blown Geils reunion went skyward. Because every time the J. Geils Band takes the stage, there is never any doubt: they are there to blow your face out. The "College Of Musical Knowledge" is in session, and the faculty shows how the Back Bay beat gets done – led by Jerome Geils' blues-boy guitar and Magic Dick's harp (think: Little Walter meets Roy Eldridge), the bedrock rhythm of bassman Danny Klein and drummer Stephen Jo Bladd, Atlantic City keyboardist Seth Justman, and gravity-free, acrobatic Peter Wolf up front. Former midnight hour WBCN disc jockey Wolf, -the jive talkin' illegitimate son of Jocko and Symphony Sid – simply has no equal when it comes to commanding a stage, and treating a mic stand like a circus trapeze. Packed fair and square with equal parts Chicago blues, big-city rock, and gutbucket funk, they deftly mix R&B covers with joyous originals by Wolf-Justman and the enigmatic Juke Joint Jimmy (their Nanker Phelge). To eyewitnesses and true believers, it never gets any hotter than the J. Geils Band layin' their good thing down.
LL Cool J always had his sights set on rock & roll. Born James Todd Smith in Queens, New York, LL was only 17 in 1985 when he recorded "Rock the Bells," which included the following couplet: "It ain't the glory days with Bruce Springsteen/I'm not a virgin so I know I'll make Madonna scream." A year earlier, LL had made his debut on Def Jam, which was also the debut of the label itself. His first two singles – "I Need a Beat" followed by "I Want You" – sketched out the two main gears of his career: testosterone-maddened battle raps and tender, sexy love songs. The former included "I Can't Live Without My Radio" (1985), "Jack the Ripper" (1987) and "Mama Said Knock You Out" (1991). The stylish aggression built into these songs influenced no less a figure than Michael Jackson, who cut "Bad" after meeting LL in person – and after LL himself cut "I'm Bad." The love songs may have been even more influential and popular. When "I Need Love" went to Number One on Billboard's Hot R&B Singles chart in 1987, it was the first rap recording ever to reach that summit. Like Stevie Wonder at Motown, LL Cool J has spent the whole of his 26-year career at Def Jam. His success in music has served as a launching pad to concurrent careers in the movies, on television, in fashion, and in fitness.
Darlene Love was a high school sophomore in California with a powerful church choir voice when she joined the popular girl group the Blossoms as their first lead singer in 1958. They shot to immortality in 1962, when producer Phil Spector used them as surrogates on his new Crystals' singles. With "He's a Rebel" and "He's Sure The Boy I Love," Darlene Love turned into a familiar (though uncredited) voice on radio and records; she also became a member of Spector's Bob B. Soxx and the Blue Jeans. Darlene's own 1963 hits made her a household name, "(Today I Met )The Boy I'm Gonna Marry," "Wait Till My Bobby Gets Home," "A Fine Fine Boy," "Christmas (Baby Please Come Home)" – a quartet of tailor-made Ellie Greenwich–Jeff Barry–Spector compositions. By 1964, the Blossoms, who were regulars on TV's Shindig, had graduated to first-call A-list session singers (check them on Elvis Presley's '68 Comeback Special). Darlene left in 1973 to start a family, but the early-80's roots-rock revival drew her back. She starred in the Broadway 'jukebox' musical Leader Of The Pack (based on the Ellie Greenwich songbook). U2 later invited her to sing on their 1987 remake of "Christmas (Baby Please Come Home)." Ever since, Darlene's annual wall-of-sound performance of the song (with Paul Shaffer and the CBS Orchestra) on David Letterman's final pre-Christmas-hiatus show – became a high point of the season.
Bronx-born singer, songwriter and pianist Laura Nyro (1947-1997) was still a teenager in 1966 when she recorded her debut album, and Peter, Paul and Mary cut "And When I Die." At age 19, Laura played the 1967 Monterey Pop Festival, which brought her to the attention of manager David Geffen. He led her to Columbia, Laura's record label for the next 25 years, starting with 1968's iconic Eli and the Thirteenth Confession. Other artists scored hit after hit with her songs, led by the Fifth Dimension's "Stoned Soul Picnic" and "Sweet Blindness" in 1968 (then "Wedding Bell Blues" in '69 and "Blowin' Away" in '70). Over two consecutive weeks in October 1969, Blood, Sweat and Tears entered the Hot 100 with "And When I Die," and Three Dog Night followed with "Eli's Coming." In 1970-71, Barbra Streisand charted three consecutive times with Laura Nyro songs, "Stoney End," "Time and Love" and "Flim Flam Man." Laura's 1971 LP with Labelle, Gonna Take a Miracle, an entire program of R&B covers, produced in Philadelphia by Gamble and Huff, remains a classic four decades later. Elton John acclaimed her influence to Elvis Costello: "The soul, the passion, the out-and-out audacity of her rhythmic and melody changes was like nothing I'd ever heard before." Laura's tragic death of ovarian cancer at age 49 robbed popular music of one of its purest lights.
Raised on gospel music in the church, Boston's LaDonna Andrea Gaines was performing in the European tour of Hair in the early 70s, when she decided to settle in Germany. In 1975, she began a long-term association with Munich songwriters-producers Giorgio Moroder and Pete Bellotte. They heard her lyric "love to love you baby" and, at the request of Casablanca Records president Neil Bogart, turned it into a 17-minute opus of orgasmic delight (Donna said she was evoking Marilyn Monroe). The song was Summer's U.S. chart debut and first of 19 #1 Dance hits between '75 and 2008 (second only to Madonna). Summer made chart history in 1978-80, as the only artist who ever had three consecutive double-LPs hit #1: Live and More, Bad Girls and On the Radio. She was also the first female artist with four #1 singles in a 13-month period: "MacArthur Park," "Hot Stuff," "Bad Girls" and "No More Tears" (with Barbra Streisand). Her first U.S.-recorded LP, 1982's Donna Summer, produced by Quincy Jones, featured Bruce Springsteen, Roy Bittan and many American rockers. "She Works Hard for the Money" kept Donna on top in 1983, followed by the Top 10 "This Time I Know It's For Real" in '89. Endless covers and sampling of her music by producers and DJs have kept Summer's pioneering body of work on the front-line.
Joseph Arrington Jr. (1933-1982) was born in East Texas and laid to rest there 49 years later. He had a glorious career that began with him singing gospel in church, and led to him winning a talent contest at the Apollo Theatre in Harlem in 1954. Joe Tex's recording career began with Syd Nathan at King Records in 1955, followed by sides at Ace, Anna, Parrot and Checker, as many as 30 singles that never saw the charts. As a songwriter, however, he hit it when James Brown covered his "Baby You're Right" in 1961 and took it to #2. That brought Joe to publisher Buddy Killen's Nashville-based R&B label Dial Records, an Atlantic imprint. Jerry Wexler brought Joe to Rick Hall's FAME Studios in Muscle Shoals, Alabama in 1964, and "Hold What You've Got" became the first Southern soul 45 out of Fame to hit #1 R&B and Top 10 pop. At age 31, Joe became a hit machine, with more than two dozen consecutive R&B/pop crossovers on Dial through the early '70s. Many of them became grist for young rockers (the Animals' cover of "One Monkey Don't Stop No Show"). Joe's music was also a building block of Jamaican toasters and early hip-hop. He entered the Muslim ministry in 1972, the same year he scored his final #1 with the rude "I Gotcha" – though he encored five years later with "Ain't Gonna Bump No More (With No Big Fat Woman)." When Joe Tex died in 1982, his pallbearers were fellow Soul Clan brothers Wilson Pickett, Don Covay and Ben E. King, along with Killen and Percy Mayfield.
Only one songwriter could be covered by the Ramones ("I Don't Want to Grow Up") and the Eagles ("Old 55"). Beginning with his first album in 1973, Tom Waits has carved out a unique place in rock & roll. His music mixes Chicago blues, parlor ballads, beat poetry, pulp fiction parlance and – when you least expected it – heart-breaking tenderness. His enormously influential live shows combine elements of German cabaret, vaudeville and roadhouse rock. After establishing a successful early style as a wry singer-songwriter, Waits went through a dramatic expansion with Swordfishtrombones (1983). Disregarding musical borders and commercial considerations, he set off in wild pursuit of the Muse. Waits has composed film scores, musical theatre and an operetta. He has co-written with Keith Richards and William Burroughs. His songs have been covered by Screamin' Jay Hawkins, Solomon Burke, Marianne Faithful, the Neville Brothers, Robert Plant and Alison Krauss and the Blind Boys of Alabama. He has recorded with the Rolling Stones, Bonnie Raitt, the Replacements and Roy Orbison. A tribute to his great influence is how many of his songs have been recorded by artists who usually write their own – including Bruce Springsteen ("Jersey Girl"), Tim Buckley ("Martha"), Johnny Cash ("Down By the Train"), Bob Seger ("16 Shells from a Thirty-Ought Six"), T-Bone Burnett ("Time"), Tori Amos ("Time"), Steve Earle ("Way Down In The Hole"), Elvis Costello ("Innocent When You Dream") and Rod Stewart ("Downtown Train").
In his signature turban, Chuck Willis (1928-1958), an earthy singer and songwriter from Atlanta, has influenced every generation from Elvis Presley to Kanye West. Willis earned his sobriquet "The King of the Stroll" in 1957, for the popular teen-age line-dance that was directly inspired by his #1 R&B adaptation of Ma Rainey's "C.C. Rider," a folk-blues standard. (It was white Toronto doo-wop group the Diamonds who actually scored the pop hit later on in '57, "The Stroll.") A natural born shouter and smooth ballad singer, Willis first made the R&B charts with a two-year string of Top 10 hits on Columbia's OKeh Records 'race music' label, starting in 1952. The last of these, "I Feel So Bad" was an Elvis favorite cut by him in 1961. When Willis hooked up with Atlantic Records and in-house arranger-conductor Jesse Stone, it was the perfect match. The result was a litany of R&B/pop crossover hits, rock and roll at its finest from 1956 to '58. "It's Too Late" (covered by everyone from Buddy Holly and Otis Redding, to Derek and the Dominos) and "Juanita" both featured the backing vocals of the Cookies (pre-Raelettes). After "C.C. Rider" hit #1, Willis enjoyed great success with another folk-blues, "Betty And Dupree." His next two hits are in the rock pantheon: "What Am I Living For" (immortalized by Ray Charles, the Animals and many more) and "Hang Up My Rock and Roll Shoes" (ditto by Jerry Lee Lewis, the Band and countless others). If not for his death too soon in 1958 at age 30 (from peritonitis), who knows how far Chuck Willis' star would have risen.
For the latest information on inductee announcements, ticket packages, events, and other programs, fans can sign up for the Rock and Roll Hall of Fame newsletter at www.rockhall.com/e-newsletter.
For more information on the Rock and Roll Hall of Fame and Museum including in-depth bios, picture galleries and videos on each nominee visit www.rockhall.com/inductees.
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Turbo Management Solutions
Best Blow-off/Diverter Valve for VW Golf GTI Mk6 2.0TSI 08-13: The Go Fast Bits DV+ (late model VAG and Euro applications)-Diverter valve
The OE solenoid itself is great- the ECU opens it faster than any pneumatic valve so why replace it? The only valve on the market to solve the problem without flutter, excessive cabling and extra parts, installed in half the time at more than half the price.
Part No. T9351
DV+ (late model VAG and Euro applications)-Diverter valve
WHEN you want no noise, no nonsense, just performance
European manufacturers are pushing their engines to the limit. Get a DV to match.
GFB's DV+ diverter valve range offers a direct-fit performance solution for the weak factory diverter valves used on many modern vehicles.
PCT Patents Pending
By retaining the factory ECU control and recirculating the vented air, the DV+ is a purely performance-oriented product that offers the following benefits:
- Sharper throttle response
- Faster boost recovery on gearshift
- Solves boost leaking issues
- Built to last
Installation Instructions and Downloads
Product Reviews
We value feedback from our customers. If you'd like to leave a review for this product, please complete the form below.
This product is great!I had been searching for a BOV/DV upgrade for my Audi S3 for a little while and I stumbled across this. I am very pleased with the results.The results surprised me. There was an instant improvement. The turbo spools up quicker
Have had this product installed on my Stage 2+ Golf R for awhile now and love it, boost comes on harder and stays on without any leaks or spikes. This has basically fixed the leaking and boost issues my stock DV couldn't seem to cope with. Unit is nice and stealth & retains the OEM ECU operated control rather than a full mechanical unit like some other units out there, so therefore this unit reponds faster. Overall love the product, does what it is meant to for half the price of any other product out there. Good work GFB, one happy customer :)
I recently upgraded the OEM Rev. "D" diverter valve of my 2009 MKV GTI with a GFB DV+ kit. The car has a APR Stage 3+ turbo upgrade and the DV+ fit without issues and is performing flawlessly. Even though the second spring isn't required on cars with a DSG transmission like mine, I elected to use it. Throttle responsiveness is definitely improved, as is upshifting (not the gear selection but the power delivery). I haven't been able to detect any new noises.
DE: Wir setzen das GFB DV+ in unserem VW Golf 7 GTI selbst ein und sind hoch zufrieden damit. Das Ansprechverhalten beim Beschleunigen hat sich deutlich verbessert. Auch von unseren Kunden haben wir bisher nur positives Feedback erhalten. EN: We use the GFB DV+ in our own VW Golf MK7 GTI and are satisfied with it. The throttle response on acceleration has improved significantly. Also from our customers, we received only positive feedbacks. Thorsten Schlagwein www.MaxRPM.de
Thorsten Schlagwein
Having used GFB products on previous cars and having nothing but positive feedback, when I saw that GFB were making a unit for the Euro VW/Audi range I was interested. I like how the DV+ replaces the known "weak links" in the stock DV with upgraded parts, yet still retains the factory electronically controlled solenoid. Beautifully made and fits perfectly, installation on a Golf R takes only 10-15mins. Having had the DV+ fitted for a few weeks now, it's holding 26psi or so perfectly and the boost appears to be more consistent than with the stock DV. It's nice to have an Aussie made product on the car too.
Just some feedback on the valve. It does spool the turbo more quickly and holds a bit more boost at the red line, somewhere between 30 and 50 mb. A run through the gear box produced some good results, in that after a Dsg shift, the boost jumps up so quickly and higher that I had to pull 2 degrees of timing in the shift area to prevent collapse of the timing curve. There seems to be a strong response off partial throttle to full throttle, more grunt so to speak, but exactly how much is difficult to quantify. In general it's operation appears much quieter, more rapid and direct. All been said and done, it's easy to install, looks good, and performs as good as you claim. I'm happy with it and will highly recommend it to anyone looking for an after market DV. Golf 6 R Dsg, Stage 2+, water meth, 287kw 542 Nm Sae on the crank, custom tune.
The be all end all of DV's for the Audi, finally. I was sick of ripping the rubber diaphragm DV, and then got sick of the sluggish leaking performance from the revised "D" piston DV. There wasn't a happy medium until the DV+ came out. Ever since install, I've been extremely pleased and will back this product up 100%. It feels good to hold boost again, and have responsive throttle response when needed GFB, great work guys
The DV+ is fantastic! The placement of the DV in my A4 made it a bit inconvenient to replace, but it was definitely worth the work. The turbo spools up much faster, and it retains boost much better than the old one (especially in that the old one just dumped all of the pressure after lifting off the gas pedal). The ride, overall, is a lot less jerky (from an already smooth ride) and it basically drives like a V6 now. Thanks a bunch to GFB. You guys are phenomenal. I will surely be looking into the G-Force II for my next mod.
Fitted the DV+ to my 600 ps Audi TTRS the other day.First impressions are very good,holding boost nicely and throttle response is sharp.Looks like a well made quality part and well worth the money.
Would I suggest this product to someone, ABSOLUTELY. This thing kicks ass. My car now peaks around 16-17psi and holds strong at 15psi throughout the entire powerband. I have noticed the turbo lag became even more minimal and it also seems to have increased the throttle response. I did not get the pigeon sound that some people talk about. Another thing it did that I love it even more for is, it got rid of the whining my car would make when really getting on it. The car would scream like there is no tomorrow. Well, that is finally gone as well. Overall the quality of the product is incredible. It's clearly built to last and with stand any amount of boost pressure you try to throw its way. For about $140 you really can improve your cars performance.
I'm running a stage 2 tune and had issues with boost loss. During moderate acceleration and while boost built up, gear changes during this time would result in a loss of boost. This issue has now been resolved with the application of the DV+! Not only did it fix the boost leak, but now has a noticeable improvement in throttle response! The guys from GFB, gave great customer service and advice to help me with the application and resolve my issue. Quality product and very happy with results! Thanks again!
Well worth it! The boost comes in earlier and stronger and it holds it all the way up. It's a very noticeable improvement.
I was put onto the GFB DV by a friend in the Dominican Republic of all places. Installation for the Golf R takes all of 10 minutes for the mechanically minded given you have direct access in front of your intake manifold. You can instantly feel the response of the turbo spooling up faster. On a mid 10 second car you wouldn't think it would be possible but it is. For spirited street driving or track day work this is a big plus. The OEM DV is renowned for boost leak to some degree but not sure whether gains are to be made in the drag strip, well not in DSG form but suspect for a manual there would be. Time will tell though! I'm not too fazed as for everyday driving it was a worthwhile investment and to support a local manufacturer was a big plus. Packaged well, top notch machining, easy installation, great value and does what is says is should, what more could you ask for!
I had ran both the factory unit and the latest revision and still had leaking and a "hollow wooshing sound" as my kids described it at almost any boost level. The car was sluggish and mileage was down. The car has a B&B turbo back exhaust and CTS intake system. Installed the GFB unit in about 20 minutes (took longer to get the car in the air than to do the install). The result was immediate. No more whooshing sounds, car was back to its previous acceleration levels and what I expected after the installation of the other parts. Gas mileage was back up, and we were back to being happy with the cars performance, and thinking of a ECU tune after the PCV upgrade and an intake manifold cleanout/de-carb.
Installed DV+ in my Proton Preve CFE, the boost can hold longer at higher rpm. Muted blow-off sound, it feel good during accelerate & its solved the boost leak issue as well. All thing done well when it paired with my Racechip, tmworks ignition harness. Totally different driving experience compare to stock.
The DV+ is really impressive & works great. once installed, it can hold higher boost & can feel my car is moving faster than before. its also mute the BOV sound which i feel like driving an NA .
This DV worked wonders in my 2.0 TSI Seat Leon FR, eliminated most of the lag found at low RPM's (running an APR stage II+ remap) and gave me full boost at a wider RPM range, I totally recommend it! Do not waste your money on those expensive valve kit "solutions", this DV is the s**t!
Great packaging, good instructions and easy install. This part did wonders to my stage 1 S3 as I was getting a whistling noise from a revision G DV I installed a year ago. Turns out even the newest OEM DV couldn't manage the increased boost and it came out all broken down in pieces when installing the DV+. The car feels totally different now.
So glad I purchased this DV+ I can drive in sport mode again without horrible down shifts. Much smoother gear changes with no loss of boost and spools much quicker. No more dieing seagull sound when building boost. MKV DSG Stage 2
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subset: commoncrawl


text:
Under cloudy skies on May 23, 31 proud graduates marched into the Whitehorse High School gymnasium in Montezuma Creek to the Pomp and Circumstance under the direction of Utah Teacher of the Year band teacher Kim Schaefer.
Brian Dixon conducted the graduation and IEC president Tully Jones gave the invocation.
Austin Billie, 2009-2010 Miss Broken Trail Princess, sang the National Anthem and Ashelee Silversmith and Samantha Guerra welcomed the audience.
Salutatorian Joshua John spoke and Samantha Guerra introduced the Keynote speaker, Leo Platero.
Leo was one of the original art teachers ago when Whitehorse opened its door in 1978. Only the head cook, Betty Norton, remains at the school from that historic era.
The Sheepherder began his keynote address: "The other day in the Whitehorse kitchen, a small prayer was taped to the office wall.
"It read, 'Dear God, So far I have done all right. I haven't lost my temper, haven't been greedy, grumpy, nasty, selfish, or overly indulgent. But Lord, I am going to get out of bed and from then on I probably going to need a lot of help.'"
Four character challenges were offered to the studens, including, 1. Be honest, 2. Be self reliant, 3. Be clean 4. Be grateful.
Be honest with yourself and others. When you are honest in every way, you build strength of character that allows you to be of great service to others.
You will know with a peace of mind and self respect that you are honest. When you are honest you will be trusted by your friends, your boss and others. Dishonesty hurts you and usually hurt others as well. When you lie, steal, shoplift or cheat you damage yourself and become less able to do good things.
Be honest in your job, giving a full amount of work for your pay. Don't rationalize that wrong is right even though many people around you may think there is no harm in being dishonest. Being honest requires courage and committment to do what you know is right.
Be Self Reliant and live within your means. When tempted ask yourself, "Is it a want or a need? Save 10 percent of your earning for a rainy day. Your car might need a transmission, if you have the money to pay for it it is a great feeling. If you are self reliant and avoid debt, resources can be accumulated.
Be Clean and stay away from drugs, alcohol and tobacco. Dependence on alcohol is both a physical dependence as well as a psychological needs for its effects, dispite the harm it may cause you, your family, friends and work.
Be Grateful to your parents, teachers and remember where your great heritage, your language and culture. Write a thank you note to your teachers and it will mean so much to them.
Be nice to nerds -chances are you will end up working for one and if you think your teacher is tough, wait till you get a boss, advice from Bill Gates.
The graduates sat patiently and couldn't wait to get their diplomas and get out of school to their big parties that are planned for them, not to mentions the gifts.
Graduates include Emilio J. Begay, Josiah J. Begay, Pierce J. Benally Jr., Syphelia C. Benally, Lytoya K. Benn, Duerson J. Billie, Lashell Goggeshell, Areland A. Dennison, Adrian D. Dickson, Eugina Etsitty, Samantha Guerra, Titania L. Hamm, Randall V. Haskan, Joshua John, Latisha A. John, Kirshuana J. John, Brian Johnson, Ornida L. Jones, Loleta A. Lansing, Jaran Martin, Melisha T. Nakai, Jonathan D. Nelson, Raycena Sam, Ashlee E. Silversmith, Katarzyna . Smallcanyon, Charmaine M. Toney, Kenny Whitehair, Keithley J. Whitehat, Tannabah E. Williams, Alonzo Yazzie, and Janathan W. Yazzie.
Principal John Fahey presented the graduates, and school board member Elsie Dee accepted the graduates. The graduates went out to the practice field for cake and water.


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Looking for a super quick and simple edible gift to give for Valentine's Day? This is a great treat to make with your kids, and the recipe takes about 15 minutes! What could be better? Try this cute snack for the holiday.
serves: 1
prep time: 10 minutes
cook time: 5 minutes
total time: 15 minutes
- 4 tablespoons white vanilla frosting
- 4 tablespoons chocolate frosting
- 12 marshmallows (any color)
- sprinkles of your choice
- 12 skewers or festive straws
Step 1: Place each marshmallow on top of a straw, pressing down to secure the marshmallow in place.
Step 2: Prepare three small bowls. Spoon the vanilla frosting into the first bowl, spoon the chocolate frosting into the second bowls, and pour the sprinkles into a third bowl.
Step 3: Dip the tops of each marshmallow into the frosting of your choice.
Step 4: Dip the frosted marshmallow into sprinkles.
Step 5: Tie all the skewers/straws together to make your bouquet!
Want more Valentine's Day recipes?


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STEVE McCURRY: CAPTURING THE FACE OF ASIA
Steve McCurry: Khumbha Mela Festival, Haridwar, India, 1998
By C.B.Liddell
BANGKOK, 20 JUNE 2007— Some well-known photographers struggle to capture the surly sneer of an over-made-up supermodel. Steve McCurry, by contrast, has made a career out of getting 'close up and personal' with an entire continent. Culturekiosque caught up with the legendary lensman on a photo shoot in Thailand to find out more from the man whose iconic image of an Afghan refugee on the cover of National Geographic in 1984 became not only a symbol of the defiance of the Afghan peoples to the Soviet invasion but also a symbol of humanity's endurance.
Last year McCurry published Looking East , a near life-sized collection of some of his most astounding portraits from his many years working in Asian countries, including the famous shot of Sharbat Gula, the young Pashtun orphan he encountered in 1984 at the Nasir Bagh refugee camp in the North West Frontier Province of Pakistan, and whom he tracked down 18 years later to find married with three kids. Why has this one picture become so famous, even more than all the other outstanding shots he has taken over his long career?
"I think it's a combination of several things," the 57-year-old Philadelphia native answers. "First of all she's a very beautiful little girl. I think there's an ambiguity, a mystery about her expression. I think there's a kind of haunted, troubled quality on one level, but there's also fortitude, perseverance, respect, and pride to her look. It's clear that she's poor. She has this torn shawl. But with her poverty she has this dignity."
Ambiguity, in this case the girl's expression, has always played a vital part in art, going back to the Mona Lisa's mysterious smile. But there is another ambiguity at play here as well, one of whether the girl is different from us or similar to us. To most Westerners, Afghanistan is the end of the Earth, a dangerous, mysterious place where they assume the people to be completely alien. Yet McCurry's picture shows a girl who, with a change of clothes, could effortlessly blend into any Western society. Surely, this is also part of this image's appeal for Westerners?
"Well, that's a good point," McCurry responds. "Afghanistan, being the crossroads of culture, there's a segment of the population that came down with Genghis Khan, the Hazaras. Then you have a very strong Indian influence. Then some of these people, you would swear they were Western European. If they were walking down the street in Munich, Paris or Milan, they would look like the local people. There's an interesting mix of cultures in Afghanistan and I think her face and her look illustrates that. It's not an identifiable look. It's a sort of a mix. She looks kind of Western and she looks kind of Afghan."
But ultimately the main appeal of McCurry's work is that he shows us something different from our one-size-fits-all, modernist global, urban world. In his beautifully taken photographs, he shows us a continent of incredible diversity. This has always been the region's main attraction for him.
"There's such a variety of culture, and there's such a range between different countries and regions," he enthuses. "The difference between Pakistan and Afghanistan was so radical, and then from that culture over to Nepal and Tibet. I found such interesting religions, from Islam over to Buddhism, Hinduism, the Sikhs, the Jains, the Parsees, all sorts of things."
But this is not the Politically Correct 'diversity' that we hear so much about in the West – a superficial, hothouse phenomenon, cosseted ironically by the anti-Eurocentric agenda of liberal-left, middle-class Whites and financed by public funding. The diversity that exists on the rugged face of Asia, by contrast, is one that stands on its own two feet; a diversity that has established itself through centuries of struggle, and adaptation to harsh environments and the pressures of neighboring groups. Although McCurry praises the multiculturalism of Western cities, there is a sense that the diversity is not as authentic as it is in Asia.
"There is an amazing mix of culture in New York, but it's completely different," he explains. "In New York people are trying to assimilate, and to some extent conform to the laws and the customs and the traditions. You simply don't get the same kind of raw, original culture that you get on the streets of Calcutta or Kabul. In a place like Tibet, Buddhism is a very important part of people's lives. I think of these monks who prostrate themselves from their village to Lhasa, and sometimes it takes months and even years. That's a very different situation from life in the States or Europe. In India there are literally millions of people who live on the streets. In New York there are probably a few thousand. In India there are millions of families who live their entire lives literally on the streets in cardboard boxes. That's a significant difference."
McCurry's work is all about documenting these fascinating and authentic differences. From a turbaned Sikh schoolboy in Kabul with a rubber-ended pencil sticking out of his blazer pocket that hints at the residual influence of British colonial influence on this region, to the ancient face of a Tibetan monk whose leathery wrinkled skin seems to reflect the rugged landscape and dry air of Tibet, McCurry's portraits often succeed in giving us a sense of the history, geography, climate, and culture that shaped his subjects.
But, although showing differences is vital to McCurry's work, his working methods stress our common humanity.
"The first thing you need to do when you approach people is to see them and relate to them as real people, not somehow quaint or foreign," he emphasizes. "If you can just relate to people as real people and establish some rapport, whether you joke around with them or whatever, people respond and open up, and are happy to be photographed. I don't think there's any mystery or trick about it. I think a lot of times the mistake people make, is that they see these people as different. But once you break that ice they're like anybody else. They just happen to be working in a field or as a monk in a monastery. The thing that fascinates me is that we're all playing these different roles but we're all part of the same human race. We're the same, but we do things in different ways. We eat different food live in different houses speak different languages."
Despite these common human elements that bind us together, McCurry's success and his safety depend on a careful understanding of the very real differences between the peoples and cultures of the different regions he visits. One of the most significant, he has noticed, is the religious difference between Buddhism and other religions.
"If there was one religion I admire, it's Buddhism," he confides. "With the Buddhists that I've encountered, there's compassion, there's a respect for all life, and there's lots of peace and serenity. There's a non-judgmental quality. If you look at all these statues and images of Buddha around the World he has this very loving, very compassionate atmosphere. There's this real sense of wisdom and acceptance. There is this love that exudes that I think people find comforting. Also in most Buddhist cultures, women have a place of respect and very equal status."
His positive experience of Buddhism contrasts markedly with his experience of Islam, which he has seen under especially difficult conditions in the Afghan War and the first Gulf War.
"With other religions there's a kind of violent energy," he says. "Often if you don't conform, or you don't respect 'our way of thinking,' then there's violent consequences. In Buddhist societies you don't find that. If you desecrated a sacred text or a temple, there would be a tempered response."
In the destruction of the giant statues of Buddha committed by Afghanistan's Taliban government in 2001, McCurry has seen and photographed such desecration. But, for him, this has proved the superiority of Buddhism.
"Buddhism has this whole sense of the impermanence of life," he says of this act of cultural vandalism that shocked the World. "There is a cycle. Things are born and they pass away. Buddhist monks make sand mandalas and then they destroy them, because the World is continuously in flux. I think Buddhists were more surprised at the destruction of the statues than angry. Part of the problem of Islam is that people get so emotional about religion, and they're so quick to want to defend it by violent means, because they feel that they've been disrespected."
For someone who has made a career out of photographing the rich colors and varied shapes of Asia, McCurry has done remarkably little work in Japan. None of the portraits in Looking East feature Japanese subjects. Is Japan perhaps too westernized to be photogenic?
"I've been there many times," he replies. "The most recent time, I was doing an assignment for National Geographic in Kyoto as part of a worldwide survey of Buddhism, and I visited a few Zen monasteries in Kyoto, and went to Kamakura. But in Japan, something like Buddhism isn't really that vital for people's lives. They may consider themselves Buddhist, but I don't think it really matters that much to them on a daily basis."
In addition to Japan losing touch with its traditional culture, another problem for McCurry may simply be the pace of life. Much of his best work comes from simple patience and waiting for the photo to happen, something that is not always easy in fast-paced megalopolis like Tokyo.
"Well, certainly it's more fun to wander through the streets of a small village in Tibet, where most people walk and are on the street, than it would be in Tokyo," he comments. "I'm not sure how many people in Japan spend time out on the street as opposed to driving round in their cars or their motorcycles."
Perhaps the real reason, however, is that Japanese people are just too self-conscious in front of a camera to be natural. It is this search for unaffected naturalness combined with the exoticism of authentically diverse and unique cultures that has led McCurry to explore the by-ways rather than the busy, modernizing highways of Asia, and, in doing so, he has succeeded like no-one else in capturing the face of this remarkable continent.
"Most of the time people are very happy to meet me," he sums up. "They don't think of me as a photographer. They don't have any concept of journalism. They just think of me as some strange guy from some other part of the world, with a camera."
All images copyright © 2007 Steve McCurry. Used with permission.
C. B. Liddell is a Tokyo-based journalist who writes on culture for the International Herald Tribune Asahi Shimbun newspaper. He last interviewed the American jazz pianist Keith Jarrett for Culturekiosque.com
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The War Within: Terrorism Through a Muslim's Eyes
Interview: Shantala Shivalingappa
Interview: Akram Khan and "Ma"
Kandahar: Haunting Images, Veiled Agendas
Sérinde, Terre de Bouddha (in French only)
Dossier Spécial: La Cuisine de l'Inde (in French only)
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Heaven or Hell: Images of Chinese Buddhist and Daoist Deities and Immortals
Film Review: Once Upon a Time in China
In The Mood For Love: Wong Kar-Wai's Stylish Reflection on Regret
Film Review: Crouching Tiger Hidden Dragon
National Ballet of China : Raise the Red Lantern
Cricket World Cup: First Week of the "Super Six" Pakistan and South Africa in Arm-pumping Finish
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Jump to navigation Jump to search
|Hardware Compatibility List - Laptops main page
Acer - Apple - Asus - Compaq - Dell - Digital - ECS - Siemens-Fujitsu - Gateway - Hitachi - Higrade - HP - IBM/Lenovo - Medion - Micron - Mitac - Mitsubishi - NEC - Panasonic - Samsung - Sony - Toshiba - Zenith - Other
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Laptops and notebooks, because of their often unique hardware, have always provided challenges to any distribution of Linux. However, because laptops of the same model usually have identical hardware, a great help is to learn from somebody else's experience with that same model. Caveats are that some manufacturers use different hardware in the same model in different regions of the world.
The purpose of this page is to:
- help laptop owners use Arch Linux on their laptops to both Arch's and their laptop's full potential
- guide prospective buyers of laptops, regarding support for Arch Linux
- identify issues with Arch Linux that when fixed will over time make Arch Linux the best Linux for laptops
If you have installed Arch Linux on a laptop, notebook (or other device), please share your experience here with the Arch community, for the benefit of all.


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20 great responsive landing page design examples that converts your business marketing campaign into success by increasing conversion, leads, traffic and sales from https://www.buylandingpagedesign.com/landing-page-design/
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Online UK Accounts Payable Software provides a company with the tools to input bills and any moneys owed, meaning that the company can keep track of their accounts and expenditure in an automated fashion. The UK Accounts Payable Software here is offered under the SaaS (Software as a Service) model, meaning that the software is web based, hosted on the Cloud and can be accessed when needed through a client or web browser. If you're looking for more online software similar to UK Accounts Payable Software, consider our Accounts Receivable and Billing & Invoicing Software categories.
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Join our billboard contest! Enter by July 31st.
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Germany: Beer Cellar, 1875 by Granger - 10.000" x 7.000"
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Germany: Beer Cellar, 1875 wood print by Granger. Bring your artwork to life with the texture and added depth of a wood print. Your image gets printed directly onto a sheet of 3/4" thick maple wood. There are D-clips on the back of the print for mounting it to your wall using mounting hooks and nails (included).
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GERMANY: BEER CELLAR, 1875. 'A German beer cellar at night.' Wood engraving, 1875.
Welcome to Granger Art on Demand! Spice up your home or office with a compelling selection of fine art and photographs available as customized, professionally framed prints, canvases, and more! To license high resolution images or for other professional inquiries, Visit us at GRANGER - Historical Picture Archive (Granger.com) Email: email@example.com For educational use: Visit us at Granger Academic (GrangerAcademic.com) GRANGER.COM Background: In 1769 Reverend James Granger, an avid print collector, published his 'Biographical History of England.' The book was notable for its extra leaves, left blank for the reader to embellish with illustrations from their own collection. Collecting prints to...
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The God Delusion
The God Delusion is a book by Richard Dawkins published in 2006.
- 1 Synopsis
- 1.1 A deeply religious non-believer
- 1.2 The God hypothesis
- 1.3 Arguments for God's existence
- 1.4 Why there almost certainly is no God
- 1.5 The roots of religion
- 1.6 The roots of morality: why are we good?
- 1.7 The 'Good' Book and the changing moral "zeitgeist"
- 1.8 What's wrong with religion? Why be so hostile?
- 1.9 Childhood, abuse and the escape from religion
- 1.10 A much needed gap?
A deeply religious non-believer[edit]
The God hypothesis[edit]
Arguments for God's existence[edit]
Dawkins lists the following arguments:
- Thomas Aquinas' five proofs:
- The unmoved mover
- The uncaused cause
- The cosmological argument
- The argument from degree
- The teleological argument
- The ontological argument
- The argument from personal experience
- The argument from scripture
- The argument from admired religious scientists
- Pascal's wager
- Bayesian arguments
Why there almost certainly is no God[edit]
Dawkins begins this chapter by characterizing God as "the ultimate Boeing 747": any complex entity requires an explanation for its existence — as creationists are fond of pointing out, it would be absurd to think that a tornado could sweep through a junkyard and assemble a Boeing 747. But if any complex entity must have been designed and built by an even more complex entity, then God, who made the entire universe, must be even more complex, and we can therefore ask who created God?
Dawkins then reprises the central theme from his book, Climbing Mount Improbable and says that natural selection is the only known mechanism that can produce complexity from simplicity.
He corrects creationists' misunderstandings about evolution and demonstrates the flaws in the concept of irreducible complexity and the question, "what good is half an eye?" He criticizes irreducible complexity as a god of the gaps argument, and shows how creationists use it as an excuse to give up research instead of seeking for answers.
Dawkins then introduces two versions of the anthropic principle to explain life on earth: in the "planetary version", he argues that while it's true that Earth has many properties that make it suitable for life, the universe is vast enough that some such planets must exist solely by chance. Of course Earth is one of these, since otherwise life could not exist here; but if Earth had been unsuitable for life, life would have arisen elsewhere in the universe.
This statistical argument does not hold for the universe as a whole, since there is only one universe that we know of. Yet creationists also apply the fine tuning argument to the universe as a whole, arguing that the fundamental constants of the universe are set to precise values that make matter — stars, galaxies, humans — possible. Dawkins counters by suggesting that the fundamental constants of the universe may depend on each other, and are therefore not as free to vary as creationists suggest. He also suggests that there may be a multitude of universes (in which case the statistical argument applies), and that perhaps black holes create new universes with constants close to those in their parent universes. If this turns out to be the case, darwinian evolution applies, and our universe is the way it is because it comes from a lineage of universes that have evolved to produce black holes (and the existence of stars, planets, and life is a side effect of black hole production).
Finally, he recounts a conference he was invited to, in Cambridge, organized by the Templeton Foundation, and his disappointment in the quality of theologians' replies to his arguments.
The roots of religion[edit]
In this chapter, Dawkins explores possible natural scenarios for how religion could have arisen naturally, without the existence of any gods. He begins by noting that to an evolutionary biologist, religious behavior is expensive in terms of time and effort: why pray five times a day, or build cathedrals? Surely such behavior requires an explanation.
Religion might give consolation and comfort, and reduce stress the way a placebo does. However, religion is also a significant cause of stress (e.g., Catholic guilt). On balance, the placebo hypothesis is not a significant explanation.
Dawkins considers group selection: an army of martyrs who believe that they will be rewarded with paradise if they die in combat has an advantage in battle over more peaceful neighboring tribes. Dawkins rejects this explanation because intra-tribal selection is stronger than inter-tribal selection: if an army of martyrs contains one coward who holds back, the army is almost as likely to win the battle, but the coward is significantly more likely to survive and have children.
Religion may not be beneficial in itself, but may be a byproduct of something else, which is beneficial. In particular, children who believe their elders when they say things like "don't go swimming in the river; there are alligators there who will eat you" are more likely to survive than children who insist on finding out for themselves. Such unquestioning belief has drawbacks, like occasionally believing something that isn't true, but these drawbacks are minor compared to the advantage of not dying young.
Humans may be psychologically primed for religion: experiments have shown that children naturally have a dualistic theory of mind. That is, they believe that mind and matter are different things, as opposed to monism, the notion that mind arises from matter. Since many religions teach that mind (or soul) and body are separate, people are predisposed to believe it.
Other psychological theories suggest that children are naturally predisposed for teleology: they believe that "clouds are for raining", or that sharp rocks exist so that animals can scratch their backs. This predisposes them to believe in creationism.
There is an evolutionary advantage to this: what Daniel Dennett calls the "intentional stance"—that a phenomenon is caused by an "agent" which "wants" to achieve some goal—is a good way of quickly reacting to a situation. One could work out from its anatomy that a tiger is dangerous, but it is much quicker to assume that the tiger is an agent whose goal is to eat. The intentional stance is also useful in social settings, e.g., "He's looking away so that I won't notice that he wants to have sex with my wife". A predisposition toward holding the intentional stance is a useful survival mechanism, but also predisposes people toward believing in creationism.
Religion may also be a side effect of love: when one falls in love, one tends to believe that the object of one's affection is superior to everyone else, even when this is objectively not the case. Such irrational beliefs have obvious advantages for the stability of the relationship. Religious beliefs often cause people to feel and act the same way as people in love, so there may be a relationship between love and religion.
Dawkins then explores the idea of religion as a product of evolution among memes. Ideas like immortality are appealing, and therefore more likely to be passed on. Ideas like "God grants immortality", "faith is a virtue", and "doubters must be shunned" can work in concert to protect each other. Scientology and Mormonism are presented as examples of "intelligently designed" religions.
Finally, Dawkins talks about cargo cults, religions that have arisen in modern times. We have seen them arise from false beliefs, and persist in the face of evidence. Is it not then possible that Christianity arose in a similar way?
The roots of morality: why are we good?[edit]
The 'Good' Book and the changing moral "zeitgeist"[edit]
What's wrong with religion? Why be so hostile?[edit]
Childhood, abuse and the escape from religion[edit]
A much needed gap?[edit]


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Robert Reich says the economy's problem is that regular working people are not sharing in the gains that the economy makes. He says the idea that bringing back manufacturing will fix this is an illusion. I agree and disagree.
In Manufacturing Illusions, Reich writes that our challenge is not so much to bring back manufacturing jobs,
The real issue isn't how to get manufacturing back. It's how to get good jobs and good wages back. They aren't at all the same thing.
… But American manufacturing won't be coming back. Although 404,000 manufacturing jobs have been added since January 2010, that still leaves us with 5.5 million fewer factory jobs today than in July 2000 – and 12 million fewer than in 1990. …
Even if we didn't have to compete with lower-wage workers overseas, we'd still have fewer factory jobs because the old assembly line has been replaced by numerically-controlled machine tools and robotics. Manufacturing is going high-tech.
Bringing back American manufacturing isn't the real challenge, anyway. It's creating good jobs for the majority of Americans who lack four-year college degrees.
Manufacturing used to supply lots of these kind of jobs, but that was only because factory workers were represented by unions powerful enough to get high wages.
Reich says that while corporations are making record profits, American workers aren't sharing the bounty. In fact wages are dropping even as jobs are (maybe) starting to return, concluding,
The fact is, American corporations – both manufacturing and services – are doing wonderfully well. Their third quarter profits (the latest data available) totaled $2 trillion. That's 19 percent higher than the pre-recession peak five years ago.
… The fundamental problem isn't the decline of American manufacturing, and reviving manufacturing won't solve it. The problem is the declining power of American workers to share in the gains of the American economy.
I disagree that "manufacturing isn't coming back." In many ways this echoes the now-infamous Steve Jobs line, "Those jobs aren't coming back." Reich writes that these jobs "compete with lower-wage workers overseas" but also that there are just going to be fewer of them because technology is replacing jobs.
OK, first, the competitive advantage of China and others isn't really lower wages, it is the overall working conditions forced on people who don't have a say. We can and must do something about that, or there will be a natural migration of our own working conditions downward to match the worst around the world. As I wrote yesterday, We, The People Have To Say, "No You Can't Do That". The choice for us really is just that stark. We must use democracy's power or lose it.
Next, jobs or not, we have to regain our manufacturing clout in order to tackle the trade deficit, which is draining our economy. This is a fundamental structural problem.
Finally, manufacturing jobs are different from other jobs, because of all the jobs that support those manufacturing jobs. They are a canary in the coal mine, or a spotted owl in an ecosystem — it isn't about the manufacturing jobs themselves but the overall ecosystem of manufacturing. This is why manufacturing is so important, not just the jobs directly in the factories themselves on the day the widget is assembled.
It is also the lasting infrastructure and ecosystem that comes with manufacturing — and stays. It requires enormous investment to create a manufacturing ecosystem. But once you've got it, it's hard to lose it, and once you lose it, it's hard to get it back. Not so much with services.
This is why China is targeting supply chains and not just manufacturing. They want that ecosystem. Manufacturing means suppliers and all the jobs involved there, and researchers and designers and other innovators (and their patents) follow the manufacturing. And so does the balance of trade, and the overall position on the world's economic ladder.
And this moves us directly to Reich's other point, which I absolutely agree with. We, the People have not been and are not sharing in the gains that "our" economy makes. This is the key problem of our economy today. This is the Reagan Revolution coming home to roost. (See this simple explanation, in charts.)
But this again comes back to having to do something about getting back the manufacturing jobs. The unions were broken by the trade deals, which enabled the 1% to say to the 99% "shut up and take it or we'll move your job, too." When the unions were broken the only real mechanism available to us to challenge the power and wealth of the 1% was broken. And so we stopped being able to demand a share of the gains of the economy.
Up to that point yes, the 1% were able to buy enough of the government, but we were able to organize around our jobs and say "no we will not let you …" to the worst of the ravages of 1% capitalism. This was how we were able to force a certain amount of democracy on them. But after the trade deals broke the unions and the power to organize we were no longer able to do that. This has played itself out in the years since Reagan, but now the result of these changes are pretty clear in front of our faces. The stark choices are upon us.
The solution lies with us. We need to recognize this is a fight about democracy. This really is about the 99% vs the 1%. We, The People Have To Say, "No You Can't Do That" We have to understand what has been happening to us, how the 1% were able to use China as a wedge to break the unions and break democracy, and demand these "trade" deals be rewritten to actually help us — and help the Chinese workers. We must not continue to let exploitation and lack of democracy reward the 1%ers. Democracy really is the best economics.
This means tariffs on imports made by people who do not have a say and are therefore exploited. This way those goods do not undercut the wages and working conditions of people here. Use those tariffs to subsidize our own exports so the exploitation does not undercut our own goods in world markets. The start is understanding the equation that exploitation is undercutting democracy, which is undercutting our whole economy.


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More and more teenagers cite interaction with a university's website as their first impression of that institution. Managing an effective online presence with relevant information has never been more important in higher education than it is today.
The office of Web Design & Support is a resource to help you create and maintain an effective Web presence that will create good first impressions and maintain positive relationships with all of your constituents.


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After a loooong time on the road/plane/rock, browsing some incredible place, I finally land in France and have the time to tell you a bit about the last incredible adventure rich in experience I lived in Argentinia during the Petzl Roc Trip !
After a month spent in RRG, where I was really happy to rich some of my goals (50 words for pumps / Southern Smoke ) but left some others.... I took the plane direction South America : Buenos Aires. Typical city of south America, hudge, cosmopolite but at the same time poor, dangerous. I have heard some hard story about drugs corruptions and theft "Entonces siempre mirar a su mochilla !!" fortunetly nothing happened the few hours we were there.
So we had the time to hang out in the center and have a global view of colonials monuments like the famous "casa Rosa".
Argentines are living an hard time in this period... after the fall of the dictatorship 20 years ago, a big economic crisis following the devaluation of their currency (peso) in 2002 and the presidente who decide to change of politic and tends towards a conservative liberalism .... And when you feel positive vibe around you and always smiling face to deal with this, that make me happy ! happy to see that humane relation is always more important than this stuff.
The distance seems really far in Argentinia ! 2 hours in the plane direction Puerto Madryn, then 13 hours driving in the bus.... looooonnnggg drive to Piedra Parada ! The tent throw to the sand in the early morning and the dark hide everything around us !
When I woke up, I was choked about the beauty of this place : both desertic and mountainous. The river, this Rock towel alone in the middle of the field : la Piedra Parada ; and a canyon full of rock !
In total, I was 6 days there, "ambiance Woodstock" in the middle of nowhere, where everything was really unique ! Thank you very much at all the team Petzl who worked really hard to make it real ! It was a big event as always ! "Viva los Petzl Roc Trip"
Sometimes the pictures are more easy to transmit the atmosphere... "place aux images" !


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The vast majority of our new titles come from existing authors recommending others to come to us, or from booksellers' recommendation. There are some recent comments from authors in "Author Endorsements" on the imprint "About Us" page.
We focus on the "mid-list" rather than celebrity mass-market publishing on the one hand or highly academic on the other. We're looking for good popular writing; the new, non-generic, ambitious and risky. We particularly enjoy the books that cross boundaries and push out the envelope, that are in their way unusual or definitive (or both).
There is an initial screening process. Authors that make it through that are asked to fill in a full Proposal. Each Proposal gets a number of in-house reader reports, visible to the author. Our readers are experienced, knowledgeable about the market, and usually authors themselves. The reports assess both the quality of the book and its "marketability". We only offer to publish if we like the book. Depending on how many we think it could sell, we offer varying levels of contract. About one in ten of the titles on the list have a subsidy from the author, directed either towards more editorial or marketing work than we can normally provide.
The number of subsidy contracts varies across the imprints. They are more frequent in fiction, which we find harder to sell than non-fiction. If you are a first-time fiction author, have little or no experience of the market, and the proposal is likely to be thin on the marketing side, and if you would be offended by being asked to pay a subsidy, please move straight along to another publisher. There is more about this in the Author Guide, in the section on Contracts.
A criterion for getting published with us is being able to use a database, and to be willing to contribute to it. Manuscripts and proofs are exchanged through the database rather than by post or email. Your book will have several pages of its own on our database, with the scheduling and copy visible; you can add to it and amend it, monthly sales figures will be there, and all the marketing on every title is visible for you to see. We add around a thousand new "activities" a month to the database, several hundred new contacts, and send out a few hundred review copies a month.
It doesn't matter where you live. Around half our new authors are from North America, the others from the UK and most countries where English is a major language.
We only publish titles for which we have at least worldwide English-language rights. Our systems are based around all books being available everywhere, for review and for sale.
We do not reply to submissions through the post.
We cannot re-issue books that one of the larger publishers has dropped, or a self-published book. Even if the publisher has declared it out of stock there will still be copies around with wholesalers and distributors for years to come, at heavily discounted prices, and bringing out the same book with a different ISBN invariably causes confusion and trouble.
- worldwide sales and distribution in English-language markets, including representation by companies that are reckoned to be among the best independent sales teams in the world
- competitive royalty rates on printed books (starting at 10% of receipts and moving up to 25% on quantity) with 50% on ebooks
- high discount levels to authors (starting at 50% and moving up to 70% on quantity)
- access to one of the most extensive publisher marketing databases, and author's own monthly sales figures
- tracks to follow on similar titles
- response times (like on whether to publish or not) in hours or days rather than weeks or months
We do work with:
- Communications through the website
- The Forum
- Social-media groups
We do not work with:
- Post
- Phones (we do not have them on the desk)
- Emails (except in limited circumstances)
First, find the right imprint for your book. See our list here.
Say something about who it's aimed at, how you reckon it's going to sell, what your qualifications for writing it are and attach as much text as you have (upload a Microsoft Word file or PDF). It doesn't matter if it's not finished yet, but we can't respond to questions like "I've got an idea about writing a book, how do I go about it and would you publish it". If it looks to us like a good possibility, we'll usually respond in around 24 hours.
If this business doesn't sound as if it's for you, or if we turn the proposal down, I'm sorry we can't help by recommending other publishers. We don't know them. You have a wide choice; there are several hundred serious publishers in the English language world, 70,000 registered with the main databases, and the number who might publish the occasional book runs to a quarter of a million. The simplest way is to trawl the internet for other possibilities. The best sources are Literary Marketplace in North America, www.literarymarketplace.com, and The Writers and Artists Yearbook in the UK, buy online at www.acblack.com. And try the information sheet Getting Published from the Book Trust, www.booktrust.org.uk. There are dozens of other directories, books and online sources. www.bookmarket.com provides a useful summary of "how to get published"-type websites.
In the good old days you would have lunch with your agent (if you could find one), who would have lunch with an editor, who would be the contact point for the rest of the company, with all queries handled by phone. Which is why editors usually manage a couple of dozen or so authors at a time. It is labor-intensive. But editors are expensive to employ. So the sales expectations have to be high. And when authors don't make their numbers, the company drops them. (There's an amusing article on this at On Switching Publishers; http://www.booktrade.info/i.php/27930).
Quite simply, we like publishing good books, irrespective of whether they're likely to sell 500, 5,000 or 5,000,000. We aim to keep all our authors in print, and keep working on the marketing for years to come. That means hundreds, thousands of authors (currently approaching 1500). We understand about the personal touch, most people working in the business are themselves authors. But contact in person, by phone, or to a lesser extent email, means employing more people, which means raising the sales level at which we could publish a book. And it is more impractical for us than most businesses, because we are scattered around the planet in different time zones. We invest time and resources instead into areas that other publishers do not, like monthly sales figures for you to see; adding marketing contacts on the website (currently around 40,000) so we can improve the promotion for everybody; getting into the corners of the market globally; providing access for authors to all the information about their book, and their market.
So it is a choice. And actually, it doesn't stop strong relationships being formed. That, after all, is how several dozen of us gradually came together. Despite most of us within the business having never met most or any of the others.
We should be getting back to you within days. We either say "sorry, can't publish", or "interested, need some more detail" - which is the next stage, a Proposal. It doesn't mean starting again from scratch, information from the inquiry is fed through, though with access to more information you may want to edit what you have already written. We send the Proposal out for reader reports, which you will see, and then we generally get back to you with a contract offer or not inside a couple of weeks. The website is tidied up regularly, and if we have offered a Proposal, password or contract, and you have not got back to us in a month or two, the information will probably have been deleted unless you ask us to hold it for longer. Again, it's not because we're being uncooperative, but we get hundreds of submissions a month, several dozen of those get to the Proposal stage, and we like to be clear about what we're doing and when and move on, rather than having lots of "maybes" and loose ends everywhere.
We look forward to working with you. If we do, bear in mind that:
- We try and cover all the bases as best we can, but there are 20,000+ book retail accounts in the USA/UK alone, thousands of databases, tens of thousands of possible media/marketing contacts, millions of books competing for readers attention
- Much publishing success is down to luck/fortune/however you want to describe it
- Quality and quantity are far from synonymous; the best things in life are worth doing just because they are worth doing
- It is not worth losing friends/partners/children/house over getting a book published
- Do not quit the day job (or at least not until you have enough in the pension fund) - only plan on making money from writing a book if you made money on your last one
- Being an author can be lonely - keep in touch with other authors on the Forum, social media and all the various author websites (hundreds to choose from)
- When in doubt, keep working at the writing and doing what you can on the marketing, persistence often bears fruit
Thank you for reading this, and we hope to be able to work together.
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Serkeftin: A Narrative of the Rojava Revolution
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Thursday, March 04, 2010
Using the Opportunity Process to Catalyze Self-Organization
How do we get started with self-organization?
One simple process (adapted from a Peter Block activity) I've used many times is the Opportunity Process. Here's the simple steps:
1. Have people put their interest or current passion or challenge on a 9 x 12 sheet of paper or PostIt. Have someone sort into Action Groups of 3-10 people.
2. Have each group identify opportunities in that area where something could really make a difference right now.
3. Generate ideas for small projects/small acts that could help the group explore that opportunity. Each act needs a champion.
4. Identify the gifts (skills and resources) that the project team already has to accomplish that act.
5. Figure out who and what else they need to make the project successful and then invite those individuals to join their project.
6. How will the project be managed? Use a project management worksheet or online project management site like TeamworkPM so everyone involved knows what they are to do. Have a volunteer be project coordinator.
7. Check in with and coach the project coordinators.
8. After the project is underway, identify "patterns of success."
Posted by June Holley at 10:46 AM
2 comments:
- Jack said...
This is a very powerful model I continue to use since I introduced it in "Instructions from the Cook" - here is a link to a brief article overview of it:
- eekim said...
I love this exercise! Beautifully simple and well-framed.
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The crop report has been finalized. With or without Clarence Beeks being violated by a gorilla.
And the number, according to Ian Rapoport and Albert Breer of NFL Network, is $123 million.
That's an increase of $2.6 million from last year's team-by-team spending limit of $120.6 million, but it's a jump of only 1.9 percent.
Also, it's the unadjusted number. Every team's specific number will go up or down based on carryover or credit or, in the case of the Cowboys and Redskins, cap penalties imposed for taking the uncapped year of 2010 too literally.
UPDATE 6:55 p.m. ET: Chris Mortensen of ESPN puts the number at $123.9 million. Which we like, since it meshes with our recent report that the number is expected to be more than $123 million. It translates to a 2.7-percent increase over last year.


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Or find a doctor at another Johns Hopkins Medicine Member Hospital:
Henry D Jampel, M.D.
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Expertise: Comprehensive Medical and Surgical Ophthalmology, Glaucoma, Glaucoma Surgery, Ophthalmology
Research Interests: clinical research; glaucoma treatment; glaucoma surgical outcomes
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The Johns Hopkins Hospital
600 N. Wolfe Street Wilmer Eye Institute Baltimore, MD 21287
Johns Hopkins Medicine - Green Spring Station
10753 Falls Road Johns Hopkins Wilmer Eye Institute, Pavilion II Lutherville, MD 21093
Phone: 410-583-2802
Henry D. Jampel, M.D., M.H.S., is the Odd Fellows Professor of Ophthalmology at the Wilmer Eye Institute. He specializes in glaucoma and serves as the medical director of Wilmer's Green Spring Station location. His research interests include evaluation of medical vs. surgical treatment of glaucoma in newly diagnosed patients and on imaging devices for the detection of glaucoma and its progression.
Dr. Jampel received his M.D. degree from Yale University and his M.H.S. in health finance and management from the Johns Hopkins Bloomberg School of Public Health. He completed an internship in internal medicine at Sinai Hospital and his residency in ophthalmology at the Wilmer Eye Institute. After completing a glaucoma fellowship in glaucoma at Wilmer, Dr. Jampel joined the faculty in 1988.
- Odd Fellows Professor of Ophthalmology at the Wilmer Eye Institute
- Chief, Wilmer Eye Institute - Green Spring Station
- Professor of Ophthalmology
Departments / Divisions
Centers & Institutes
- MD, Yale University School of Medicine (1982)
- Johns Hopkins University School of Medicine / Ophthalmology (1986)
- Johns Hopkins University School of Medicine / Ophthalmology (1988)
Board Certifications
- American Board of Ophthalmology / Ophthalmology (1987)
Research & Publications
Clinical Trials
Effectiveness of Screening and Treatment for Glaucoma (9/01/2009-1/24/2011) Role:Co-Investigator
National Eye Institute, Method for Glaucoma Screening in Primary Care Offices (2/1/05-1/31/08)
National Eye Institute, Early Detection of Glaucoma Damage (8/1/00-7/31/05) Role:Principal Investigator
National Eye Institute, Prevalence and impact of glaucoma among the very elderly (6/4/01-5/31/04)
National Eye Institute, Collaborative Initial Glaucoma Treatment Study (7/1/93-6/30/03) Role: Principal Investigator
National Eye Institute, Glaucoma Surgical Outcomes Study (9/1/00-8/31/02) Role: Principal Investigator
Agency for Health Care Policy and Research Management of Co-Existing Cataract and Glaucoma (10/1/99-09/30/00) Role: Principal Investigator
Selected PublicationsView all on Pubmed
Jampel. Pros and cons of using target pressures in clinical practice. In Glaucoma: Medical diagnosis and therapy, 2nd edition. Eds Shaarawy TM, Sherwood MB, Hitchings RA, and Crowston JG. Elsevier, Oxford 2015: 497.
Jampel and Brown. Evidence-based medicine in glaucoma. In Yanoff & Duker's Ophthalmology 4th edition. Elsevier, Oxford 2014: 1173-79.
Jampel H, Kalenak J. Anti-vascular endothelial growth factor injections and intraocular pressure measurement: Should we throw the baby out with the bath water? Ophthalmology 2015;122:1735-6.
Jampel HD A Quarter's Century's Progress in the treatment of open-angle glaucoma. Ophthalmology 2015;122:1277-9.
Combined surgery versus cataract surgery alone for eyes with cataract and glaucoma. Zhang ML, Hirunyachote P, Jampel H. Cochrane Database Syst Rev. 2015; 122:79-86.
Single vs Multiple Intraocular Pressure Measurements in Glaucoma Surgical Trials. Zhang ML, Chon BH, Wang J, Smits G, Lin SC, Ianchulev T, Jampel HD. JAMA Ophthalmol. 2014;132:956-62.
Activities & Honors
- Research to Prevent Blindness Physician-Scientist Award
- Secretariat Award, American Academy of Ophthalmology, 2015 - 2015
- Senior Achievement Award, American Academy of Ophthalmology
- Secretariat Award, American Academy of Ophthalmology, 2007 - 2007
- Honor Award, American Academy of Ophthalmology, 1998 - 1998
- Research to Prevent Blindness Manpower Award, Research to Prevent Blindness, 1992 - 1992
- Heed-Knapp Fellow, 1986 - 1987
- American Academy of Ophthalmology
- American Glaucoma Society
- American Ophthalmological Society
- Association for Research in Vision and Ophthalmology
- Glaucoma Research Society
Professional Activities
- Deputy Editor-in-Chief, Ophthalmology, 2003
- Odd Fellows, Professor of Ophthalmology
- Administrative Editor, Practical Reviews in Ophthalmology
- Editorial Board, Journal of Glaucoma
- Editorial Board, Investigative Ophthalmology and Visual Science, 2001
- Board of Directors, Sudden Cardiac Arrest Foundation, 2015
- Consultant, ForSight Vision, 2014
- Steering Group, Cochrane Eyes and Vision Group, 2002
Videos & Media
Lectures and Presentations
Arthur Light Lectureship
Named Lecture, Chicago, IL (09/07/2013)
Loyola University
Glaucoma Subspecialty Day Lecturer, Chicago, IL (10/18/2014)
American Academy of Ophthalmology
Robert S. Jampel Lectureship, Detroit, MI (06/14/2013)
Kresge Eye Institute
Invited lecture (09/24/2010)
Yale University
Visiting Professor (01/27/2010)
Georgetown University
Visiting Professor (05/13/2009)
Wills Eye Hospital
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The Patient Rating score is an average of all responses to physician related questions on the national CG-CAHPS Medical Practice patient experience survey through Press Ganey. Responses are measured on a scale of 1 to 5, with 5 being the best score. Comments are also gathered from our CG-CAHPS Medical Practice Survey through Press Ganey and displayed in their entirety. Patients are de-identified for confidentiality and patient privacy.
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