text:
I am now working to complete a book titled Informating Environmentalism, which examines how developments in information technology and culture since the late 1980s have played out in the environmental field, shaping how environmental problems are conceived and deemed significant, or rendered marginal. It is both a history of technology that charts how people have developed databases, web interfaces, computer models and simulations for visualizing and governing environmental problems, and an ethnographic study of how new information flows and processing capabilities have transformed people's motivations, practices, judgments and priorities, and the political economic spaces in which they operate. My primary interlocutors in the research for the book were information technologists of various kinds, working in academic and government laboratories, at the grassroots and in international environmental organizations like Greenpeace.
The key argument of the book is that the environmental field is one site of a significant historical shift in the way knowledge is produced and used, largely driven by information technology and culture. The informating of environmentalism, I argue, has changed what counts as epistemologically robust and objective. The argument builds on work in the history of science focused on ways scientific concepts and methodologies evolve, affecting scientific practice, how science is used in practical affairs, and cultural constructs about what makes knowledge robust, credible and operational. I show how information-processing capabilities have encouraged people to develop understanding through comparison, extrapolation and cumulative effect, displacing the dominance of linear constructs of causality in sense-making practices. In the environmental field, where inability to establish direct causality has made it difficult to act on many problems, this has quite profound implications.
I illustrate and develop this argument with examples from many different corners of the environmental field. One section of the book, for example, focuses on exposure science, a relatively new scientific field that aims to connect toxic emission data to human health effects. It is "crafty" science, often dependent on incomplete monitoring data sets and complex, interlinked computer models and simulations. Practitioners tend to be very aware of the limits of their knowledge and speak fluently about what they term "requisite precision" – a level of accuracy attuned simultaneously to the demands of good science and timely policy recommendations. Practitioners also tend to be highly aware of the cost of carrying out exposure science (monitoring with currently available technology, for example, is very costly), and of the political climate in which their claims will be circulated. They thus tend to be reflective and articulate about how knowledge is created and legitimated.
Another section of the book focuses on toxicogenomics, an emergent scientific field that aims to understand the impact of environmental stressors at the genetic level. Toxicogenomics is carried out with gene chips that make it possible to profile thousands of genes in a sweep, identifying which ones "express" in response to specific toxicants. Gene chips, however, are noisy, creating lots of signals that don't necessarily link to adverse effects. The work is highly interpretative, and dependent on databases that allow toxicogenomics researchers to "anchor" their findings to more established indices of toxicity – provided by pathologists or clinical chemists, for example. Toxicogenomics researchers thus work through comparison at multiple levels, ever trying to tease out differences that make a difference. The dream of many toxicogenomics researchers is to be able to extrapolate to understand whole chemical classes so that toxicology catches up with the thousands of chemicals in use, most of which have not been tested at all for toxicity.
Increased awareness of what we don't know about environmental risk has driven many of the developments that I describe, and it is with a key event in the development of this awareness that the book begins. The US Community Right-to-Know Act of 1986, passed in response to the Bhopal disaster, mandated a range of initiatives to support emergency planning and public access to information. High-risk facilities, for example, had to provide the information needed by local rescue personnel to plan emergency evacuations. By the time amendments to the Clean Air Act were passed in 1990, this had evolved into a mandate for "worst-case scenarios" for 66,000 high-risk facilities around the United States. Another key component of the 1986 Right-to-Know Act was the Toxic Release Inventory (TRI), the first federal database that Congress said must be released to the public in a computer readable format.
Environmental right-to-know laws have dramatically increased the quantity and quality of environmental risk information available to the public. They have also tightened the entwining of environmental politics with information politics. Recognition of environmental problems has always depended on extensive information practices, often involving intricate networks of people and organizations. Since the late 1980s, it has become clear how politically charged these information practices and networks are. Some corporations, for example, have "gone green" in efforts to control information flow about their activities and – even before "9-11" – lobbied to have environmental risk information removed from the public sphere, claiming that it would enable terrorism. It is now illegal to post details on "worst case scenarios" – Bhopal-like incidents – on the Internet. Greenpeace has figured out ways to work around and within the restriction, becoming a leading voice on "chemical security."
Informating Environmentalism is made up of stories like these – showing how information technology and culture have played out in the environmental field, showing readers what so-called Information Society looks like in practice. The book is intended to provoke re-consideration of the now common argument that digitization is a disenchanting, reductive project that feeds what Avital Ronell calls "metaphysical cravings" to transcend the body. This argument is not incorrect. But nor does it account for all that information technology and culture have produced. Many of the projects that I describe have been driven by corrective logics and a desire to describe a particular phenomenon in all its totality. Information shortage is the problem many people start with. Sustained engagement with information technology and culture often leads elsewhere, however, compelling people to play with different ways of knowing, helping build understanding even when information is imperfect, incomplete, or so voluminous as to be illegible. Much of the work of the environmental field over the last two decades has been involved in this kind of play. I interpret this turn enthusiastically, seeing information technology as a material cultural form that encourages constant re-ordering, substitution, addition, displacement and re-alignment. It thus has great conceptual force, literally changing the grounds of imagination and thought. Informating Environmentalism tells this story, a story of how toxics, through the work and play of information technology, theory and culture, may finally be heard as signal rather than as noise.


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For those of us who are serious about our faith, the idea of becoming transformed is always a priority. We're always looking for the next step in our metamorphosis into Christlikeness. That's why I was excited for the opportunity to review Transformed: Challenging Myths About the Power-Filled Life by Christy Wimber (Kregal). I was eager to learn what John Wimber's daughter-in-law would add to my Christian walk. Her chapter topics increased my enthusiasm: what Jesus said yes to, mercy, renewing the mind, identity, grace, and calling. She identifies transformation as a journey, not a destination and focuses on deliberate, sacrificial choices as vehicles for transformation. All good ideas.
Unfortunately, the book fell short of my expectations. I think there were some good ideas in it, but they were often lost in a rambling narrative that would have benefited from a strong editor. Her writing was not tight and she often didn't choose the best words or phrases to make her arguments. Her points were weakened by redundancy and rambling. Callout boxes didn't reinforce or repeat important concepts. They were simply the next sentence, with little reason for being set apart. There were few stories or examples – just narrative. And while she offered some good theories, there was little in the way of practical "how to." The result was a book I was not eager to return to and few memorable points.
I would love to see this book rewritten and re-edited. It's clearly a concept needed by today's Christians. But sadly, this edition doesn't cut it.


text:
Various Artists
Pirouet Jazz Compilation Vol. 2 - Cats and Dogs
A great introduction to the German Pirouet label's recent releases, with tracks from Gary Peacock, Dave Liebman, John Abercrombie, Chris Speed, Marc Copland, Domenic Landolf, &c. &c.
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Includes a Pirouet 2010/2011 catalog
Label: Pirouet
Catalog ID: 3050
Squidco Product Code: 13602
Format: CD
Condition: New
Released: 2010
Country: Germany
Packaging: Digipack
Bill Carothers
Marc Copland
Jurgen Friederich
Pablo Held
Domenic Landolf
Dave Liebman
Gary Peacock
Henning Sieverts
Loren Stillman
Nicolas Thys
Robin Verheyen
John Abercrombie
Jonas Burgwinkel
Jon Cowherd
Drew Gress
Billy Hart
John Herbert
John Hollenbeck
Robert Landfermann
Achim Kaufmann
Johannes Lauer
Tony Moreno
Patrice Moret
Dré Pallemaerts
Ted Poor
Nate Radley
Dan Rieser
Ryan Scott
Chris Speed
Bill Stewart
Dejan Terzic
Gary Versace
Highlight an artist name or instrument above
and click here to Search
1. Nicolas Thys - Disco Monkey 7:55
2. Joni Mitchell - Rainy Night House 5:11
3. Hennings Sieverts - Dribs And Drabs 7:08
4. Drew Gress - Like It Never Was 6:45
5. Robin Verheyen - The Flight Of The Eagle 5:38
6. Jurgen Friedrich - Samarkand 4:00
7. Marc Copland - Night Whispers 8:03
8. Bill Carrothers - I Remember Clifford 5:04
9. Domenic Landolf - W.E. 4:29
10. Gary Peacock & Marc Copland - Blue In Green 6:22
11. Loren Stilllman - Skin 8:33
12. Pablo Held - O Sacrum Convivium 4:08
Improvised Music
sample the album:
A potpourri composed of the twelve recent PIROUET releases featuring Bill Carrothers, Marc Copland, Jürgen Friedrich, Pablo Held, Domenic Landolf, Dave Liebman, Gary Peacock, Henning Sieverts, Loren Stillman, Nicolas Thys and Robin Verheyen.
Includes a Pirouet 2010/2011 catalog
Artist Biographies:
• Show Bio for Gary Peacock
"Gary Peacock (born May 12, 1935, in Burley, Idaho, United States) is an American jazz double-bassist.
After military service in Germany, in the early sixties he worked on the west coast with Barney Kessel, Bud Shank, Paul Bley and Art Pepper, then moved to New York. He worked there with Bley, the Bill Evans Trio (with Paul Motian), and Albert Ayler's trio with Sunny Murray. There were also some live dates with Miles Davis, as a temporary substitute for Ron Carter.
Peacock spent time in Japan in the late 1960s, abandoning music temporarily and studying Zen philosophy. After returning to the United States in 1972, he studied Biology at the University of Washington in Seattle, and taught music theory at Cornish College of the Arts from 1976 to 1983.
In 1983 he joined Keith Jarrett's "Standards Trio" with Jack DeJohnette (the three musicians had previously recorded Tales of Another in 1977 for ECM Records, under Peacock's leadership). Among the trio's albums are Standards, Vol. 1 and Standards, Vol. 2 and Standards Live.
With the breakup of the "Standards Trio" in 2014, Peacock decided to continue his career as the leader of his own piano trio, with Marc Copland on piano and Joey Baron on drums. His 80th birthday year (2015) saw him touring worldwide with this trio to support their ECM release."-Wikipedia (https://en.wikipedia.org/wiki/Gary_Peacock)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Gary Peacock
• Show Bio for Drew Gress
"Drew Gress (born November 20, 1959) is an American jazz double-bassist and composer born in Trenton, New Jersey, raised in the Philadelphia area, and currently based in New York City.
Gress became interested in jazz and the double bass while a teenager, joining the Pennsbury Concert Jazz Band, a nationally-prominent high school jazz ensemble, in 1975, spending two years as bassist and arranger for the group. His interest in composing original material for large ensembles, such as those of Johnny Richards, Billy May, and Pat Williams, led him to Baltimore's Towson State University in 1977, where he studied composition and counterpoint with Hank Levy, known for his work with Don Ellis and Stan Kenton. While at Towson, Gress established a playing relationship with saxophonist Ellery Eskelin, with whom he cofounded Joint Venture with Paul Smoker and Phil Haynes. They released three albums on Enja Records between 1987 and 1994.
During the 1980s in the Baltimore/Washington DC area, he played with Sonny Stitt, Clifford Jordan, Albert Dailey, Mose Allison, Zoot Sims, Cab Calloway, Buddy Hackett, Phyllis Diller, and pianist Marc Copland, with whom he still plays today. He also served on the faculties of the Peabody Conservatory, Towson State University, and the Baltimore School for the Arts. He formed a quartet, Tekke, in 1989 with David Kane, Glenn Cashman, and Michael Smith.
In 1997, he cofounded the cooperative improvising trio Paraphrase with saxophonist/composer Tim Berne and drummer Tom Rainey. Together, they pursued a compositional approach to free improvisational practice. They recorded three live albums together and toured extensively.
In 1998, he released his first album as leader, Heyday, with his band Jagged Sky (featuring David Binney, Ben Monder, and Kenny Wollesen). 2001 saw the release of Spin & Drift with Uri Caine, Berne, and Rainey, in which he played pedal steel guitar for the first time.
Earlier in the 1990s, he served tenures as artist in residence at University of Colorado-Boulder and at Russia's St. Petersburg Conservatory.
Since 1992, Gress has maintained an extensive touring schedule, traveling to Europe, Asia, and South America. Those with whom he has and continues to work include Tim Berne, Ravi Coltrane, Uri Caine, John Hollenbeck, Fred Hersch, Marc Copland, Don Byron, Steve Coleman, Dave Douglas, Jack DeJohnette, John Surman, Ray Anderson, Erik Friedlander, Kenny Werner, Bill Carrothers, Ralph Alessi, Tony Malaby, Steve Lehman, and Edsel Gomez. To date, he has appeared on over 140 recordings, 4 of which have received Grammy nominations.
Gress' own ensembles have toured Europe four times since 2002, in addition to isolated festival appearances in Italy and Portugal. In 2004, the UK's BBC Radio and London's Guardian selected his quartet's live radio broadcast as Jazz Concert of the Year.
Composition awards include an NEA grant (1990), funding from Meet the Composer (2003), a Chamber Music America New Works Grant (2005), a CMA French-American Exchange Grant (2007), and an Encore Grant from that same organization (2008). He continues to compose for larger groups and has begun experimenting with virtual synthesizers."-Wikipedia (https://en.wikipedia.org/wiki/Drew_Gress)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Drew Gress
• Show Bio for John Hollenbeck
"John Hollenbeck is a composer of music uncategorizable beyond the fact of being always identifiably his. A conceptualist able to translate the traditions of jazz and new music into a fresh, eclectic, forward-looking language of his own invention, intellectually rewarding yet ever accessibly vibrant. A drummer and percussionist possessed of a playful versatility and a virtuosic wit. Most of all, a musical thinker - whether putting pen to paper or conjuring spontaneous sound - allergic to repetition, forever seeking to surprise himself and his audiences. [...]
Hollenbeck received degrees in percussion and jazz composition from the Eastman School of Music before moving to New York City in the early 1990s. He was profoundly shaped by the mentorship of two hugely influential artists: trombonist/arranger/composer Bob Brookmeyer and composer/choreographer Meredith Monk. His relationship with Brookmeyer reached back to the age of 14, when he attended the SUNY Binghamton Summer Jazz Workshop, and continued at Eastman, through NEA-funded composition study, and finally on the bandstand with Brookmeyer's New Art Orchestra and in the studio with Brookmeyer and trumpet great Kenny Wheeler. For Monk, Hollenbeck composed and performed the percussion scores for five of her works: "Magic Frequencies," "Mercy," "The Impermanence Project," "Songs of Ascension" and "On Behalf of Nature."
Hollenbeck's awards and honors include four Grammy nominations; the 2012 Doris Duke Performing Artist Award, the 2010 ASCAP Jazz Vanguard Award and a 2007 Guggenheim Fellowship; winning the Jazz Composers Alliance Composition Contest in 1995 and 2002; Meet the Composer's Grants in 1995 and 2001; and a Rising Star Arranger win in the 2012 and 2013 DownBeat Critics' Polls as well as in 2011 for the JHLE as Rising Star Big Band. John was a professor of Jazz Drums and Improvisation at the Jazz Institute Berlin from 2005-2016 and in 2015 joined the faculty of McGill University's Schulich School of Music."-John Hollenbeck Website (http://johnhollenbeck.com/about/biography/)
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^ Hide Bio for John Hollenbeck
• Show Bio for Robert Landfermann
"Robert Landfermann Doublebass born 1982 in Bonn.
1998 - 2002 Doublebass lessons in Bonn with Gunnar Plümer
2002 - 2007 Jazz-Doublebass in Cologne "Musikhochschule für Musik und Tanz"
2007 - 2009 special degree "Konzertexamen" with Prof Dieter Manderscheid
since 2011 teaching Jazz Doublebass at the Folkwang university of arts in Essenworked with:
Joachim Kühn, John Scofield, Lee Konitz, Yo-Yo Ma, Django Bates, Tomasz Stanko, Barre Philips, John Taylor, Lenine, Dave Liebman, Simon Nabatov, Chris Potter, John Hollenbecks 'Claudia Quintet', Hilmar Jensen, Urs Leimgruber, Jim Black, Peter Evans, Manfred Schoof, Tobias Delius, Achim Kaufmann, Julian Argueilles, Frank Gratkowski, Thomas Lehn, Mederic Collignon, Gerd Dudek, Stephane Guillaume, Charlie Mariano, Kinan Azmeh, Markus Stockhausen, Cino Palagliesu, Rudi Mahall, Tetsu Saitoh, Claudio Puntin, Steffen Schorn, Axel Dörner, Wolfgang Haffner, Ian Thomas, Ben Perowski, Danny Gottlieb, NDR BigBand, Rhani Krija...Concerts:
In about 50 Countries on 5 Continents:
China, Indonesia, Russia, USA, Canada, Australia, South Corea, Panama, Costa Rica, Nicaragua, Honduras, Guatemala, Dominicanian Republic, Salvador, Brasil, Bolivia, Equador, Columbia, Tunesia, Maroc, Burkina Faso, Ghana, Mali, Togo, Cote d'Ivoire, Benin, Cape Verde, Belgium, Holland, Poland, Danmark, Luxemburg, France, England, Ireland, Scotland, Spain, Portugal, Italy, Greece, Zyprus, Kasachstan, Kirgistan, Bulgaria, Albania, Rumania, Slovenia, Bulgaria, Hungary, Lithuania, Estonia, Switzerland, Austria, Sweden, Norway...
In famous Concerthalls:
Sydney Opera, Elbphilharmonie Hamburg, Mozartsaal Wien, Cité de la musique Paris, Megaron Musikis Athen, L'auditori Barcelona, Symphony Hall Birmingham, Theatre Marni Brussels, "stone" NYC, Beethovenhaus Bonn, Bozar Brussels, Gewandhaus Leipzig, Brucknerhaus Linz, Concertgebouw Amsterdam, Laeiszhalle Hamburg, Festspielhaus Baden-Baden, Philharmony Essen, Philharmony Cologne, Philharmony Luxemburg, Filharmonia Krakowska, Krzysztof Penderecki Centre for Music, NOSPR Concert Hall Katowice, Konserthuset Stockholm...
On national and international Festivals:
Vancouver Jazzfestival, North-Sea-festival, JazzNow Sydney, Kopenhagen Jazzfestival, Jazzfest Berlin, Casa del Jazz Rom, London Jazzfestival, Glasgow Jazzfestival, JazzNoJazz Zürich, 12points! 2010 Stavanger Norway, 12points! 2008 Dublin, Moers Jazzfestival, Jazz.pt Lissabon, Duketown Festival s'Hertogenbosch, Coimbra Jazzfestival, The Hague Den Haag, Portalegre Jazzfestival, Salzau Jazz-Baltica, Jazzfestival Burghausen, INNtöne, Leverkusener Jazztage, Elbjazz, Hamburger Jazztage, Münster Jazzfestival, Jazzrallye Düsseldorf, Traumzeit Festival, Gnaua festival Essauira...Awards:
SWR-Jazzpreis 2014
NRW-Förderpreis 2013
WDR-Jazzpreis 2009
New German Jazzaward 2009 with Frederik Köster Quartett
Horst und Gretl-Will Stipendium - Culture-Price of the City of Cologne 2009
German Member of the European Jazz Orchestra connected to the EBU in 2008"-Robert Landfermann Website (http://robertlandfermann.com/biography.html)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Robert Landfermann
• Show Bio for Chris Speed
"Chris Speed is a composer, clarinetist and saxophonist - and is "one of the principal figures in a dynamic left-of-center jazz/improv scene in the city" (NYTimes). His own bands include Endangered Blood, Human Feel, yeah NO, Trio Iffy, Pachora and The Clarinets. He is a founding member of Jim Black's Alas No Axis and John Hollenbeck's Claudia Quintet (two of the most influential working bands today), works with Uri Caine (deconstructing works by Mahler, Mozart, Bach, Schoenberg, Gershwin) and maintains a busy career of touring, recording, performing, composing, practicing and teaching. Current projects include work with Craig Taborn's Heroic Frenzies, Michael Formanek's Ensemble Kolossus, Dave King's Trucking Co., Matt Mitchell Quartet, Mary Halvorson's Reverse Blue, Banda de los Muertos (NYC's only Banda band), as well as touring his latest project, Endangered Blood (with Black, Trevor Dunn and Oscar Noriega) which was featured on NPR's Tiny Desk Concerts in 2012. (Endangered Blood 2010, Work Your Magic 2013 Skirl). "Speed's Endangered Blood originals stand out as his most melodically generous, accessible and warm batch of compositions he's yet to produce." -DownBeat ****Born in 1967, Speed grew up in the Seattle area where he met future colleagues Jim Black and Andrew D'Angelo, all of whom ended up in Boston in the late 80's where they formed Human Feel with guitarist Kurt Rosenwinkel. (Scatter 1992, Welcome to Malpesta 1994, Speak To It 1996, Galore 2007). While in Boston he studied at New England Conservatory and graduated in 1990. By 1992, after a short tour with the Artie Shaw Band (led by Dick Johnson), Speed moved to New York City where he started working with Tim Berne's (now legendary touring band) Bloodcount. (Unwound 1996, Discretion 1997, Saturation Point 1997, The Seconds 2006).In April 2006, he launched Skirl Records, a label dedicated to Brooklyn based creative music" -Chris Speed Website (http://chrisspeed.com/bio/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Chris Speed
Search for other titles on the Pirouet label.


text:
|House Meets At:
|First Vote Predicted:
|Last Vote Predicted:
12:00 p.m.: Morning Hour
|6:30 p.m.
|7:00 p.m.
** Following one minute speeches, the House is expected to recess until approximately 5:00 p.m. At that time, the House will reconvene and consider the one bill listed for consideration under suspension of the Rules. Any recorded vote requested will be postponed until 6:30 p.m.
Suspension (1 bill)
- Senate Amendment to H.R. 307 – Pandemic and All-Hazards Preparedness Reauthorization Act of 2013 (Rep. Rogers (MI) – Energy and Commerce)
The GOP Leadership has announced the following schedule for Tuesday, March 5: The House will meet at 12:00 p.m. for legislative business. The House is expected to consider H.R. 668 – To amend section 1105(a) of title 31, United States Code, to require that annual budget submissions of the President to Congress provide an estimate of the cost per taxpayer of the deficit (Rep. Messer – Budget) and H.R. 338 – The Stop Tobacco Smuggling in the Territories Act of 2013 (Rep. Faleomavaega – Judiciary) – under suspension of the Rules.
|The Daily Quote
"The bottom line on American budgetary politics right now is that Republicans won't agree to further tax increases and so there's no deal to be had. This is not a controversial perspective in D.C.: It's what Hill Republicans have told me, it's what the White House has told me, it what Hill Democrats have told me. The various camps disagree on whether Republicans are right to refuse a deal that includes further tax increases, but they all agree that that's the key fact holding up a compromise to replace the sequester. But it's unpopular for Republicans to simply say they won't agree to any compromise and there's no deal to be had — particularly since taxing the wealthy is more popular than cutting entitlements, and so their position is less popular than Obama's. That's made it important for Republicans to prove that it's the president who is somehow holding up a deal. This had led to a lot of Republicans fanning out to explain what the president should be offering if he was serious about making a deal. Then, when it turns out that the president did offer those items, there's more furious hand-waving about how no, actually, this is what the president needs to offer to make a deal. Then, when it turns out he's offered most of that, too, the hand-waving stops and the truth comes out: Republicans won't make a deal that includes further taxes, they just want to get the White House to implement their agenda in return for nothing.… There's no deal even if Obama agrees to major Republican demands on entitlements. There's no deal because Republicans don't want to make a deal that includes taxes, no matter what they get in return for it. The interesting question is whether the possibility of a government shutdown, a debt-ceiling breach or simply the pressure of the sequester's cuts will, in the coming months, break one side or the other. But as long as the GOP's position is they won't compromise, there's not going to be a compromise."
- Ezra Klein, Washington Post, 3/2/13


text: perlquestion zdog I need to send an e-mail from a Perl script on an NT server (God, I hate them, but I don't have a freakin' choice). I can't use sendmail, so I went around the site looking for other resolutions to the problem. I tried using Mail::Mailer, didn't work. I tried using Mail::Internet, didn't work. I tried using Net::SMTP, it didn't work!!! I guess the server doesn't have those Modules installed.<p> Are there any other modules that I can use that are standard on NT or is there another way I could get around the problem or do I have a real problem? <p> Thanks.<p> Zenon Zabinski | [zdog] | firstname.lastname@example.com


text:
Provided By:
When you rent to own, you are simply leasing the home with the option to purchase the home at a later date. One of the main benefits of renting to own is you do not have to worry about changes in the market having an effect on the purchase price. When you choose to rent to own, the price of the property is listed in the contract and it will not change until the contract expires. It is a fixed price. While this can be a disadvantage to the seller if the fair market value of the home goes up, it is, in fact, a great advantage to the buyer.
When you choose to rent to own, there are a couple of factors you must consider in your agreement. The first is the rent premium. This amount should be just a little of the monthly rent and will count toward the down payment on the property should you decide to purchase. When you pay the rent each month, along with your rent premium, you are building up your down payment on the property. There is also the option fee. This fee is, in fact, part of the down payment on the property and is generally between one and five-percent of the purchase price.
You must also consider that if you decide not to purchase the property you have been renting, the seller will get to keep the rent premium you paid to them. The seller would also keep the option fee you paid when you signed the contract. While it is considered a loss to you, it does allow you to the privilege of living in the home during the "option to buy" period. This period of time is usually three years or less and gives the buyer a chance to build up their down payment.
While many people who are looking to purchase their first home are put off at the thought of a rent to own situation, they may not fully understand all of the benefits. It is especially a great idea for those who lack the down payment to purchase a home and will let them build up the down payment slowly, instead of putting down one lump sum. While you do risk losing the rent premium and option fee, it will also allow you the time you need to decide if purchasing the home is the right decision for you.
About the Author:
First Time Buyers - Learn more about Rent To Own in Detroit, Michigan and Oakland. Wayne County FHA Loans,VA Loans, Down Payment Assistance available.
Article Source: http://www.articlesbase.com/ask-an-expert-articles/first-time-buyers-rent-to-own-946988.html


text:
Now that there appear to be a few different WM devices coming to market with keyboards, a WM Treo doesn't excite me as much as it used to.
Here we go again...
Some people are saying that this looks Photoshopped, but I just don't see it this time. Is it because the screen doesn't reach to the edges of the casing? I have never used a Treo, so I can't say if the screen is supposed to reach or not. Also, this looks to be Pocket PC and not smartphone, as reported in the thread I linked to.
Now that there appear to be a few different WM devices coming to market with keyboards, a WM Treo doesn't excite me as much as it used to.
Yeah, icky square screen.
It's not hard to get an actual WM screenshot, modify it if needed, display it fullscreen, then take a pic.
They think its real. Buttons are different and now they have videos of it in Windows Mobile 5.0
I agree, a square screen must be a real pain in the as.Originally Posted by 155
Regardless of everything else, I think it was pretty smart to keep this under wraps for so long instead of creating false hope and wait time for everyone.
Engadget has posted links to three videos of this thing in action, so yeah, it's real:
I guess I should read the link before making a comment But ****, I was ready to post my treo-ified JAM pics that I took.Originally Posted by 155
What Today plugin is that at the top?Originally Posted by Camp
How do you play those video clips?
rmg: No idea. WM5 native? Manufacturer custom?
johnannie: Quicktime.
Any idea what kind of processor this thing is going to have....I hope it isn't the same hardware as the Treo 650.
Omega2008 | Windows Mobile GuruMy Blog: My technical life, day by day.
It said somewhere...? They have a blurry photo of the info screen.
And 2.5" headphone jacks. Can't forget that.
and stubby antennas.


text:
Clarets Agree Akinbiyi Sale
Burnley have agreed to a club record sale for leading scorer Ade Akinbiyi.
Speculation has been rife throughout the transfer window, with Sheffield United eventually meeting the Clarets' demands.
The fee is believed to be in the region of £1.75 million pounds, and sees Burnley sell the player for almost three times the value they paid Stoke City just under a year ago.
The 31-year-old has scored 14 goals so far this season, and must now agree personal terms with the Blades.


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About a month ago, it's leaked that the LG G Vista would come to Verizon on July 18. Today mylgphone received a screenshot of a user manual which suggests that the LG G Vista will arrive at AT&T at some point. it's sitting with the model number LG D631.
As you'd imagine seeing that price, the LG G Vista is far from being a high-end smartphone. Its features include a 5.7-inch touchscreen with 720p resolution, a Qualcomm Snapdragon 400 chipset with a 1.2 GHz quad-core Cortex-A7 CPU, an 8 MP rear camera, and a 1.3 MP front, 1GB of RAM, 8GB of storage, a microSD slot, a 3200 mAh battery, Android 4.4 KitKat and more.
AT&T LG G Vista User Manual / Guide Download:
AT&T LG G Vista Phone Photos – LG Cell Phone Pictures
LG Cell Phone – Related Posts


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A few months ago, my artist Andre Siregar mentioned that he would like his comic book pages to be critiqued like this in the future to improve his craft. Up until page 12, there hadn't been a need for me to be so critical of his art, I approved of his art overall and only suggested edits when an omission of a detail would disrupt the story. I felt I needed to weigh in heavily on this panel however. Here's the panel description that I wrote:
I'll admit, my panel description is short. Most of them are. I try to give my artist the greatest degree of flexibility to be creative. My early scripts described every camera angle, but I found that it prevented Andre from making great art. Andre's job is to turn a group of panels into a single coherent beautiful page. A really great page needs panels that flow from one panel to the next, and the entire page needs to be a work of art that you can stand back from and admire in its entirely. So I've taken to leaving the camera angles up to him unless I'm really set on a certain perspective. Here's the art that Andre sent back based on this slim description:
If I were working for a big comic book company, I'd simply send in my script and that would be the end of it. An art director would take over. Luckily, this is creator owned, so I have guide the art in the direction I want it to go, and this wasn't what I wanted from this panel for a lot of reasons. We aren't under any major deadlines either, so I went back and gave Andre a serious critique, which I'll share in a moment.
I do have some schooling in feminist theory and thought, which I'll admit has been extremely helpful as I write a story about strong women trying to save the world. The first class I took was at Boston University with the Director of the Center for Women's Studies. The most influential class was a graduate level course Geography at UW-Madison with Leila Harris. Without these classes I don't think I would have had the analytical skills to look at how Sevara is being portrayed.
I've also done some great online reading about how women are portrayed in comics, which anyone interested in gender in media should take a look at. If you haven't checked out The Hawkeye Initiative, you should! It's both entertaining and thought provoking at the same time. It asks readers to imagine male characters posing the way female characters are typically posed, and its hilarious! Would Hawkeye ever pose the way Black Widow or any other female superhero poses? No way! But on The Hawkeye Initiative, he does. Check it out. The Avengers movie poster parody got a lot of attention not long ago.
There was a lot of great writing about a particular piece of comic book art featuring Batman, Superman, and Wonder Woman. The different perspectives on the image are worth a look, and just by reading the different articles you can see how complex the subject of women in comics is. The discussion starter with Ray Sonne's detailed post at Eat Your Comics about the particular image. The debate raged, and Adam Joseph Drici's lengthly post not only added some great insights, but solicited an alternate perspective from a professional feminist that takes the discussion further.
So, after all this, what did I sent back to Andre? Here's part of the email:
Panel 1 – In the previous panel we established that Sevara really wants to get the staff. This panel doesn't really back that up. I don't see the anger or rage or joy that I would expect to get from this part of the story. Sevara seems to be posing for the camera, like James Bond does in the opening shots of each movie where he steps right into the camera and freezes. I'm not sure why she would stop here to pose. The camera angle is very simple, a full body shot from the side, not very original. And we don't know if she is moving or preparing to jump, she is just hanging there posing for us. If the sword is of key importance, I would emphasize it more http://www.impawards.com/2006/ultraviolet_xlg.html I also don't think its clear to the readers where the sword came from. It is too big to fit inside the case, so readers will be confused. Is it is the two pieces of the case are going to be hanging around her, which will be clumsy. It would be better if they simply disappeared. The camera angle and pose is a big deal, especially since the camera angle is so good on the last two panels (really good!) Check out this link for a pose and angle: http://www.posemaniacs.com/archives/1467
My main concern with the image is that Sevara is posing for the male reader to observe her. It just doesn't make any sense, as she's in the middle of a battle against a relentless giant robot. To stop and pose for us is just playing to the readers fantasy. It also detracts from the story and the drama. I want Sevara to be a book that both men and women will love. I particularly want female readers to love Sevara for her strength and compassion. Sure, there's a lot of skin in my book, but the amount of skin isn't the issue. Character motivation is of primary importance. Why would Sevara stop here? Who is in control, Sevara, or the male gaze? Not unlike the TV show 'The Wire', where the show's creators made it a point never to 'fish' with the camera. Alternatively, in the 1989 Batman, why does the Batwing stop right there in front of the moon? The camera is above the clouds, so no one in Gotham can see this cool shot, only the audience. I think Andre was happy to get my critique, and he went back and made edits. I feel luck to have the opportunity to work directly with Andre to bring the pages to life. If I worked for a major company, I'd have to say in how the art turned out!
This is what Andre came back with. I think he totally got what I was saying. I love this new image, Sevara is strong, and the camera angle was chosen for maximum dramatic effect instead of to please the audience. If you like this post, take a look at our Kickstarter campaign http://www.kickstarter.com/projects/damianwampler/sevara-issue-0
Please leave your comments, share on Facebook, or tweet this post if you liked it!
Damian Wampler


text: Windows comes with several ways of its own to password protect folder contents that are simple and easy to use. Here we'll look at the four approaches intended for Windows 7, Vista and XP computers, and explain why some users opt for using software/freeware to safeguard folders and files. Third Party Software Many PC owners (more)


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Painted Into a Corner
Auction houses and galleries have always kept a respectful distance in separate parts of the art world. Now, in a bid to conquer the market, auctioneers are crossing into rival territory. How two major gallery owners are fighting back.
It was the week of his New York gallery's big fall show, and art dealer Roland Augustine should have been in high spirits. In less than 48 hours, celebrities like actress Chloë Sevigny and art-collecting moguls like Peter Brant would be mingling with the gallery's top artists at the opening party.
But upstairs in his office, Mr. Augustine was hunched anxiously over his desk, talking on the phone with a client about an invitation he'd received to an event sponsored by Sotheby's.
"We all need to be more careful about our affiliations with the auction houses," he said, his voice rising. "You can't just let them fund a dinner or event. There is more to it than just money, or sponsorship. Our reputations -- and our clients, our artists -- are on the line."
It's a consuming issue for Mr. Augustine and hundreds of other dealers across the country: auction houses muscling in on their territory. As prices for contemporary art have skyrocketed, new works have started to appreciate so quickly that they can be flipped at auction for large sums only a few years or months after they're first sold at galleries.
That has led more collectors to go to Sotheby's, Christie's and smaller players like Phillips de Pury to sell their work, bypassing dealers altogether. Even more heretical in the art world, auction houses are going outside their traditional purview and setting up sales directly between collectors -- a practice known as "private treaty" selling -- and offering clients advice on shaping their collections.
"It's a changing world and you have to be really nimble as a business to survive -- the art world is moving much faster these days," says Amy Cappellazzo, international co-head of Christie's postwar and contemporary department. "And a market is a market -- it doesn't consider feelings of artists or dealers in the process."
WSJ.com Podcast
Art galleries, facing increased competition from auction houses, are finding ways to fight back. WSJ's Lauren Schuker discusses what one art dealer is doing and how effective he is.
The new landscape marks a major shift in the way art has been bought and sold for decades. Galleries and auction houses have long operated in separate spheres of the art market. Owners of art galleries were the gatekeepers to artists. They arranged for buyers to visit artists in their studios, steered collectors to emerging art stars, and acted as the artist's primary representative from first solo show to final retrospective. Auction houses mainly sold off estates and older works. It often took at least 20 years for a work of art sold at a gallery to rise in value enough to be worth reselling at auction.
Now, as these spheres collide, some dealers are scrambling to fight back and regain control. Co-owner of the prominent Luhring Augustine gallery in New York and president of the Art Dealers Association of America, Mr. Augustine is among the most aggressive and outspoken of his peers. His gallery, which he founded nearly 25 years ago with Lawrence Luhring, sits behind a set of green garage doors in Manhattan's Chelsea neighborhood. On its walls are works by top artists such as Rachel Whiteread, George Condo and filmmaker and photographer Larry Clark. Clients include Eli Broad and Marie-Josée and Henry Kravis, some of the country's biggest contemporary-art collectors.
Mr. Augustine, 57, has been ramping up his efforts to protect his business amid growing competition from auction houses. In one of the more combative moves, he is blacklisting clients who resell at auction art they have bought from him. He also buys back his artists' work at auction to resell on his own.
But even as dealers feel squeezed, some collectors say they welcome the changes. They can often get higher prices for their work when bidding wars break out on the auction floor. Auction houses are also giving collectors more incentives to sell by offering large guarantees -- money upfront on their works, based on presale estimates -- whether or not the work eventually sells.
In contrast, sales at a gallery can be less transparent. Collectors put their trust in a dealer to give them a good price. There's also risk when they loan works to galleries on consignment, which can mean the pieces sit unsold for months while a dealer looks for a buyer, only paying the seller his cut of the profit once it is sold.
Dealers say they offer buyers and sellers of art advantages the auctions usually can't: access to works directly from the artist's studio and the benefit of privacy. There is no public record of how much a work sells for when it's handled by a gallery.
There's another, longer-term benefit for both collectors and artists, say dealers like Mr. Augustine. When a work sells at auction, they argue, it is more likely to end up with an anonymous buyer who might flip it again. The best dealers will instead seek out a collector loyal to the artist, someone who might later loan or donate the work to a museum, thus securing the artist's legacy.
For dealers, being cut out of some sales has a more immediate consequence: losing out on lucrative deals. Mr. Augustine points to a recent example in his own business involving four works by Christopher Wool, a 52-year-old U.S. painter known for his large, stenciled "word" paintings, and one of the gallery's top artists. Mr. Augustine has sold a number of Mr. Wool's paintings over the years to Anthony Pilaro, an American collector and philanthropist based in Switzerland. Mr. Pilaro has founded several companies, including Duty Free Shoppers, which was sold to LVMH in 1996.
Recently, Mr. Pilaro decided to sell four paintings by Mr. Wool that he bought from the gallery between 1997 and 2004 for a total of about $200,000. At the time, the gallery took a commission of 50%, or about $100,000, on the paintings. The rest went to Mr. Wool.
In the more dealer-dominated market of years past, a collector like Mr. Pilaro would most likely have gone back to Mr. Augustine when he was ready to resell the works. Mr. Augustine estimates that if he had handled the resale, he would have arranged a deal with a buyer for about $4 million, and taken a 10% commission, or $400,000, for himself. Because Mr. Wool is one of his most important artists, Mr. Augustine says he would have given Mr. Wool a 10% cut of his own share, or $40,000.
But Mr. Pilaro took the paintings to Christie's, which he says guaranteed to pay him 105% of whatever the works sold for. Christie's says it doesn't comment on specific agreements with clients. The paintings sold at Christie's in London in June for over $4.2 million.
Mr. Augustine sees Mr. Pilaro's decision as a personal betrayal. Mr. Pilaro, he says, "can forget about buying a work from us ever again."
Mr. Pilaro says selling at auction made more sense in today's market. "I would never buy a painting from a gallery at all if they said when I sell it I have to sell it back to them," he says. "The buyer has the discretion to do what he wants."
Mr. Wool has seen a big jump in the prices his works fetch at auction in recent years. Earlier this month at an auction in London, one of his paintings was bought for more than 11 times the price it originally sold for five years ago at Mr. Augustine's gallery.
But Mr. Wool, whose work is sometimes compared to Andy Warhol's, says the increased fame comes at a cost. When an artist's work sells at very high prices, it is typically harder for museums to acquire or even borrow it for exhibits, in part because the insurance premiums go up. Mr. Wool says he tried to persuade Mr. Pilaro not to sell at auction, saying that he prefers to see his work in collections "rather than traded constantly like commodities."
Auction houses are seeing some of their biggest sales and highest profits ever, fueled by a contemporary-art market that has soared in the past few years. Last year, Christie's sold $4.67 billion worth of art, the highest total in art-auction history. As of this past week, Sotheby's had brought in more than $3.6 billion for the year -- compared with $1.6 billion for all of 2003. Michael McGinnis, world-wide head of contemporary art at Phillips, says his house tries to protect the careers of emerging artists by pricing their works conservatively to encourage bidding. Tobias Meyer, world-wide head of contemporary art at Sotheby's, says auction houses have a different set of priorities regarding artists than dealers do. "We are not a set of curators, sitting around a table trying to place important collections in museums," he says.
In the past few years, Mr. Augustine, together with his partner, Mr. Luhring, has become more aggressive in defending his business from competition with auction houses. He has made it clear to all his clients that if he hears they've sold a work from his gallery through an auction house without coming to him first, he'll never do business with them again. Mr. Augustine estimates that he has cut loose about 20% of his 500 collectors for flipping works at auction.
He says he also constantly works to pre-empt clients from going to auction houses in the first place. In the mornings, when he gets to work, after he's done with his routine calls to his artists, he begins a new round of calls: checking in with his clients to see if they're thinking of reselling any works they've bought from the gallery. If they are, he urges them to sell through the gallery. Mr. Augustine and the 52-year-old Mr. Luhring, who is known as the more reserved of the two, also talk at least 10 or 20 times a day when one of them is traveling to compare notes on what's happening with their artists and clients.
Mr. Augustine will also bid at auctions himself. About once every six weeks, he goes to an auction to buy back works by his artists before they disappear into the hands of collectors he doesn't know.
Mr. Augustine says while his tactics have alienated some collectors, they've also succeeded in keeping many of his key collectors in line. Howard Rachofsky is a retired hedge-fund investment manager based in Dallas who has bought work from Luhring Augustine for more than a decade and has promised his entire collection to the Dallas Museum of Art. He says he would never sell a work he bought from Luhring Augustine at auction before first offering it back to the gallery.
Many dealers echo Mr. Augustine's concerns about auction houses, but not all are following his lead. Jeffrey Deitch, one of New York's top gallery owners, says he doesn't try to stop clients from selling works at auction. Between 1997 and 2000, Sotheby's was a co-owner of his gallery, Deitch Projects, and Mr. Deitch continues to work closely with the auction house. "The auction houses need the galleries and the galleries need the auction houses -- as dealers, we too can really benefit," he says.
Write to Lauren A.E. Schuker at firstname.lastname@example.com


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Tickets for performances are not sold in advance. The cost shown is a cover charge added to the table for reservations, and taken at the door for walk-ins. If enjoying the upstairs only, there is no music cover charge.
The Terry Disley Trio Jazz & Rock Experience creatively merges jazz and rock standards -- blending classic jazz sounds from Miles Davis with covers from Radiohead, Floyd, Led Zeppelin and other rock standards. A London native, Disley has played keyboard for rock legends including George Harrison, Sir Paul McCartney, Sir Mick Jagger, Dave Stewart, Bryan […]Find out more »


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Molded Fiberglass Stool - $55
A cheerful turquoise, this fiberglass stool has some damage to the back of the seat, yet maintains its charm. Check out this and other finds after the jump.
Apartment Therapy New York Furniture Classifieds are open for your business in the Shopping Guide. They are local and JUST DECOR. Post a particularly good thing, and we'll highlight you here on the front page.
• Molded Fiberglass Stool - $55 (Boerum Hill)
• (2) Vintage Orange Armchairs - $400 (Astoria Heights)
• Adjustable Dining Table/Desk - $6 (Battery Park)
• Domus DDC Lounge Chair - $2500 (TriBeCa)
• Molded Plastic Table and Chairs - $140 (Prospect Heights)
• Vintage George Kovacs Lamp - $150 (Stamford)
• Wood China Cabinet - $200 (Bayside)
• (6) Pearson Swivel Office Chairs - $300 (Valhalla)
• Eames Rocker Chair - $495 (Brooklyn)
• Glass Vessel Lamp w/ Linen Shade - $160 (Williamsburg)
>> The most recent New York Scavengers
Are you on Twitter? Share your own regional finds (you know, the great deals that you don't have room/money or use for) by using the hashtag #ATScavenger. ATScavenger will share your finds with the rest of the community — whether it's a Craigslist find, eBay gem or a discarded table left out for the trash.
Follow ATScavenger for the best furniture finds and projects.
Apartment Therapy is not the seller of these items. This is an edited selection of our favorite offerings from other independent sources. Please check the item's link for the original source.


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On March 18, 2016 the Sendai Framework for Disaster Risk Reduction will celebrate its first birthday. The Sendai Framework was the first 2030 development agreement adopted by governments at the Third UN World Conference on Disaster Risk Reduction (DRR) in Sendai, Japan. Its purpose is to substantially reduce "disaster risk and losses in lives, livelihoods and health and in the economic, physical, social, cultural and environmental ass. ets of persons, businesses, communities and countries".
In the 12 months since the Sendai Framework was adopted, 100 million people have suffered the impact of a drought, a flood, a storm, an earthquake, a heat wave or some other natural hazard. Many have lost their homes and livelihoods. Over 20,000 lost their lives during this period. The UN Office for Disaster Risk Reduction (UNISDR) is intensifying its push to encourage governments and disaster risk managers to shift from responding to disasters to reducing the risk of disasters through more investments in prevention and mitigation policies. The push includes a new social media campaign entitled #switch2sendai.
Sendai Framework animation
Four animations on the four Sendai Framework priorities
1) Sendai Framework Priority 1: Understanding Disaster Risk
2)Sendai Framework Priority 2: Strengthening disaster risk governance to manage disaster risk
3)Sendai Framework Priority 3: Investing in disaster risk reduction for resilience
4)Sendai Framework Priority 4: Build Back Better


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By Ruslan Chikov and Inna Lagun, Allboxing.ru
Former WBA heavyweight champion Ruslan Chagaev (29-2-1, 18KOs) rejected the widely circulated rumors that he's planning to fight Tyson Fury (19-0, 14KOs) in the month of November. Chagaev returns this Saturday night against journeyman Werner Kreiskott (12-18-1, 8KOs). The fight takes place at the Koenig Pilsener Arena in Oberhausen as part of the Felix Sturm-Daniel Geale undercard.
Chagaev is currenty a promotional free agent after parting ways with Universum and he doesn't have an actual trainer. There was a conversation about a potential fight with Fury, but that's all it was at this point. Until Chagaev has his personal business in order he's not thinking about Fury.
"There is nothing really [to these reports]. Last week I got a call from Tyson Fury's team, and on Saturday there were already reports that our fight will take place in November. This information is premature and not official. Negotiations have just begun. Tyson is interesting to me as an opponent, but until I find a new trainer - discussing something like this is premature. Fury is a serious opponent and I do not intend to go into a fight with him without a good [training camp]. One time I went into a fight [without a good camp], after learning about [the opponent] only a few days [before the date]. [Travis] Walker was a tough nut to crack and since then I'm always cautious," Chagaev said.


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For the Record, September 18, 2013
September 18, 2013
Havre Police Department
A summons was issued to a 17-year-old for possession of dangerous drugs and drug paraphernalia after officers investigated a 1:35 p.m. Tuesday call from the high school.
Officers investigated fraud activity on a credit card after receiving a 2:07 p.m. Tuesday call from McKinley Avenue.
Officers investigated a 2:17 p.m. Tuesday call from a 3rd Street business about someone backing into a pole.
Officers investigated a 4:14 p.m. Tuesday call from 14th Street West about a jeep that had its window broken out.
A 40-year-old Havre woman was arrested for not having a driver's license and obstructing a peace officer after an officer made a motor vehicle stop at 11:14 p.m. Tuesday on 1st Street.
Officers investigated an 11:33 p.m. Tuesday complaint from 3rd Street about the calling party's wanting a man to be removed from her residence.
Hill County Sheriff's Office
Deputies investigated a 4:15 p.m. Tuesday call from the Bitteroot Trailer Court about missing SCRAM equipment; a device place on the ankle to monitor alcohol intake, according to the Hill County Sheriff's Office.
Deputies investigated a 4:26 p.m. Tuesday report from Bear Paw Lake about a generator that was stolen on the Fourth of July weekend.
Havre Fire Department
Emergency medical personnel responded to three calls Tuesday.


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text:
The kids and I tore it up today. 5.4 lbs.
The kids and I tore it up today. 5.4 lbs.
The question isn't who is going to let me; it's who is going to stop me.
Ayn Rand
Holy smokes - good haul!
Accuracy: because white space between bullet holes drives me insane.
I'd eat em with Jasmine rice. Everything but Ice Cream goes good with Jasmine Rice. Hell, maybe even Ice Cream! Well, no, in Louisiana the rice IS the ice cream.
Daddy, what's an enabler?
Son that's somebody with nothing to do with his time but keep me in trouble with mom.
You suck.
It was a miserable year here for morels. At least where I hunt. It got way too warm, way too early. Then it was dry, dry, dry. Then it got cold.
I think our gang found less than 30, all told. Usually, we find 200-300, last year it was more like 600-700.


text:
Wednesday, April 8, 2009
Bug in Clipper
If this clipper is still not working for you, you simply need to clear your browser's cache to clear out the old version.
Sorry about the inconvenience.
16 comments:
- LexiBizzle said...
How do you know if you can use it or not is there a warning or something so that we don't use a picture on accident???
- April 8, 2009 at 6:34 PM
its still not working. perhaps polyvore needs to write down sites where the clipper is not working.
ive tried to upload a bag from instyle.com since yesterday and its not working anyhow..
- April 10, 2009 at 5:55 PM
I "cleared my browser's cache" and it is still not working on any item I choose. Is there anything else i can do? Please help.
- April 12, 2009 at 2:45 PM
Clipper never works on photobucket.com, flickr.com and facebook.com. And those are the only sites I can get pictures to from my computer. Please fix the problem, it's very frustrating.
- April 17, 2009 at 4:21 PM
It dosn't work on hi5.com either? is that also a glitch or can we just not use those sites?
- May 12, 2009 at 12:52 PM
mine is still broken even after i did wat u said! its very annoying it won't let me upload from fanpop ! very annoying
- May 27, 2009 at 5:48 PM
I think you guys know very well your clipper isn't working for a lot of people. I'm really sorry you haven't figured out how to or have chosen not to solve the problem. I think it is horrible that you have decided to ignore messages from from your users. Pathetic, actually.
- July 4, 2009 at 1:53 PM
The Polyvore Clipper does not work on www.emitations.com and www.jcrew.com.
Why doesn't it work on certain sites?
I found this out on 13 December 2009.
- December 12, 2009 at 9:51 PM
It just keeps telling me to log it, and I have Polyvore open and it logs me in but then when that window auto closes it still says log in. No Clipping for me. Sigh.
- February 12, 2010 at 12:45 AM
The polyvore clipper does not work on LL Bean's and Lands' End's websites.
- September 25, 2010 at 7:35 PM
The polyvore clipper doe not work o www.beniiboutiqe.com! please help!
- October 11, 2010 at 2:12 PM
The clipper still dosent wotk, i have polyvore open on another page and i have tons of pics i would like to use on a set. Please Fix The Problem. this is keeping me from making any sets. :(
- November 13, 2010 at 3:10 PM
It's not working on the Schwa Corporation Site's online store( http://www.schwazone.com/schwag/ ) either. Please fix it soon!
- April 20, 2011 at 7:55 AM
everything I try to clip something it keeps telling me to sign in even though I am signed in. How do I fix it?
- July 5, 2012 at 12:36 AM
Every time I try to clip something it says to sign in, even though I am signed in. How do I fix it?
- July 5, 2012 at 12:39 AM
- In the Pickup said...
My clipper is STILL not working. Not only does the clipper box not work, the box does not appear at all. When I click the bookmark and the page loads like it did when the clipper worked. But then the page stops loading, that's the end of it. The box does not appear and nothing happens. I've cleared my cache several times and reinstalled the clipper several times. Nothing is working! HELP!
- March 22, 2013 at 12:44 PM


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D.L. Hughley has always been candid about his struggles with fidelity and his continued effort to be a better husband to his wife LaDonna over the course of their 30 year marriage. The comedian has always been very vocal about the fact the he doesnt believe monogamy is a natural concept and has admitted in the past that he doesnt understand women. But even if marriage continues to be challenging for one of the Original Kings of Comedy, fatherhood is no laughing matter to him. Recently, Hughley appeared on an episode of Angela Yees Lip Service and opened up about a tough time he experienced after losing a child that was made outside of his marriage.
I remember I got jammed up right.Hughley goes on to explain how he learned the child was victim of abuse at the hands of the childs mothers boyfriend and although he was devastated, he ultimately decided not to tell his wife about the situation for a long time.
So I had knocked this chick up, and she had the baby and the baby got killed by her boyfriend. It was a horrible, horrible experience.
I had this baby Im paying for, Im a boy, Im scared, Im married, Im just starting out my career.
I get a call from my boy and he says Your son is in the hospital. And I go and they were Cape Verdean, she was from Cape Verde, so I go to the hospital and this boy was laying the bed and apparently, her boyfriend had shaken him, and damaged him, and I knew one day I would be man enough to tell my woman what had happened. I was so f***ed up.Eventually Hughley did come clean about the ordeal to his wife who turned out to be more supportive than he thought she would be and even expressed that she wished he had told her at the time so they couldve gone through the situation together. When LaDonna and the woman unexpectedly ended up meeting face to face at an airport, the situation wasnt exactly the Love and Hip-Hop type of altercation you might expect when the wife and side-chick finally meet. Hughley explains exactly how calm the impromptu meeting went:
Years later were at the airport remember when you used to be able to go through the airport, you didnt have to have a ticket and you could meet your family, so one day I go and the girl is there and my wife meets me at the plane. I see her see us and I know she thinks she got me in a trick bag and I say, Baby, this is the girl I had the baby by, and my wife said, Im so sorry for your loss.Ive always said that infidelity is one thing, but for someone to go pro-creating all crazy outside of a marriage or long term relationship is the ultimate sign of disrespect. I get it, things happen but one night of passion shouldnt have to result in broken hearts, broken homes and children who are made to feel like consequences of confusion and a lack of self-control. But Ill be the first to admit that life and love are complicated, and it seems as if Hughley is at least making an effort to learn and grow. If his wife LaDonna is willing to stay by his side while he does that, say what you want but that requires a tremendous amount of strength. On some level thats what marriage is about: Not bailing when you realize that you partner isnt perfect even if sometimes you fall victim to those imperfections.
And I felt so small. Because I was a coward two ways. And it starts to change the way you see stuff. I think when youre very young, I never felt bad about my inclinations, I have felt bad about the damage that its done to the people in my life and I dont want to be the kind of guy that at the end of your life has broken a lot of people, children and women, and families, and I think a lot of guys feel like that.
source: http://madamenoire.com/1006173/d-l-h...e-of-marriage/


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Have an special event and need Raffle Supplies? Choose from high quality acrylic or brass plated raffle drums. These drums will provide your organization with years of use. Decide which one is right for your organization based on how many tickets you sell at your event.
Purchase the raffle ticket rolls in quantities of 2,000 raffle tickets each.


text: Hi James, The Sashimi website at http://sashimi.sourceforge.net/ offers a collection of converter programs for some common mass spectrometer file formats. Try to find Waters QTOF in that list.. Regards safee ullah On 4/7/06, James Anderson <janderson_net at yahoo.com> wrote: > > Hi, > > I am now working on some LC/MS data (the machine is made by > > Waters). I have the raw data file, each sample has very large size (in the order > > of several G bytes). Each file has 3 functions and each function has a lot > > of scans with each scan corresponding to a retention time. I have 6 > > control samples and 6 dosed samples, the purpose is to find those proteins that > > are differentially expressed between the two groups (control and dose). > The data is the raw txt file produced by Water Q Tof. However, I don't know how > to convert those txt files to NetCDF or mzXML format which could be processed > by some software. In addition, the format of each sample is > as follows: > Each sample has 3 functions. > Function 1. Full scan data > Function > 2. Cell collision voltage data, this is developed by Waters to identify peptides. > Function 3. Lock mass data, which is used to calibrate the spectrum. > Does anybody have similar experience processing this kind of data? > > > > Many thanks. > > > > James > > > > ------------------------------ > New Yahoo! Messenger with Voice. Call regular phones from your PC<http://us.rd.yahoo.com/mail_us/taglines/postman5/*http://us.rd.yahoo.com/evt=39666/*http://beta.messenger.yahoo.com>and save big. > > > _______________________________________________ > Bioinformatics.Org general forum - BiO_Bulletin_Board at bioinformatics.org > https://bioinformatics.org/mailman/listinfo/bio_bulletin_board > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://www.bioinformatics.org/pipermail/bbb/attachments/20060407/a7dd3bea/attachment.html>


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Various saints appeared in recent Twelve Mile Circle articles, most recently On the Feast Day. I didn't intent to fixate on them. The names of saints, both notable and obscure, kept coming to my attention as I researched other articles. I couldn't simply ignore them. Take Saint Alban, for instance. Perhaps if I lived in England I might have known something about him. That's the place where his story began. English explorers, colonists and settlers took his name and spread it wherever they migrated. I saw a town by that name in the United States and I naturally wondered, who was this Saint Alban?
The Saint's Story
Martyrdom of Saint Alban. Photo by Lawrence OP on Flickr (cc)
Saint Alban figured prominently in the cast of revered characters of England's Christians. Many considered him the English protomartyr, the original Christian martyr for the nation. The Cathedral and Abbey Church of St Alban later rose near the site of his martyrdom in Hertfordshire (map). The surrounding town took his name too. However, during the Roman period, somewhere around the third century, they called it Verulamium and they did not tolerate Christians.
Alban sheltered a stranger who happened to be a Christian priest, the legend said. The priest practiced a forbidden faith, an act punishable by death. Alban learned more about the priest's religion as he hid him from capture, leading to Alban's conversion to Christianity. Meanwhile the authorities continued searching for the priest so Alban swapped clothes with him so he could escape. This angered the local magistrate who decided to punish Alban the same way he intended to punish the priest. He ordered Alban's beheading on a hillside just outside of town. Alban became an instant martyr. Even now, 1,700 years later, pilgrims return to the site of St. Alban's martyrdom, especially on his feast day, June 22.
The story evolved over the centuries, and in reality St. Alban may or may not have actually existed. Nonetheless, that didn't matter. He meant a lot to Christians in England and his name spread as they sailed around the globe.
St. Albans, West Virginia, USA
St. Albans, WV Station. Photo by Bunny & Norm Lenburg on Flickr (cc)
Actually, I first noticed the name in West Virginia. St. Albans sat just a few miles west of Charleston on the southern bank of the Kanawha River (map). The town began as Coalsmouth in the late eighteenth century at a place where the Coal River joined the Kanawha, thus at the mouth of Coal. I guess that sounded like an odd name for a town. Coalsmouth got a new name when it incorporated in 1872; "named by the chief counsel of the C&O railroad and close friend and railroad builder Collis P. Huntington, H. C. Parsons, in honor of his hometown in Vermont."
What about the town in Vermont, though? That one (map) got its name in 1763 from the St. Albans in Hertfordshire, England.
St. Alban's, Newfoundland and Labrador, Canada
St. Alban made it over to Canada too. There it retained a possessive apostrophe, the Town of St. Alban's on the island of Newfoundland (map). The original settlers arrived at this spot on the Bay d'Espoir sometime around the middle of the nineteenth century. They called it Ship Cove. However, that caused problems.
… the community's name was changed in 1915 at the suggestion of parish priest Father Stanislaus St. Croix, in order to avoid confusion with numerous other Ship Coves. The present name of the community honours an English martyr and was chosen to reflect the fact that St. Alban's is one of the few predominately Roman Catholic communities in Newfoundland where the majority of inhabitants are of English (rather than Irish or French) origin.
Logging once generated most of the jobs in St. Alban's. Today aquaculture and hydroelectricity fuel its economy.
St. Albans, Victoria, Australia
St.Albans, Melbourne, Victoria, Australia. Photo by s2art on Flickr (cc)
Another continent, another St. Albans (map). I didn't find much specific about this particular representation, though. In fact, even the History of St. Albans said,
Surprisingly for a neighbourhood as old and as big as St Albans, there is very little written about its particular history, i.e. its own history as a neighbourhood. This is because it developed across the boundary between Sunshine and Keilor and was thus divided between these two municipalities.
First came a railway station named St. Albans in 1887. The town grew around it after land speculators purchased small farms nearby. One gentleman, Alfred Padley, actively subdivided many of the plots and resold them. His wife, according to the website, had a family link back to the St. Albans in Hertfordshire. Thus the name transferred to the station and to the town.
One publication called St. Albans "the homicide capital of Victoria." It experienced sixteen homicides in two years. There are cities in the United States that probably experience that many homicides in a week. Sixteen — while certainly tragic for those involved — didn't seem extreme enough to warrant such an onerous label.
St. Albans, New Zealand
I figured I might as well finish my virtual world tour by taking a look at New Zealand. Yes, a St. Albans grew there too, as a suburb of Christchurch. Look at its splendid border. The jagged edge made it appear like somebody tore it from a sheet of paper. I wondered what led to such an unusual shape, seemingly skipping or included houses and businesses at random. Alas, I never found out. However I did discover how it got its name. Apparently, before the town existed, St. Albans was the name of a local farm. The owner, George Dickinson, named it for a cousin. She was Harriet Mellon, the Duchess of St Albans.


text:
Interested in defining the future of UX?
Adrian Howard (@adrianh) & I, Eewei Chen (@ultraman), invite you to submit sessions to the User Experience Stage of the Agile 2012 conference (Dallas, Texas, Aug 13-17 2012). The 2012 conference theme is "advancing the state of the art".
User Experience practices have always helped agile teams discover, build and deliver the right product: putting the customer at the heart of every decision. The User Experience Stage at Agile 2012 is for anybody passionate about building products that truly delight their customers.
We are especially keen to demonstrate some of the ways Agile and User Experience practices are being combined in the Lean Startup and Lean UX communities: driving the iterative discovery and development of new products in new and exciting ways.
Questions this stage will attempt to answer:
- What is the future role of UX?
- How do you discover what users really want?
- How can you better iterative to discover new product ideas?
- How can generative user research be integrated with agile projects?
- How can an agile team sustain a long-term product vision?
- How do UX practices help agile teams build better products?
- How do you put practical UX skills into the hands of the whole team?
- How do you deal with the challenges of UX work on your agile team?
- What are UX practitioners doing to enhance real world agile projects?
The stage aims to bring together practical and theoretical sessions from the best practitioners in the field. We want to see and hear about ways UX is evolving and improving to create awesome customer experiences. Please submit a session if you feel you have something important to share. And please, don't hold back!
How do I submit a session proposal?
To submit sessions and find out more about speaker compensation, please visit:
NOTE: Please submit all UX related sessions to the User Experience Stage.
To encourage early submissions there are two submission rounds:
* January 15, 2012 – Early-bird submissions deadline
* Febuary 19, 2012 – Final submissions deadline
The earlier you submit, the more potential feedback you will get from our review team – helping you improve your proposal and making it much more likely to be accepted!
Anything you want to see or hear about specifically?
Don't hesitate to let us know what you also want to see on the User Experience stage. Is there a tutorial you would like to see or a subject you would like to hear discussed? Is there someone from the agile or user experience world you would like us to invite? If you have a topic or presenter in mind, please let us know.
Thank you for your interest. We're looking forward to meeting you in Dallas next August.
Adrian Howard (@adrianh) & Eewei Chen (@ultraman), Agile 2012 – User Experience Stage producers


text:
Public Information
State Law guarantees the public has a right to access government records.
The Texas General Office is committed to open government and has staff dedicated to ensuring that all requests for public information are responded to quickly and efficiently. Our Public Information Officer is your contact for all requests of public information held by the Land Office.
All Public Information requests must be made in writing. Please feel free to use this web form to submit your Public Information request, or write to the physical address shown on this page.
Public Information OfficerHadassah Schloss
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Phone: 512.463.9072
Fax: 512.463.6311
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The Texas General Land Office analyzes server logs for statistical purposes only and makes no attempt to personally identify website visitors. Statistics such as time, date, or pages requested are used for assessing the information of most interest to users and identifying system performance or problem areas.
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Information collected by electronic mail and by web forms may be subject to the Public Information Act; however, email addresses of members of the public who correspond with the GLO are confidential and may not be disclosed unless the sender agrees to such.
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Name, address and physical location information that is entered on our web forms is stored for the sole purpose of delivering goods and/or services and for processing transactions. Information obtained thorugh our web site(s) is never sold or shared, unless disclosure is legally required under the Public Information Act or other law. All information obtained is transmitted using firewall protected secure servers and SSL encryption via the https internet protocol. Data is stored only on servers that are administered solely by the TGLO (no third parties). No information is ever shared or sold.Credit card and bank information is captured only by NICUSA - the state authorized credit card processor, and never by TGLO. NICUSA is the chosen vendor for all state of Texas agencies, is fully secure, and is compliant with all credit card industry (PCI) rules and guidelines.
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The Texas General Land Office is committed to making its website accessible to all users. To make the site more accessible, we include features designed to improve accessibility for users with disabilities. Two examples of these features are described below.
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The GLO is committed to website availability for all of our customers and follows the guidelines for accessibility defined by DIR guidelines. The agency has an IT accessibility coordinator who can assist customers with any accessibility questions or needs. Requests for exceptions to the policy are handled in accordance with TAC 213, rule 17. Documentation associated with such requests are maintained by the GLO Information Systems administration division.
The GLO welcomes comments on how to improve the site's accessibility for users with disabilities. If you use assistive technology and the format of any material available from the General Land Office interferes with your ability to access the information, please contact us. To enable us to respond in a manner most helpful to you, please indicate the nature of your accessibility problem, the preferred format in which to receive the material, the Web address of the requested material, and your contact information.
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The General Land Office ensures accessibility to all digital media regardless of individual ability, by keeping informed of current accessibility practices and conducting testing of all content at time of posting to the website. We achieve verification of the website's conformance with Section 508 by means of various automated testing tools.


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Updated on 3/28/2012: Winner Announcement
First, I want to thank everyone who entered, liked, shared, and tweeted about this giveaway.
Also a huge thank you to HauteLook for their generosity and all around awesome-ness.
If you haven't checked them out lately, please do so. They have amazing daily deals… now including BRIDAL!
So without further adieu, the super duper lucky winner of the HauteLook $75 Gift Card Giveaway is… (insert drum roll here~)
Heather Williams~ Heather, please get in touch with me within 2 days to claim your prize!~
Thanks again to everyone and keep an eye out for the next giveaway… it's going to be "dazzling!"~ I promise. 😉
*This Giveaway is now closed.
Pretty Gossip has achieved some really big milestones during the months of January and February. As I write this post, Pretty Gossip is only 9 Facebook "likes" from 1,000!~ Overall, the past 4 months have been amazing so I wanted to celebrate and say THANK YOU to every follower in a big way.
So… I've teamed up with HauteLook again for a $75 Gift Card Giveaway! Woot Woot!! ENTER HERE by 3/28/12 (12:01am est), cross your fingers and get ready to shop shop shop~
If you're familiar with HauteLook… you know they offer great brands at huge discounts! If you're not familiar with HauteLook, then what better way to get acquainted than a $75 Gift Card?!
HauteLook has deals everyday on beauty, clothes, accessories, jewelry, shoes, and even getaways! My most recent purchase from HauteLook includes 4 Urban Decay Primer Potions and a set of 24/7 Glide-On Shadow Pencils. Check out some of the deals going on HauteLook today!
Yes, they sell everything that a girl could possibly want. It's super easy to enter this giveaway, so don't miss this chance to win a $75 gift card! CLICK HERE TO ENTER THE GIVEAWAY and follow the directions. (All information will be confirmed, so please be sure to follow directions carefully.)
A HUGE thank you to the HauteLook team for their generosity and support. Pretty Gossip hearts you!
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text:
News The Haugen Amendment: Transit Hub at UW
posted by April 4 at 11:32 AMon
Senate transportation chair Senator Mary Margaret Haugen (D-10, Camano Island) has attached an amendment to the light rail/roads joint ballot title legislation.
Nervous that Sound Transit is going to sign a deal that will botch the idea for a transit hub that connects 520 bus service with the Husky Stadium UW light rail stop, Sen. Haugen added this mandate as the bill made it out of the Senate Transportation Committee before cut off on Monday:
However, as part of the single ballot proposition submitted to voters under this subsection, the authority shall include in the authority's plan assurances that the authority will not enter into any agreement that would restrict the type of transit station serving the west end of the SR 520 floating bridge such that it would be unable to accommodate a comprehensive and coordinated corridor-based multimodal public transportation system to serve the SR 520 bridge area from Seattle to Redmond, including a high capacity transportation system not limited to rail service.
Why would ST sign a deal that would ratchet back a transit hub at a light rail station? I'm not sure they would. (I've got a call into them now to get their take on this amendment.) But here are some theories:
1. The UW is not to keen on having scores of buses pouring in.
2. A smaller station is cheaper.
I talked to Sound Transit spokesman Geoff Patrick about Sen. Haugen's amendment. Patrick says, "We intend to work closely with WashDot and the UW to coordinate our plans. We're working with WashDot to maximize the public benefit of both projects. [WashDot's] 520 design isn't done yet."
Patrick acknowledged that bargaining with UWwhich is antsy about a big transit centerdoes have its effect on what ST can do. "It's correct that they have an understandable interest in traffic circulation."
Patrick also said: "We're interested in getting as many people to ride our system as we can. At the same time, we need to be sensitive to WashDot and the UW."
I asked Patrick ifwanting to maximize ST ridershiphe supported Sen. Haugen's amendment. After all, it would seem to give ST a bargaining chip with the UW. That is: ST could say: "Look, Olympia has mandated that we've got to have a major transit hub here."
Patrick said: "Our commitment is to work with our partners. We hope the plan will please Senator Haugen. "


text:
What's purported to be the plot to the movie based on the best-ever television show based on life in Orange County has leaked out.
The source of the scoop is said to be someone very close to the production of the Arrested Development movie.
Meanwhile, there's big news involving a cast member central to that plot. He's shown at right, after getting blown. (There's got to be a better way to say that.)
Screenrant.com cautions of the supposedly leaked plot, "The following is unofficial and should be taken as RUMOR." [Bold emphasis theirs.]
"Ron Howard is making a movie about the Bluths using an A-List cast.
But Dr. Tobias plays himself because nobody wants to play him in the
movie. The Bluths decide to make their own movie in contention with Ron
So, to recap: Ron Opie Taylor Richie Cunningham Howard, who was the narrator on the original Arrested Development television show, would playing himself making a movie about the Newport Beach family depicted in the comedy–which would explain why he narrated the TV version.
That POP! you just heard was my head exploding.
Now, this could be total B.S. Or it could be a trial balloon floated by series creator/genius Mitch Hurwitz, perhaps gauging how his hardcore fan base reacts. After all, Hurwitz did complain that he was fresh out of new ideas about the time Fox pulled the plug on his amazing show (adding that he'd force himself to come up with more for the right price).
But there are some notes about the rumored plot that do make sense, first and foremost being it would extend the storyline of the TV series finale. Even more important to the studio, a story about making a movie about the Bluths allows for cameos by bigger-name stars than the perfectly perfect Jason Bateman,
Portia de Rossi,
Will Arnett,
Michael Cera,
Alia Shawkat,
Tony Hale,
David Cross,
Jeffrey Tambor,
Jessica Walter and, of course, Mr. Howard.
By the way, I bet cast members LOVE the idea that a plot is getting out, as that's invariably the second question they are asked after, "When is the Arrested Development movie coming out?" We'll apparently know the answer to whether the plot is real in a couple weeks, as Screenrant indicates that's when the storyline will be released to the masses.
Perhaps Cross will be back from his honeymoon by then. Life & Style reports that AD's Tobias Fünke is marrying his longtime girlfriend. The OC poetry scene knows Amber Tamblyn from her readings down here and throughout Southern California. David Lynch fans know her as the daughter of one of that mad genius' favorite and most-used actors, Russ Tamblyn. But everyone else knows her from TV's House, Joan of Arcadia and General Hospital as well as The Sisterhood of the Traveling Pants movies.
She also had a small role in Cross' squirm-inducing (in a good way) TV show The Increasingly Poor
Decisions of Todd Margaret, which Arnett recently said is taping a second season (or series, as the British say, since it's set in the UK).


text:
The Renegade (Phantom Stallion #4)
For the Phantom, there is only one girl.For Sam, there is only one horse.
When an ambitious rodeo contractor comes to town, Sam's worried. The woman wants to buy tamed mustangs from local ranchers, including Sam's dad, and doesn't seem to like taking no for an answer.
Then Sam spots the Phantom's herd without him. She's sure he's been captured by the rodeo, but how will she find him? And even if she does, how can she set him free?
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text:
What's generally considered "canon" in DOOM's continuity?
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text:
white fork
another name for a typical white girl
i've had so many pumpkin spice lattes this week, i'm such a white fork
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- beanan
a person with a egg head with black hair and thinks there hard over instagram shut up beanan
- jacksio
a loser memer kid. he's shy and and -sshole. but if you ever have an relationship with a jacksio, he's the most caring,'committed person. the totally opposite when he's with his friends. there's two sides to jacksio. be lucky if you get to see both sides omg he such a jacksio.
- fractional ownership
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