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SEC coaches picked Georgia's Aaron Murray as their first-team QB on the All-SEC preseason team. Murray was picked over a reigning Heisman Trophy winner (Johnny Manziel) and a two-time national champion (AJ McCarron). Did they get it right, and if not, who would be your choice?
It's such a tough call on naming a first-team all-conference selection at quarterback in the SEC based on the remarkable careers of Georgia's Aaron Murray, Texas A&M's Johnny Manziel and Alabama's AJ McCarrron. While you can make a strong case for each of the nominees, I believe it's hard to ignore the championship pedigree of McCarron. He has guided the Crimson Tide to back-to-back national titles, while playing nearly flawless football from the pocket. His sensational 30:3 touchdown-to-interception ratio has been categorized as effective game management, but I see it as a reflection of his superb playmaking ability as a passer. Moreover, I believe McCarron's ability to avoid the costly mistake shouldn't go unnoticed when considering the Crimson Tide's phenomenal run as a title contender. Given the fact that quarterbacks are ultimately judged on their ability to win the big game, I believe McCarron deserves the nod over Murray and Manziel despite their impressive resumes.
Murray is a fine player, has led his team to a lot of victories, including two SEC East titles, and has set numerous school records. But, for him to be picked ahead of the reigning Heisman Trophy winner, Johnny Manziel, the young man who as a freshman led the SEC in rushing and total offense? And, ahead of two-time national champion AJ McCarron, the veteran leader who threw for 30 touchdowns and just three interceptions. I'm sure the coaches have their reasons, but I would sure love to hear them.
- !
- Chase Goodbread NFL Draft 365
This is a mess, and it smells bad
First, let it be said that college football coaches sometimes delegate the task of voting in the USA Today Coaches Poll to their sports information directors, and it wouldn't at all be surprising if a handful did the same to pick the preseason coaches All-SEC team. That said, it's the coaches' name on the product, so it's their mess when it smells bad. And this does. In winning the Heisman Trophy, Johnny Manziel broke ... no, he demolished ... the SEC record for total yardage in a season (5,116). Neither Cam Newton nor Tim Tebow ever reached 4,400. And if the reasoning was that Murray had more success on the field, then how would one explain Alabama's AJ McCarron, replete with two national titles, ranking on the third team? More likely, it's just the latest sign than people are getting a little sick of Johnny Football.
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- Mike Huguenin NFL Draft 365
Get what coaches might be thinking
I can understand not putting Manziel on the first team; heck, no one knows for sure how many games he will play this season because of the NCAA investigation into his signing of autographs. That said, if I were picking a preseason All-SEC team, I would've had Manziel on the first team, Murray on the second and McCarron on the third.
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- Dan Greenspan NFL Draft 365
Murray fell short in big games and should have in vote, too
Oh, there's nothing like a visit from the green-eyed monster. Alabama has won two consecutive BCS championships thanks to outstanding title game performances from the steady AJ McCarron, so competing SEC coaches can't acknowledge that. Texas A&M was the hottest team in the country at the end of last season because of the dramatic ascent of the divisive Johnny Football, so competing SEC coaches can't acknowledge that. Instead, why would they choose Aaron Murray who was 41-of-88 for 524 yards, two touchdowns and five interceptions in Georgia's three most important games against South Carolina, Florida and Alabama last season? Recognizing Murray feels like another chance to needle the big dogs in the Aggies and Crimson Tide. Whether the top signal-caller in the SEC is McCarron or Manziel -- and cases can easily be made for both -- it definitely isn't Murray.
Murray is my No. 3-rated senior quarterback and is No. 31 on my Hot 100 seniors list. He has started 41 consecutive games for Georgia, a streak that dates back to his freshman season when he threw for 24 touchdowns and eight interceptions. That is a tremendous season for a freshman quarterback. Last season, Murray had 36 touchdowns and 10 interceptions and compiled a passer rating of 174.8, which was a school record. That's saying a lot given that the quarterback ahead of him at Georgia was Matthew Stafford, the No. 1 overall pick in the 2009 NFL Draft. Murray is a very good college football player -- notice I said "college." Murray has played at a high level for three years and compares well to Drew Brees when he was at Purdue.
Manziel is a talented guy, but I can see selecting Murray over Manziel since the Texas A&M QB has done it for just one year vs. Murray's three years.
McCarron, based on his height (he's 6-foot-3 3/8 vs. Murray at 6-0 7/8), might make for the stronger NFL prospect. He's also won two national championships. If I were drafting, I'd take McCarron over Manziel and Murray because he is taller, which is a big thing from the perspective of NFL evaluators.


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One of the new elements for HTML 5 is the
element which allows you to group together links, resulting in more semantic markup and extra structure which may help screenreaders. In this article I'll discuss how and where to use it as well as some reservations I have with the specifications definition.
At first, I thought the
element to be pretty simple. And whilst it still is very easy to use, I found the specification to not be overly helpful; a lot of decisions are left to the developer. Then on Monday Hixie made a change to the definition of
in the draft following a prompt from our very own Dr Bruce.
How to use it
You are probably used to using something like

<a.... etc

Well, for the sake of your markup, nothing much will change as you will now have something like this

Home

About

Blog

The specification
The HTML 5 specification defines
The nav element represents a section of a page that links to other pages or to parts within the page: a section with navigation links. Not all groups of links on a page need to be in a nav element only sections that consist of major navigation blocks are appropriate for the nav element. In particular, it is common for footers to have a list of links to various key parts of a site, but the footer element is more appropriate in such cases, and no nav element is necessary for those links.
The key phrase there is "major navigation" (previously primary navigation).
Looking at the example they give – "In the following example, the page has several places where links are present, but only one of those places is considered a navigation section."

Wake up sheeple!

News -
Blog -
Forums

Last Modified: <time>2009-04-01</time>

Index of all articles

Things sheeple need to wake up for today

Sheeple we have managed to wake

...page content would be here...

Copyright © 2006 The Example Company

About -
Privacy Policy -
Contact Us

I have to say that this is no use to me. There are six items of navigation in the header element there. But only three are in the nav tag. There is no explanation as to what differentiates the first three links with the second three links – both go to different pages and all are in internal to that current site.
They also give a second example:

The Wiki Center Of Exampland

Home

Current Events

Demos in Exampland

Public demonstrations

Demolitions

Public demonstrations

Edit | Delete | Rename

© copyright 1998 Exampland Emperor

This is a little more helpful as I find the biggest isse of the
element is deciding which sets of links should be classed as major navigation.
Where to use it?
If you take a peek at the source code for this site, there are three uses (Ed. or four if you're on a page that includes pagination) of the nav elements – we used it on the main navigation and above the footer (both are exactly the same links by the way). We also decided to use it on the skip links that are included for accessibility.
Looking at the content of the site, it could be argued that the
element could be used on the Recent Articles and Categories listings in the sidebar. Should you do it? Honestly, I think it is hard to say from looking at the spec – but I would say these are not "major navigation" but it would tempting to do, particularly if you're analytics suggest these areas of navigation are 'major' ways in which your users navigate your site.
Other Possible Uses
Below are a few more examples of other areas of the site in which you might consider using the
element. It is also important to note that while XHTML 2 <nl>
element, this hasn't been replicated in HTML 5 because navigation does not have to take list form, as we'll see.
- Table of Contents
I would say definitely yes to that – it is primary navigation for that particularly content - Previous/next buttons (or pagination)
I would say yes to this because it is important to the overall structure and hierarchy of the blog/site
- Search form
For me, a definite yes, but it is not mentioned in the spec. A search form is hugely important to the navigation of a site, particularly large sites which rely almost solely on their search engine.
- Breadcrumbs
Again, I would say yes to this as well. Although breadcrumbs are not always necessary and can be used when not applicable, on large sites a breadcrumb trail can be an important navigation aid.
The difference of nav from menu
If you aren't aware there is another element that can confuse the issue in the HTML 5 specification – menu. I've noticed that some developers are using the <menu>
element for navigation rather than the
element. We thought it best to clarify that <menu>
is to be used for a list of commands and is an interactive element and more likely to be used exclusively in Web Applications. We will be covering more about the <menu>
element in a later post.
And finally…
Only with the help of the community, and hopefully a much clearer spec, can we be sure when and perhaps more importantly, when not to use the

subset: commoncrawl


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Clouds May Hold Key to Why Early Earth Didn't Freeze Over
A paradox about the climate of the early Earth that has been plaguing scientists for nearly 50 years may have a new solution.
The so-called 'young' sun paradox — first proposed by Carl Sagan and his colleague George Mullen in 1972 — refers to the fact that the Earth had liquid oceans for the first half of its more than 4-billion-year existence despite the fact that the sun was likely only 70 percent as bright in its youth as it is now.
A lower solar luminosity should have left Earth's oceans frozen over, but there is ample evidence in the Earth's geological record that there was liquid water — and life — on the planet at the time.
Over the past few decades, scientists have proposed several possible mechanisms that may have kept the Earth toasty enough to keep water from freezing during our planet's early history – a period of time called the Archaean. But just when scientists think they have the paradox solved, other researchers come up with alternate explanations or reasons why a previous proposal doesn't work.
"It keeps resurfacing," said atmospheric scientist Jim Kasting of Penn State University, who put forward his own explanation for the young sun paradox in 1980s and '90s. That explanation involved a greenhouse gas effect that would have kept the planet warm — similar to the human-driven effect that is warming the Earth today. The early greenhouse, first proposed by other scientists in the 1970s, would have been on a much larger scale than current climate warming, with theoretical calculations suggesting that about 30 percent of the Earth's atmosphere at the time consisted of carbon dioxide. For comparison, today, Earth's atmosphere is about 0.038 percent carbon dioxide.
A powerful greenhouse effect on the early Earth is "the obvious solution" to the paradox, said Minik Rosing of the University of Copenhagen in Denmark. Rosing and his colleagues have offered up a new explanation for the seeming paradox that is detailed in the April 1 issue of the journal Nature.
Carbon dioxide constraints
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To see what carbon dioxide (CO2) concentrations might have actually been in the Archaean, Rosing and his team analyzed samples of 3.8-billion-year-old mountain rock from the world's oldest sedimentary rock, called Isua, in western Greenland.
The samples contain features called banded iron formations (BIFs) that formed in abundance when the Earth was young, but not since. These BIFs contain certain iron-rich minerals that give clues as to the atmospheric environment in which they formed.
"The analyses of the CO2 content in the atmosphere, which can be deduced from the age-old rock, show that the atmosphere at the time contained a maximum of one part per thousand of this greenhouse gas. This was three to four times more than the atmosphere's CO2 content today. However, not anywhere in the range of the 30 percent share in early Earth history which has hitherto been the theoretical calculation," Rosing said.
So Rosing and his colleagues looked at another avenue that could explain the paradox.
All about albedo
One of the factors that partly determines the temperature of the Earth is the amount of incoming sunlight the Earth's surface and atmosphere reflect back to space, called the planet's albedo. Different types of surfaces reflect or absorb different amounts of light — for example, ice is highly reflective, while the open ocean is highly absorptive.
Rosing and his team looked at two possible influences on the early Earth's albedo: the amount of land on the planet's surface and the amount of cloud cover in the atmosphere.
Geologists haven't yet determined when the Earth's continents first formed, but radioactive tracers in the hot rock of the Earth's mantle can help determine the rate at which the crust of the planet formed, hinting at how much land was exposed above the oceans.
Rosing and his colleagues suggest that there was less continental area on the early Earth, and because oceans are more absorptive of sunlight than land, the Earth's albedo would have been slight lower, meaning the Earth's surface would have absorbed slightly more sunlight than it does today.
A bigger effect might have been the thinner cloud cover of the early Earth, which could have allowed more sunlight through the atmosphere to reach the surface.
"The reason for the lack of cloud [cover] back in Earth's childhood can be explained by the process by which clouds form," Rosing said.
The droplets of water that make up clouds form by glomming on to tiny particles, called cloud condensation nuclei, many of which are chemical substances produced by algae and plants, which weren't present on the Earth at that time.
Rosing and his team came to this conclusion by observing areas of the present-day ocean that have very little biological activity and thin cloud cover, which "shows that the clouds are different in such places" and therefore were likely the same for the early Earth.
Any clouds that did form would have had larger drops — as happens when cloud condensation nuclei are in low supply — which are more transparent to sunlight and so would have allowed more through to reach the Earth's surface, keeping it warm.
So the combination of less continental area and an atmosphere more transparent to sunlight could explain why the Earth didn't freeze over, despite the smaller amount of sunlight.
But this explanation may not settle the paradox for all scientists who have looked into the problem.
Potential controversy
Kasting, who wrote an accompanying editorial piece to the new study also appearing in Nature, had several critiques of the explanation to the paradox.
The part of the study he found most interesting was the analysis of the BIFs to determine the amount of carbon dioxide in the ancient atmosphere.
"But I think that's going to be controversial," Kasting told SPACE.com, as other researchers have looked at the same rock and come to the completely opposite conclusion about the carbon dioxide content, suggesting that it contained substantially more than Rosing and his team concluded.
To figure out the issue once and for all, geochemists need to come up with a model that explains how the BIFs formed, something that has been missing from the equation up until now.
Kasting also wasn't sure that thinner cloud layer could explain the paradox.
"I'm not that sold on the cloud-feedback mechanism," he said. In part this is because the temperature that the thinner clouds would boost Earth up to isn't as warm as scientists think the Earth was during the Archaean, he said. "It just barely gets you up to the freezing point."
Rosing counters though that not all scientists agree with the evidence that has been used to suggest that the early Earth was a very warm place.
So while the new research provides a plausible explanation for what kept the early Earth from freezing over, the paradox isn't likely to be declared solved anytime soon.
"We keep solving it, and someone comes along and tells you that you haven't solved it right," Kasting said. Still, other studies are already in the works with other possible explanations for the young sun paradox, he added.
- 101 Amazing Earth Facts
- Top 10 Ways to Destroy Earth
- Images: Earth from Above
Andrea Thompson is an associate editor at Scientific American, where she covers sustainability, energy and the environment. Prior to that, she was a senior writer covering climate science at Climate Central and a reporter and editor at Live Science, where she primarily covered Earth science and the environment. She holds a graduate degree in science health and environmental reporting from New York University, as well as a bachelor of science and and masters of science in atmospheric chemistry from the Georgia Institute of Technology.


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About EtizianoEtiziano is a design firm that specializes in Logo Design, Corporate Identity and Brand Development. Our company has designed logos and corporate identities for many different companies, websites and events. We are fanatical about what we do; logo and corporate identity design is our passion. We have worked in the logo design business since 2000 and offer design services of the highest quality possible. Most of our clients come back for more logos/design services because they know that they will receive professional and problem-free services. We stand firmly behind our logo design services and offer money back guarantee. Etiziano designers go the extra mile in each project to make you 110% satisfied. Don't be surprised to receive more concepts, more revisions or free business stationery. Custom Logo DesignYou will receive a logo which will help you build a successful business or improve the existing one. And remember we never use clipart or templates. Your logo will be 100% unique and original. Why Choose EtizianoThere are so many reasons to choose Ettiziano to design your logo:
Choose Etiziano and you will receive logo you can be proud of. FEATURED TESTIMONIAL
see more testimonials >Logo Design Process We keep it simple stupid. You choose a package, answer questions from the Logo Design Questionnaire and receive concepts in 3-5 business days. When you review them and send us feedback you will receive new variants based on your feedback next day. And after the final feedback you will receive ready files in all common file formats, including fully editable vector file. And remember you'll never have a second chance to make a good first impression.


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Looking for a Website Designer to create your new HVAC Company Website in Orlando FL?
We can have Your HVAC Company Website up and running within 7 days!
Well you are in the Right Place!
Modern Web Studios is a professional Website Designer providing modern, mobile friendly, eye-catching websites made specifically for the HVAC Company industry isn't just one of the things we do… It is exactly what we do. For over 20 years we have been creating websites specifically for the needs of a HVAC Company as well as all kinds of other small to medium businesses near Orlando FL. Our goal isn't to just satisfy but to IMPRESS you!
As a Website Designer over the last 20+ years we have become a trusted name for web design, graphics and digital marketing specializing in services for a HVAC Company. Our customers have come to trust our experience as a Website Designer, providing the highest quality products and customer service. In fact, our customers have helped identify us as a Top Performer in Angie's List (now Angi.com) for 10 years straight and counting. Add that to our stellar reviews in Google, Yelp, Thumbtack and Facebook; we pride ourselves on customer satisfaction.
Fill out our contact form and we will get back to you right away!
As a Website Designer specializing in services for the HVAC Company industry, we understand the needs and challenges that our customers serving the Orlando FL area; deal with each, and every day. We partner with this mindset as we provide Website Designer products and services that are affordable, user friendly and secure for use in this competitive internet market. We know you have choices so we appreciate you choosing us!
Don't Trust Just Any Website Designer for Your HVAC Company Website.
We ALL have heard the stories, a company from India had a low price that you couldn't pass up… only to find a Website Designer that you can never reach, can't understand when you do or takes weeks to do an update. We hear this story more and more from customers trying to save some money, I mean; it's just a website… right? A HVAC Company website created by a quality Website Designer has become more than an online directory or even a digital business card; it's literally the first handshake of your HVAC Company near Orlando FL. A website should be the anchor of your marketing with the branding, message and ease of access methodically thought out; not just grab a theme from a list and go. However, price matters and we know that; we have worked hard to streamline our processes so we can offer high end websites at starter website prices.
Check Out Your Customized HVAC Company Website Demo:
With this uniquely customized HVAC Company demo you can insert your info below so you can take a test drive of many of the things you could see in your website. Once you view it, you might decide you like it… just as it is, or give you a little inspiration of some of the features you might want in YOUR Customized HVAC Company website!
The info below is not collected or stored. It is only for use in this demo program.
Do I need Website Designer that specializes in the HVAC Company industry?
There are many things that have become industry standards for a HVAC Company serving the Orlando FL area over the years. Things like a good business card, a good location, customer reviews and a social media presence; are all thing that have become common. However, a website is the one thing that allows all of these other advertising venues to work together. We established a pattern of online success.
Modern Web Studios is a highly rated Website Designer that has been creating eye-catching, mobile and SEO friendly HVAC Company for years. We're ready to start just give us a call today!
In this digital Orlando FL economy, having a Website Designer like Modern Web Studios, specializing in services for the HVAC Company industry create a website for you; is probably the most important asset to your business. It lends for credibility and can offer a solid first impression; providing customers the information that they need to choose your business.
Your HVAC Company website is your first physical contact with your Orlando FL area customers!
The internet is an ever-evolving entity that has become more than a "digital business card" it is a digital handshake! Let's face it… no matter your thoughts on Covid-19, the internet has shifted to become the first point of contact for a HVAC Company in Orlando FL. Whether it helps your customers learn more about your services, communicate with you more easily or purchase products; a website has become the new "in-person" visit to your Orlando FL area HVAC Company.
With technology today you can now post better quality images, more secure forms and secure transmissions than ever before. Your potentials customers can touch every part of your HVAC Company now with a well laid out website created by a professional Website Designer. You can even use videos to showcase products and services and live video calls to help them get the full in-person experience. As things begin to shift slowly back to normal in the Orlando FL area, in-person will definitely become the better approach but, the reliance of how a HVAC Company website will help your customer choose the place to visit; will still be heavily influenced by your online presence, and who you choose as your Website Designer!
In order to make sure that your Orlando FL HVAC Company has a good website representation; let's look at a few important factors.
Make Your HVAC Company Website Look Good!
A well-designed website should be as attractive as it is functional. So many Orlando FL area businesses turn to the freebie website builders trying to save a dollar; ending up with a cookie-cutter site that is plain, dull and boring. If your website is going to reflect the positive face of your HVAC Company serving the Orlando FL area; do it right by getting the best. I mean, you hire a professional when you need a sign, fixture or machinery; so why not hire a professional Website Designer to build a proper website! Our goal isn't to just satisfy but to IMPRESS you!
When we say hire professional Website Designer, we don't mean Aunt Susan's, nephew's, cousin's brother on your Mother's side; who took website class in high school. We're talking about a professional Website Designer like Modern Web Studios. We have been providing Website Designer services specifically for the HVAC Company industry for over 20 years! We have the award winning staff to provide your HVAC Company with the support and expertise needed to help you succeed. Remember in the marketing industry; you usually get what you pay for.
Website Security and Back-Ups Through a Website Designer
Whichever Website Designer you decide to host your HVAC Company website with, make sure that they offer security features and backups to help protect your investment. Hackers work very hard to access the private information that is contained within the website. You should have a website hosting company that works just as hard to keep your information secure. GoDaddy, Network Solutions, Host Gator and others all offer low-cost hosting; but do not offer backups, updates and security protection without an extra charge. Therefore, make sure you know what you're getting. If you can find a company that can provide a website, support, hosting and security under one roof; that's a plus.
Oh… did I mention we do that?
Make sure the Website Designer PHYSICALLY operates in the Unites States of America!
There are so many out there claiming to be a Website Designer operating in the US, but physically are located in India, Russia, Turkey; the list goes on. While the internet might be a true global community, you should trust that your Website Designer actually lives and works here.
There is no limit to the horror stories we've heard from sweatshop style Website Designer services overseas. Many of, if not all of the box store players have moved their call centers and Website Designer overseas leaving you with less and less quality service for your HVAC Company. This also makes your website and information vulnerable to cyber attack and left outside many of the copyright protections that US operating Website Designer have.
Trust Modern Web Studios to not just say they are "based" in the US, but to be a Website Designer that actually is IN the United States, creating websites and marking for your HVAC Company and your Orlando FL area!
After Sales Support for Your HVAC Company Website
If we have heard it once, we've heard it a dozen times; there is so little support for a HVAC Company website out there from a quality Website Designer. I mean… try to get GoDaddy on the phone to ask a question (According to Sitejabber only 17.1% of reviews were positive in 2021) Wix, ranks 124th in customer support rankings (as of Dec 2021), Network Solutions is Ranked 96th in customer service. Other services like Site Ground, Name cheap and others may offer support but, are limited only to support with the core, offering no help with theme, platform, content, security, restorations and other import factors. This is why people get so frustrated when it comes to a HVAC Company website, you either get lousy Website Designer service or great service that costs too much. Modern Web Studios however, is to answer all this; with Angie's List highest marks as a Website Designer for 10 years straight and 5 Star Google Verified Reviews across the board. We offer the same or greater hosting services as the big box stores PLUS we support for the platform, theme, content and more. (Yes, it's true) We work hard for every review and welcome the comments from our customers.
Orlando FL Specific Search Engine Optimization (SEO)
For those HVAC Company businesses serving the Orlando FL area, needing to be found on search engines such as Google, Yahoo and Bing; SEO will be your most important and most expensive part of your website. Google has emerged as the industry standard for search engines and is practically taken over the industry. With well over 97% of market control; simply said: "it's Google's house so it's Google's rules". In April 2015 Google completely rocked the internet community by revamping how websites were ranked. In doing so it caused a Website Designer, as well as businesses; to completely rethink SEO. Now, years later; they still continue to refine the process making SEO one of the most complex systems on the planet. Navigating this complex process takes the skills of a Website Designer with years of SEO experience. Quality service and products is the only way to ensure the job is done right.
Much of Google's latest criteria removes the responsibility of placement info away from the customer and into the Google's control. While this has its advantages; it also makes the process more expensive and difficult to control for HVAC Company websites. When working with a Website Designer, make sure that they are up-to-date on Google's latest search engine optimization information and trends. (If they even offer that, because most don't…)
How Long Should a HVAC Company Website Last Before Upgrading?
When using a Website Designer to design a beautiful and functional Website Designer website, it should last you approximately 5 years. Template builders like Wix, Godaddy, Shopify, Homestead, Squareup, Weebly, Yola, Squarespace, Webs and even WordPress (depending on the builder) often look outdated right after you complete them. Furthermore, because of their database system, your site may never be able to keep up with technology! If you have a current HVAC Company website that is over five years old, more than likely the technology is outdated, costing you business; rather than making you money. Plus, if it is still not mobile friendly, you simply need to stop what you are doing and call a professional because it is useless in today's standards. No job is too big or too small.
HVAC Company websites today are graded by search engines based upon their functionality, platform used, mobile friendliness, content quality, keyterm saturation, structure and more. A HVAC Company website is also judged by search engines on how interactive you are with it. A good Website Designer is going to keep you up-to-date with changes in the industry that could vastly affect how your website is viewed. Google, for example, changes trends at least quarterly; any of these trend changes can affect the position of your HVAC Company website on search engines. It will also rank your website based on how close you are to your Orlando FL area customers! You can see where a quality Website Designer can become an important asset to your business!
We're ready to start just give us a call today!
Choosing the Right HVAC Company Website Designer
For larger companies dealing with high market demand, it may be necessary to use a Website Designer to make you a great looking and functional website; then hire a separate search engine optimization or marketing company near Orlando FL. This will provide you the best of both worlds depending on your needs. As a general rule, marketing agencies and SEO, SEM and digital marketing providers do a horrible job of building website, while most websites companies aren't that great at marketing. There's no other company that appreciates its customers than Modern Web Studios. Trying to find everything under one roof while still getting high quality service is a real challenge in this package and ship modern culture.
For most small and medium size businesses in Orlando FL, a quality Website Designer can provide high level SEO; for total package performance. However, if you are needing more than a local presence, or you are in a very competitive market; you might need to seek out experts in each industry; to make sure you are doing what is right for your business. Careful research and consideration should be paid however, saying and proving it are two different things. Choosing the Right Website Designer HVAC Company is a must, here are some questions to ask of a Website Designer:
- How long have they been building websites?
- Do they have a diverse team or just one person that does everything?
- Do they have hundreds of website clients… or just a few dozen?
- Has their service team earned any design or customer service awards?
- Do they have any Google certifications?
- Do they have verified reviews?
- Are they a Web Builder or a Website Designer?
- Here's a biggie… Are they located physically IN the United States?
What is the difference between a Website Builder and a Website Developer?
Actually, a lot! Website builders are the most common of those you might find online. Often an individual or small company, they simply "assemble" a website. They might use WordPress or a white label Wix builder with a pre-designed theme and plugins. That generally is their limitation. They lack the skills to code, construct, develop or create custom items within a HVAC Company website. They are limited by the software or the skill to really provide the customizations that many Orlando FL area clients seek today. The result is a low performance, cookie-cutter build that probably cost too much… or too little.
A Website Designer can craft, from scratch; a HVAC Company website that meets the visual and performance needs of the local Orlando FL area customer. They generally will use a theme builder, rather than buying a pre-designed theme with the capability of modifying the theme to the customer's preferences. They create or choose high quality plugins or applications that can be modified to the customer's needs. We established a pattern of online success. Furthermore, their knowledge of SEO will help prepare the website and server hosting experience to meet the desired goals of the client; placing additional security and protection built into the website. Most HVAC Company Website Designer also offer high speed managed hosting to support their creation. Website builders usually leave it up to YOU to find a hosting company, a platform manager, tech support, SEO, leaving you with security updates, platform updates and plugin updates that can take the site down if not done correctly.
Naturally, you can see the advantages of a Website Designer vs. a builder; knowing the difference may be the key to having a successful Orlando FL area website.
Taking Steps for Covid 19? Website Designer Websites Constructed Remotely
The beauty of building you a quality HVAC Company website is that 100% of it can be handled remotely. No need to worry about sanitation, masks, vaccines, mandates, or bad breath; websites are one of those things that can be handled without ever stepping a foot into a Orlando FL area office! Since Modern Web Studios Website Designer has been operating in this manner for over 20 years… we can honestly say; we are Covid proof! I mean, if you want to wear a mask while talking to us over the phone, it's a free country; at least a little while longer anyway. Our goal isn't to just satisfy but to IMPRESS you!
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Contact Modern Web Studios Website Designer today to see how we can add you to the hundreds of happy customers we've been pleased to serve over the last 20+ years. When you call in, you won't be calling an overseas call center, or getting a high priced pushy salesman; you'll be talking directly to the team that will be providing you continuing high level support for years to come. Call today for your quote on a turn-key or custom HVAC Company website by an award winning Website Designer today!


text: From the well-publicized events at San Francisco State in 1968 to the image of black students with guns emerging from the takeover of the student union at Cornell University in April, 1969, the struggle for a more relevant and meaningful education, including demands for black and ethnic studies programs, became a clarion call across the country in the late 1960's. Through the stories of these young men and women who were at the forefront of these efforts, Waging Change examines the untold story of the racial conditions on college campuses and in the country that led to these protests. The film's characters were caught at the crossroads of the civil rights, black power, and anti-Vietnam war movements at a pivotal time in America's history. Today, over 45 years later, many of the same demands are surfacing in campus protests across the country, revealing how much work remains to be done. Waging Change links the past to the present and the present to the past–making it not just a movie but a movement. Directed by Abby Ginzberg.


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If you've been seeing boys walking around town in black-leather jackets and rolled up jeans and girls in poodle skirts and white ankle socks, no, that's not some hip Homer retro look flashing back to the 1950s.
To get in character and wear clothes that might be unfamiliar to 21st century teenagers, the cast and chorus of "Grease," this spring's Homer High School musical, have been trying out some of the costumes for the show, opening Friday night at the Mariner Theatre. Learning to move in 50-year-old fashions can be a challenge, especially for girls who don't wear dresses, said choir director Kyle Schneider.
"Not only is it good for them, it's good publicity for the show," he said.
On Sunday, the cast and musicians worked through the show in a grueling afternoon rehearsal. Schneider, who started at Homer High School last fall after four years in Seward, showed he is a taskmaster, pushing them through six or seven times to get one entrance right.
For a big dance number at the start of Act Two, "Shakin' At the High School Hop," the main cast and supporting chorus of about 40 first had to learn the dance steps. Choreographer Jill Berryman showed them how to dance like an Egyptian and, well, how to shake it. The dancers also had to work out their entrance, coming in from the back of the theater.
"Shake!" Berryman shouted to prompt them on the shifting steps. "Egyptian!"
On stage, Schneider clapped the beat. He wasn't some stiff orchestra maestro, though. Not everyone quite got the moves down right, but if they needed some inspiration, all they had to do was look up on stage and watch their director waving his arms and moving his legs.
"It's just feel-good music," Schneider said "It's just such high energy music, you can't hold back."
Written by Jim Jacobs and Warren Casey, "Grease" had its first off-Broadway performance in 1971. It later became popular with the movie version in 1978 starring John Travolta and Olivia Newton-John, rewritten from the musical to showcase Newton-John.
The musical has more songs than the movie, Schneider noted.
"If you've seen the movie, you haven't seen the musical," he said.
"Grease" has a classic plot: boy meets girl. Its two lead characters, Danny, played by Joseph Cardoza, and Sandy, played in alternating performances by Hope Hudson and Adella Sundmark, appear to be opposites. Danny is part of the T-Birds, rebellious greasers, while Sandy is sweet and demure. The greasers' counterparts are the Pink Ladies, hip-swinging, gum-chewing wild girls.
The greasers and pink ladies of "Grease" were the outsiders of the time, Schneider said.
"They were on the outskirts," he said. "They weren't the in crowd."
To better understand and develop their characters, Schneider talked about the 1950s and asked the students to research the cliques of the time. Who would they be if they had gone to school in 1959?
"I had a group of kids who said, 'This is how I would be. I'd be a Beatnik," Schneider said.
Schneider also asked the cast members to think about what it meant to be a teenager 50 years ago and how that differed from living in the 21st century.
"They got really adept at figuring out what they can and can't do as a character and learning how to blur those lines a little bit," he said.
While this is his first musical at Homer High, Schneider has directed musicals elsewhere, and brings a theater and opera background. Born and raised in Chicago, his high school didn't have a choir program. Instead, he studied theater. He first learned music playing the clarinet in band and sang in choir at church. Schneider got a bachelor of music education at Illinois State University, Normal. He taught a year in Illinois before moving to Alaska and teaching all grades in Seward, including band and choir. He also was director of the community band and community choir.
Moving to Homer fit him, Schneider said.
"The prevalence of the arts and how involved everyone is in the arts is definitely a huge boon to me as a person," he said. "To move into such a well established, well supported music program, I couldn't have asked for more."
Schneider also brings empathy with his students as performers. Each summer for the past few years he has attended the Midwest Institute of Opera, where he sings bass-baritone in whatever role he gets.
"It turns into an opera vacation," he said. "I get to bring all that information back from that experience and share it with the kids."
Putting on a big musical, working together to create a bit of Broadway magic, also is the message of "Grease"
"The story of the show and the message of the show is the music," Schneider said. "It's not supposed to have some grand huge message aside from 'these are the decisions we face in high school and these are the decisions we might face.' It's important to rely on the people around you for the support you might need."
As with last summer's Pier One Theatre production of "Next to Normal," Homer High's "Grease!" has a pit band, with student musicians Justice Sky on bass guitar, Jonathan Sharp on tenor sax and Patrick Latimer on tenor sax. Also in the band are JulieAnn Smith on keyboards and Hal Spence and Robert Hockema on guitar.
Michael Armstrong can be reached at


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JERUSALEM (AP) — Israeli Prime Minister Benjamin Netanyahu vowed to carry on Wednesday after police recommended indicting him on corruption charges, angrily dismissing the allegations and the critics calling on him to step down.
With his coalition partners dutifully lining up behind him, the longtime leader readied himself for a prolonged battle over his political legitimacy as the attorney general considers whether to ultimately press charges.
The police announcement that Netanyahu's acceptance of nearly $300,000 in gifts from two billionaires amounted to bribery sent shockwaves through the Israeli political system and delivered a humiliating blow to Netanyahu after years of allegations and investigations. But it did not appear to immediately threaten his lengthy rule as reaction largely fell along partisan lines. Nearly all of Netanyahu's Cabinet ministers issued statements of support and his coalition partners all signaled they would stick by him, for now.
"Let me reassure you: the coalition is stable. No one, not I and no one else, plans to go to elections. We will continue to work together with you for the people of Israel until the end of our term," he said to a gathering of local government officials in Tel Aviv. "After I read the recommendations report, I can say it is biased, extreme, full of holes like Swiss cheese and doesn't hold water."
In an impassioned defense, Netanyahu took aim at police investigators saying their figures were vastly inflated and tried "to create a false impression of exchanges that never existed."
Though he is not legally compelled to resign, several opposition figures called on Netanyahu to do so to avoid corrupting the office further.
Under similar circumstances a decade ago Netanyahu, then the opposition leader, urged then-Prime Minister Ehud Olmert to resign after police recommended he be indicted, saying a leader "sunk up to his neck in interrogations" could not govern properly.
In contrast to Olmert, who eventually stepped down and was convicted and imprisoned, Netanyahu is still relatively popular with the public and enjoys broad political support in his Likud party and among coalition partners — nearly all of whom stand to lose power if elections were held today.
Public Security Minister Gilad Erdan, who oversees the police, said the prime minister "deserves the assumption of innocence," while Netanyahu's coalition whip, David Amsalem, accused the police of committing "an illegitimate act here to attempt a coup d'etat in Israel."
More importantly, the coalition parties that keep Netanyahu afloat said they would await the ruling of Attorney General Avihai Mandelblit, who could take months to decide whether to file charges.
The only crack in the wall-to-wall support came from Education Minister Naftali Bennett, head of the nationalistic Jewish Home party, who said Netanyahu could keep serving but was "not living up to the standard" expected of his office.
Police recommended indicting Netanyahu over accepting gifts from Hollywood mogul Arnon Milchan and Australian billionaire James Packer, and over suspicions that he offered to give preferential treatment to a newspaper publisher in exchange for favorable coverage.
Police say that in that in return for lavish gifts that included jewelry, expensive cigars and champagne, Netanyahu had operated on Milchan's behalf on U.S. visa matters, tried to legislate a generous tax break for him and sought to promote his interests in the Israeli media market.
One of the biggest surprises to emerge was that Yair Lapid, leader of the centrist opposition Yesh Atid party, had given testimony about Netanyahu's alleged efforts to help Milchan that he witnessed during his term as finance minister.
Netanyahu pounced on this as an indication that the investigation was politically motivated and said Lapid looked to "topple me at any cost." His Likud allies lashed out at Lapid, with Amsalem angrily calling him a "snitch."
"That's how criminals talk, not public servants," Lapid responded, saying that as a law abiding citizen he merely gave a short testimony upon the request of police.
"Don't threaten us. We cannot be intimidated. We will not let you make this a country where honest people are scared of speaking the truth," he said Wednesday to Netanyahu and his allies. "You cannot represent us in the world, when every foreign leader knows that you stand accused of serious offenses. For the good of the citizens of Israel, the prime minister needs to vacate his post."
Other leading opposition figures and even former Netanyahu allies called on him to resign as well.
Netanyahu has claimed to be a victim of an overaggressive police force and a media witch hunt that has also targeted his family. In an emotional television appearance late Tuesday, he vowed not only to serve out his term but run again for re-election. Netanyahu has served as prime minister since 2009, and previously from 1996 to 1999.
In a second case, Netanyahu reportedly was recorded asking Arnon Mozes, the publisher of the Yediot Ahronot daily, for positive coverage in exchange for promoting legislation that would weaken a free newspaper that had cut into Yediot's business. Police said there was sufficient evidence to charge both Milchan and Mozes with offering bribes and Netanyahu with taking them.
While ministers and mayors are required to resign if indicted, Israeli law is less clear when it comes to the prime minister. Given the legal limbo, and the prolonged process that could lie ahead, Netanyahu's political future depended mostly on public opinion and political constellations that resulted.
"Woe to us if we should allow the struggle over the fate of one man — senior though he may be — to erode the moral and institutional foundations of our law enforcement agencies," said Yohanan Plesner, president of the nonpartisan Israel Democracy Institute, noting that Netanyahu was innocent until proven guilty.
"Notwithstanding, the facts revealed yesterday by the police, which are not contested by the prime minister himself, are deeply troubling," he added. "Should such behavior come to be accepted as the norm for public servants, moral decay will spread through our civil service and the public's trust in the government will plummet."


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Since David Foster Wallace's death in 2008, much if not most of the voluminous commentary about him has focused, understandably enough, on the circumstances of his life, especially those that might help explain how he came to commit suicide when by almost all measures of literary success he had accomplished a great deal, even to the point of being considered by many the most important writer of his time. Most of his readers no doubt expected even greater accomplishments from him in the future, and because his death at such a relatively young age meant his already extant work would now be his complete work (although of course the partially written The Pale King would appear posthumously), even discussions centered on that work rather than Wallace's life often have attempted to reinterpret the work by reading our expanded biographical knowledge of Wallace's struggles, both medical and existential, back into his fiction and essays. This tendency will probably only be encouraged by D.T. Max's recent biography of Wallace.
To an extent, some such reinterpretation of Wallace's work is inevitable, and if the current preoccupation with his troubled life ultimately results in more attention being paid to the work (as opposed to a Wallace legend in which he becomes the latest in the line of suffering artists, the sacrificial figure of his generation), then it will have performed a useful service. A good place to start in considering Wallace and his work from a fresh perspective might be the latter's relation to postmodernism, with which his fiction is usually associated, although perhaps as much in its resistance to certain fundamental features of postmodernism as an unambiguous affinity with its goals. Wallace himself expressed his unease with what he believed was its defining characteristic in his 1992 essay, "E Unibus Pluram: Television and U.S. Fiction."
This essay is presented as a reflection on the influence of television, but in the long run it is more important as Wallace's analysis of the state of fiction at this time and, perhaps most significantly, as an implicit statement of Wallace's own preferred practice as a writer of fiction. Here Wallace identifies "postmodern irony" as the characteristic approach of the most advanced American writers, and further identifies Thomas Pynchon and Don DeLillo specifically as the older writers whose work provides the touchstone in deploying such irony. He believes that irony in their fiction, "started out the same way youthful rebellion did. It was difficult and painful, and productive--a grim diagnosis of a long-denied disease. The assumptions behind this early postmodern irony, on the other hand, were still frankly idealistic: that etiology and diagnosis pointed toward cure; that revelation of imprisonment yielded freedom."
One could quarrel with Wallace's characterization of 1960s postmodernism here. Although it is true that what we now call American postmodernism emerged from the same cultural mileu that produced the era's "youthful rebellion," it doesn't seem faithful to the dynamic and largely comic spirit of 60s fiction to describe its effect as "grim," however much it might be responding to grim social and cultural conditions. I think it is also inaccurate to describe the comedy of this fiction as being of the sort that involves "diagnosis" and "cure." The comedy in Pynchon and DeLillo (as well as Coover, Elkin, or Barthelme) is not conventionally satirical in that it proposes no solutions to the social dysfunctions and existential dilemmas it portrays other than sustained laughter, although one could say it is this laughter that does promise the liberation into freedom, the "revelation of imprisonment." Still, by calling the postmodern irony of such writers "idealistic," Wallace clearly wants to exempt them from the criticisms he makes of writers following in their wake, who no longer have the idealism he finds in Pynchon and DeLillo. At worst Wallace wants to call into question the way their influence has been assimilated, not the literary value of their books.
And this influence was not communicated directly to younger writers, or at least so Wallace wants to argue. The bulk of this essay is actually taken up with an extended--some might say overextended--critique of television focusing on the way it has taken up the ironic stance traceable to these early postmodern writers and robbed it of its "idealistic" intentions. Describing the relationship to tv of a fictional everyman, "Joe Briefcase," Wallace observes:
For to the extent that TV can flatter Joe about "seeing through" the pretentiousness and hypocrisy of outdated values, it can induce in him precisely the feeling of canny superiority it's taught him to crave, and can keep him dependent ot the cynical TV-watching that alone affords this feeling. And to the extent that it can train viewers to laugh at characters' unending put-downs of one another, to view ridicule as both the mode of social intercourse and the ultimate art form, television can reinforce its own queer ontology of appearance: the most frightening prospect, for the well-conditioned viewer, becomes leaving oneself open to others' ridicule by betraying passe expressions of value, emotion, or vulnerability. Other people become judges; the crime is naivete. . . .
Again there is much here that is debatable, however much the general account of television "cool" might be. Wallace's definition of "television" seems very broad, seems indeed to encompass the medium as a whole, but in his discussion he seems primarily concerned with sitcoms and commercials. Perhaps it is the case that those responsible for creating this kind of television are also most likely to have read and felt the influence of avant-garde and experimental fiction, but if so Wallace does little to show that this sort of direct influence was likely. Instead, he suggests that tv and postmodern fiction "share roots," but his assertions about these "roots" only create confusion about what he counts as "postmodern" after all:
In fact, by offering young, overeducated fiction writers a comprehensive view of how hypocritically the U.S.A. saw itself circa 1960, early television helped legitimize absurdism and irony as not just literary devices but sensible responses to an unrealistic world. For irony. . .is the time-honored way artists seek to illuminate and explode hypocrisy. And the television of lone-gunman Westerns, paternalistic sitcoms and jut-jawed law enforcement circa 1960 celebrated a deeply hypocritical American self-image.
It's not one bit accidental that postmodern fiction aimed its ironic cross hairs at the banal, the naive, the sentimental and simplistic and conservative, for these qualities were just what sixties TV seemed to celebrate as "American."
From this one would conclude that for Wallace, "postmodern" writers are those writing what he calls "Image-Fiction," writers such as William Vollmann, Jay Cantor, Stephen Dixon, A.M. Homes, and Michael Martone, most of whom could only be called second-or third-wave postmodernists if Pynchon, DeLillo, and Coover are the original postmodern writers (Dixon is of the same generation as Pynchon and DeLillo, although he came to fiction writing at a later age.) It is not really plausible to think that such first-wave postmodernists would have been inspired in their practice by television rather than the modernist writers of the previous generation (although ultimately some of them--Coover, for example--do take the pervasive presence of television as a subject, while Pynchon and DeLillo are certainly sensitive to the influence of television and mass media on American culture), and Wallace seems to be suggesting that tv was as important an influence in the development of "postmodernism" as any literary influences. Furthermore, he also seems to be suggesting that television writers may themselves been influenced in their own version of postmodern irony primarily by television and not by postmodern fiction, after all.
It seems to me overwhelmingly likely that the irony expressed and the attitude of "canny superiority" encouraged by certain kinds of television shows are mostly a function of the history of television rather than of postwar American fiction. Television becomes just another of the features of American culture that causes both kinds of writers to hold that culture at a distance, even if in doing so the tv writers are contributing to the trivialization of that culture, which Wallace correctly enough points out. The ubiquity of the television version of reality as well could perhaps be the main source of tv's influence on fiction writers, as they struggle to register that ubiquity and its distorting effects on actual reality. Wallace is describing what he calls a "cultural atmosphere" in which irony is a privileged aesthetic response to experience, but the irony of television is superficial and self-satisfied, while the irony of postmodern fiction just isn't.
It's pretty clear that when Wallace refers to the "U.S. fictionist" who shares this atmosphere but also "sees himself heir to whatever was neat and valuable in postmodern lit" he is writing primarily about himself. It was, in fact, clear enough when this essay was published, but now it seems even more apparent that "E Unibas Plurum" is ultimately a kind of manifesto for Wallace's own artistic practice, at least insofar as that practice is based on prolonged reflection on his own relationship both to the "cultural atmosphere" television has helped create and to postmodern lit. He is drawn to postmodern irony, but finds that the cheap irony of television (of contemporary culture generally) has to some extent usurped it. At the same time, he wants his writing to convey a kind of sincerity, which he does find in early postmodern fiction, but which is becoming increasingly impossible, as he tries to point out in his critique of Mark Leyner's My Cousin, My Gastroenterologist at the conclusion of his essay.
"Leyner's work," Wallace writes, "is both amazing and forgettable, wonderful and oddly hollow" and "in its masterful reabsorption of the very features TV had absorbed from postmodern lit, it seems as of now the ultimate union of U.S. television and fiction." But also it is "just plain doomed by its desire to ridicule a TV-culture whose ironic mockery of itself and all 'outdated' value absorbs all ridicule." Wallace attempted to avoid this "doom" in his own work by steering clear of "ironic mockery"--although there is plenty in his novels and stories that could at least be taken as satirical--even while he could not avoid other postmodern devices and strategies. One could say that rather than moving away from postmodernism, Wallace in attempting to recover its original sincerity was trying to reinforce its initial possibilities.
Still, "E Unibus Pluram" works better as illumination of what David Foster Wallace was hoping to accomplish as a writer than it does as an examination of postmodern fiction. It doesn't really make the case that "TV had absorbed from postmodern lit" any of its own unproductive irony. To conclude that the popularity of irony on television must be related to the prevalence of irony in postwar fiction is to underestimate the ability of tv writers (and audiences) to understand the appeal of in-jokes and generalized mockery all on their own and, sadly, to overestimate the reach of American writers in the 1960s and 70s, however much in retrospect they seem to have presaged a significant cultural shift. Moreover, Wallace conflates the postmodernism of "postmodern irony" with the specific postmodern practice of metafiction, which he discusses briefly on the way to a much longer discussion of self-reflexivity in television. "Postmodern" irony becomes "self-conscious" irony, which is "the nexus where television and fiction converge and consort."
But metafiction and postmodernism are not synonymous, although their appearance on the literary scene was more or less coterminous. Metafiction was not "deeply informed by the emergence of television" but has its roots in the fiction of Beckett and Borges, or, if we want to trace it to its earliest manifestation in fiction, Cervantes and Laurence Sterne. It was not "self-conscious" in the superficial and trivial way in which television celebrates its omnipresence, but called attention to its own artifice as part of an effort of self-renewal, shedding encrusted assumptions and expectations to make further invention possible, not settling for facile mockery.
Ultimately I have to think that Wallace himself knew that as literary criticism/history this essay wouldn't stand up to serious scrutiny. Or perhaps he was so wary, as someone otherwise receptive to what was "neat and valuable" about "idealistic" postmodernism but also bathed in the noxious "cultural atmosphere" exuded by television, of succumbing to the debilitating irony of television he was not able to make these distinctions. Nevertheless, however much "E Unibus Pluram" might provide us insights into Wallace's intentions as a fiction writer, it doesn't really provide many insights into the actual nature and history of postmodernism.


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Phil Jackson was in attendance for the New York Knicks' 127-96 loss to the Los Angeles Lakers on Tuesday.
The Knicks allowed 51 points in the third quarter to a Lakers' team playing without Pau Gasol and Kobe Bryant.
?Fifty-one points,? Jackson said. ?When it?s 35 points you start to get worried. When it?s a 51-point quarter, that?s really awful.?
Jackson said he's in assessment mode.
?We?re in a talent hunt,? Jackson said. ?We have to bring in talent.?
One could say Phil means we need more talent but with a roster that has top rotation still on the books next year one can deduce he's not enamored with what we have.
Then again so many of us were boiling over with fury ESPN had our talent pegged at 37-45 before season's begin. Usually TALENT cost money.
I wonder how Phil thinks he's going to turn this roster of stale beer with cigarette ashes and dead flies floating at the top into wine.


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Mr. Murray Allen, of Raleigh, N. C., for plaintiff in error. [245 U.S. 298, 299] Messrs. James S. Manning, of Raleigh, N. C., and Robert H. Sykes, of Durham, N. C., for the State of North Carolina.
Mr. Justice McREYNOLDS delivered the opinion of the court.
Pertinent provisions of 'An act to secure the enforcement of the laws against the sale and manufacture of intoxicating liquors' established by the General Assembly of North Carolina March 3, 1913 (Pub. Laws 1913, c. 44, p. 76), are copied in the margin. 1 Section 5 requires rail- [245 U.S. 298, 300] road companies to keep a separate book in which shall be entered the name of every person to whom intoxicating liquor is shipped, together with amount, kind, date of receipt, etc., to be followed by the consignee's signature acknowledging delivery. And it further provides that the [245 U.S. 298, 301] book shall be open for inspection by any officer or citizen, and makes failure so to do a misdemeanor.
Plaintiff in error was indicted at the May term, 1914, superior court, Wake county, upon a charge of violating section 5 by refusing, in the preceding January, to permit a citizen to inspect its record showing shipments of spirituous and malt liquors transported from Virginia into that county, 'said record containing the names of the consignee, consignor, date of receipt and delivery of said shipments, and to whom delivered.'
The jury returned a special verdict in which they found:
Upon this special verdict the state Supreme Court adjudged plaintiff in error guilty as charged, 169 N. C. 295, 84 S. E. 283, and it now maintains the judgment is erroneous, for reasons following:
I. Section 5, c. 44, is void because an attempt by the state to regulate interstate commerce, in that it imposes as a condition precedent to delivery that the carrier shall keep a separate book containing name of person to whom liquor is shipped, amount and kind received, date of receipt and delivery, by whom and to whom delivered; and the consignee is required to receipt therefor before delivery.
II. In order to comply with section 5 by permitting records of interstate shipments of liquor to be inspected by a mere citizen, the carrier would necessarily violate the provisions of section 15, Act to Regulate Commerce, as amended June 18, 1910 (36 Stat. 539, 551, 553 [Comp. St. 1916, 8583, pars. 6, 7]), which prohibit such action exdept under circumstances specified. (These are copied below.)2 [245 U.S. 298, 303] III. The Webb-Kenyon Law (Act of Congress March 1, 1913, entitled 'An act divesting intoxicating liquors of their interstate character in certain cases,' 37 Stat. 699) cannot affect the application of these principles to shipments destined to points in Wake county, because it relates to liquors intended to be received, possessed, sold or used in violation of state law; and to receive or possess liquor in any quantity in that county is not unlawful.
For some years it has been the established policy of North Carolina 'approved by popular vote and expressed and enforced by the general and many local statutes, that, except in very restricted instances, the manufacturing and sale of intoxicating liquors shall not be allowed.' Smith v. Express Company (1914) 166 N. C. 155, 157, 82 S. E. 15, 16. Since our decision in Clark Distilling Co. v. Western Maryland Ry. Co., 242 U.S. 311, 320 , 324 S., 37 Sup. Ct. 180, 184 (61 L. Ed. 326, L. R. A. 1917B, 1218, Ann. Cas. 1917B, 845), it has not been open to serious question that the Webb-kenyon Law is a valid enactment; that 'its purpose was to prevent the immunity characteristic of interstate commerce from being used to permit the receipt of liquor through such commerce in states contrary to their laws, and thus in effect afford a means by subterfuge and indirection to set such laws at naught'; and that under it a state may inhibit ship- [245 U.S. 298, 304] ments therein of intoxicating liquors from another by a common carrier although intended for the consignee's personal use where such use is not actually forbidden. Plainly, therefore, after that enactment nothing in the laws or Constitution of the United States restricted North Carolina's power to make shipment of intoxicants into Wake county a penal offense irrespective of any personal right in a consignee there to have and consume liquor of that character.
The challenged act instead of interposing an absolute bar against all such shipments, as it was within the power of the state to do, in effect permitted them upon conditions intended to secure publicity, to the end that public policy might not be set at naught by subterfuge and indirection. The greater power includes the less.
The provisions of section 15, Act to Regulate Commerce, here relied on were intended to apply to matters within the exclusive control of the federal government; and when by a subsequent act Congress rendered interstate shipments of intoxicating liquors subject to state legislation, those provisions necessarily ceased to be paramount in respect of them.
The judgment of the court below is Affirmed.
Mr. Jstice VAN DEVANTER dissents.
[ Footnote 1 ] Public Laws of North Carolina 1913, c. 44, p. 76:
it is directed to search the place or places described in such complaint or information. ...
[ Footnote 2 ] 'An Act to Regulate Commerce,' as amended June 18, 1910 (36 Stat. 539, 551, 553).
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Citation: 245 U.S. 298
Docket No: No. 18
Decided: November 07, 1917
Court: United States Supreme Court
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3rd March 2009, The Irish Times, see here
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A recent report by Henley & Partners forecasts an unprecedented 85% surge in the millionaire population within BRICS nations over the next ten years, marking the highest growth in wealth among any group of nations. The report, conducted in collaboration with global intelligence firm New World Wealth, highlights the substantial rise in millionaire count within BRICS countries, collectively holding a staggering $45 trillion in investable wealth.
Comprising Brazil, Russia, India, China, and South Africa, the BRICS bloc is set to expand further this year, including nations like Egypt, Ethiopia, Iran, and the United Arab Emirates, with Saudi Arabia slated to join soon. Currently, the BRICS nations boast a millionaire population of 1.6 million individuals with investable assets exceeding a million dollars, a figure expected to skyrocket with the projected 85% surge in wealth over the coming decade.
Andrew Amolis, a wealth analyst at New World Wealth, underscores the significance of this forecast, stating that it represents the highest wealth growth globally among any bloc or region. In contrast, data provided by Amolis reveals that the Group of Seven (G7), consisting of Canada, France, Japan, Italy, the U.S., the U.K., and the European Union, anticipates a 45% increase in its millionaire count over the same period, despite holding $110 trillion in investable wealth as of December 2023.
Dominic Volek, Managing Partner and Head of Southeast Asia at Henley & Partners, emphasized the transformative impact of BRICS on the global stage, positioning itself as a formidable challenger to established institutions like the G7. India emerges as a frontrunner in wealth expansion, projected to witness a remarkable 110% surge in wealth per capita by 2033, followed by Saudi Arabia with a growth rate exceeding 105%. The UAE, China, and Ethiopia are also poised for substantial wealth increases of 95%, 85%, and 75%, respectively.
Reflecting on the past decade, China led the BRICS nations with a remarkable 92% growth in private wealth, followed closely by India with an 85% expansion. Meanwhile, the UAE experienced a commendable 77% increase in wealth. Despite these gains, some BRICS members, such as South Africa and Iran, have observed a decline in their millionaire populations since 2013.


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Currently both Azureus and uTorrent included this new form of encryption (specs) in their latest Beta's. The fact that these two clients are actively working together to implement this new feature is promising and will make this form of encryption the new standard since the users of these two clients cover the majority of all BitTorrent users.
There are two "encryption modes" available.
The 2 different payload encryption methods plaintext transmission and RC4 provide a different degree of protocol obfuscation, security and speed. Where the plaintext mode only provides basic anti-shaping obscurity, no security and low CPU usage the RC4 encryption obfuscates the entire stream and not only the header and adds some cryptographic security at the price of spent CPU cycles.
The question now is.. Does it work? and how effective is it? If it works it will definitely offer a great solution to all BitTorrent users who suffer from traffic shaping ISP's.
Bram Cohen, the creator of the BitTorrent protocol reacted quite negatively on these new developments. He questions the need for encryption since only a few ISP's are actively shaping traffic. Among other things he also fears incompatibility between clients and increased cpu usage. Although these arguments can be countered quite easily, developers should keep them in mind.
But the fact is, if this new encryption method is launched successfully it will be a huge step forward for the BitTorrent community.


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Florida is turning — scratch that and let me start over — Florida has turned into a fundamentalist hellhole that is bound and determined not only to miseducate its kids, but actively put their lives at risk as well.
It's sad enough that Florida is the state that shamefacedly must claim such embarrassments as "hanging chads," Katherine Harris (happily forgotten), Kent Hovind and the largest concentration of Scientologists in the country. But the cancer of religidiocy runs even deeper than you might have thought.
We've all heard about how a bogus "Academic Freedom Act" specifically designed to target science education, and machinated by the Discovery Institute, has passed out of its first Senate committee. But you might not be aware that what is already in place in the Sunshine State are abstinence-only sex education programs. And, like all miseducation programs put together by the religious, whose real motivations are to maintain ignorance and suppress knowledge rather than encourage, nurture, and cultivate it, the results have been disastrous. I mean, majorly disastrous, as in, we're damn lucky we haven't already seen some dead kids as a result of this.
A recent survey that found some Florida teens believe drinking a cap of bleach will prevent HIV and a shot of Mountain Dew will stop pregnancy has prompted lawmakers to push for an overhaul of sex education in the state.
The survey showed that Florida teens also believe that smoking marijuana will prevent a person from getting pregnant.
State lawmakers said the myths are spreading because of Florida's abstinence-only sex education, Local 6 reported.
This is so staggering that you really need to read it a few times before it sinks in. A cap of bleach!? Seriously, kids down there are that stupid and ignorant about their own bodies? Gee, Christians, that "stick your head in the sand and hope all that scary reality goes away" approach to schooling just seems to be working out great, doesn't it?
See, this is what we've been saying all along.
A sex education program, geared towards a segment of the populace whose hormones are rampaging through their bodies like Count Dracula at a blood bank, that delivers no actual information on the subject other than "Don't do it, save yourself for marriage!" is going to be an epic fail. Every assessment that has been made of abstinence-only programs has determined this.
And lacking accurate information, well, what do you think the little adolescent horndogs are going to do? They'll get their information from the usual oh-so-reliable places: their peers, the locker room, MySpace chat, wherever. And they'll get idiotic ideas in their heads because you haven't put facts there first. And that irresponsibility on your part will lead to irresponsibility on theirs, leading to more teen pregnancies, STD's, and worse. O the irony. But hey, at least you didn't have to subject yourself to the discomfort and embarrassment of having to get up in front of a class of horny teenagers and talk about the nasty, did you?
Fundies always have to learn this the hard way. Just because you don't like a fact, because it offends you, or because it doesn't flatter your religious preferences, doesn't make it stop being a fact. And harsh truths don't go away when you close your eyes to them.
You know, when you get right down to it, the worst that could happen if some poor dumb SOB grows up deceived about evolution is that, well, he'll just be dumb where that subject of science is concerned, and sadly bereft of a sense of wonder for the pageantry of life, and all that. But on the whole, someone like that can more or less get by in life as a cog in the proverbial machine, selling insurance or managing an OfficeMax or whatever.
But here, we see an instance where the pernicious influence of conservative Christian fundamentalism on education is more than just a nuisance. It could actually get some boys and girls frickin' killed!
Wow. Just wow. At least they've come to their senses and are changing course. I wonder how many unwanted pregnancies and abortions had to happen first.


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According to data from the CDC, 94 percent of people who die while having COVID-19 also have other health concerns contributing to their deaths. This leads to death certificates that state both conditions; for example, listing both COVID-19 and diabetes, or COVID-19 and heart disease.
The Centers for Disease Control and Prevention published their latest COVID-19 data update last week. It said that roughly 6 percent of those who died while having COVID-19, the virus "was the only cause mentioned" as a cause of death. This signifies the role that contributing conditions play in how severe COVID-19 can be.
Over the weekend, Twitter removed a tweet that had been retweeted by President Donald Trump for violating Twitter's rules. The tweet said, incorrectly, that the CDC had updated their numbers to "admit that only 6%" of the country's coronavirus deaths "actually died from COVID," according to CNN.
Other social media posts with similar language are still posted.
Roughly 183,000 Americans have died after contracting COVID-19. The CDC's data, found here, looked at death certificates, which can lag behind raw death numbers from hospitals and states.
While people can live with other health concerns, like heart disease, obesity and respiratory issues, having underlying health conditions and then contracting COVID-19 can increase a person's chances of becoming severely ill, or die.
CDC's data shows "on average, there were 2.6 additional conditions or causes per (COVID-19) death."
The top comorbidities, or underlying medical conditions in a COVID-19 death include:
- Influenza and pneumonia
- Respiratory failure
- Hypertensive disease
- Diabetes
- Vascular and unspecified dementia
- Cardiac arrest
- Heart failure
- Renal failure
- Intentional and unintentional injury, poisoning and other adverse events


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WITH OUR music teacher, Mrs. Feigenbaum, at the piano playing the melody – the Toreador's Song from the opera Carmen – and the lyrics handed out to us on mimeographed pages, my 4th-grade classmates and I practiced one of the songs we were learning for our school's Thanksgiving assembly:
Thanksgiving Day comes once each year
Our president proclaims it far and near.
Thankful for the bounty of our land,
The harvest that makes this nation grand,
Bestowed us from above,
God bless this land,
This precious land we love.
I was a student at the Hebrew Academy of Cleveland, a Jewish day school where half of the curriculum was devoted to religious studies and the school year conformed to the Jewish calendar. Most of the kids in my class came from Orthodox Jewish homes, and many of us were the children of Eastern European immigrants who spoke Yiddish more fluently than they spoke English.
Yet there we were, kids whose parents may have gotten off the boat only 10 or 15 years earlier and whose family life bore little resemblance to The Patty Duke Show, singing songs about the Mayflower and turkey dinners without a hint of irony. The inculcation of Jewish values and learning was the Hebrew Academy's chief priority, but it was understood that raising kids to be good Jews went hand-in-hand with raising them to be good Americans. Parents and teachers alike took it for granted that the story and traditions of Thanksgiving (or Columbus Day or Washington's Birthday) should be as familiar a part of our cultural identity as the Passover story and its traditions.
I didn't know it at the time, but what my classmates and I were experiencing was the classic model of American assimilation: the process by which immigrants and ethnic minorities, and the children of those immigrants and minorities, had for decades been successfully turned into Americans. In a world filled with ethnic antagonism and religious violence, the United States had found a paradigm for unifying the most ethnically, racially, and religiously varied population on the planet into a relatively tolerant and unified culture.
We rarely reflect on what an astonishing achievement this was. But how many other societies have managed to maintain national cultural unity in the midst of ethnic diversity? Cyprus? Rwanda? Sri Lanka? The former Yugoslavia?
The key to what Peter Salins, a scholar at the Manhattan Institute, calls "assimilation, American style" was a balancing act. On the one hand, newcomers streaming to the United States found out quickly that they were expected to become honest-to-God Americans. That meant learning English, getting a useful job, embracing America's democratic values and institutions, and eventually taking the oath as new citizens.
On the other hand, immigrants weren't obliged to shed their ethnic pride, or to drop the foods and customs and festivals they brought with them from their native land. They were free to be "as ethnic as they pleased," writes Salins. The goal of assimilation was not to make all Americans alike; it was to get newcomers, however dissimilar their backgrounds and cultures, to believe that they were "irrevocably part of the same national family."
There was one other key ingredient, which we too easily overlook. Immigrants understood that the country they had come to was in some indispensable way better than the one they had left. They might retain a soft spot for the scenery or clothing or rhythms of life in the old country, they might always prefer their mother tongue to English, they might even pay tuition at a private or parochial school so that the religious or linguistic values they had grown up with would be passed on to their kids.
But underlying everything would be the awareness that they had chosen to be Americans. America was better than their native land — perhaps because their homeland's rulers were corrupt, or because it was riven by war, or because economic opportunities were limited. Perhaps, as in my father's case, because totalitarian tyrants – first Nazis, then Communists – had made life there a hell on earth. Perhaps because, like the Pilgrims, they sought a peaceable society where they could worship as they saw fit without being "hunted and persecuted on every side."
As my fellow 4th-graders and I belted out the lyrics to another song — "P-I-L-grim fathers landed here on Plymouth Bay" -- we probably assumed that Mrs. Feigenbaum was just getting us ready for the Thanksgiving assembly. She knew, of course, that she was doing something far more important. She was getting us ready to be Americans.
(Jeff Jacoby is a columnist for The Boston Globe).
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Evanescence Pair Turn '80s 'Karate Kid' Song Into Soaring Keyboard Cover
Bananarama scored a number of '80s hits, including the bouncy summer jam "Cruel Summer" that got a boost from being included in the hit '80s film The Karate Kid. Now, three-plus decades later, Evanescence pair Amy Lee and Troy McLawhorn are giving the track a fresh approach with their keyboard-led version of the song.
The original Bananarama track had a darker lyrical take juxtaposed against the infectious and danceable beats, but here Lee and McLawhorn have stripped back to bouncy vibes and given the song a more somber backing which fit the lyrics. Lee takes the lead on her keyboard, with her vocals delivering the emotional weight of the song. In this version they recorded for MagentaMusik 360, Lee speaks at the end of how the song has taken on new meaning given the current state of the world.
"Cruel Summer" was initially released as a stand-alone single by Bananarama in 1983, but later was included on their self-titled sophomore set. It rose to No. 9 on the Billboard Hot 100 chart after it was included in The Karate Kid a year later (though not being added to the movie's soundtrack). Over the years, the song has been covered several times, with the band even updating their own version in 1989.
Bananarama, "Cruel Summer"
Evanescence are building up to their highly anticipated return on their upcoming album The Bitter Truth. The band has held off on announcing a release date given the current pandemic, but they have issued the current single "Wasted on You." Look for more music from Evanescence coming in the lead up to their new album.
Evanescence's Amy Lee + Troy McLawhorn Cover Bananarama's "Cruel Summer"
2020's Most Anticipated Rock + Metal Albums


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