text:
Pokémon Diamond and Pearl beta
| This article is incomplete.
Please feel free to edit this article to add missing information and complete it.
Reason: Add missing information, including from other sources such as the The Cutting Room Floor wiki, and add references to such (preferably reliable) sources.
Before their release, Pokémon Diamond and Pearl went through multiple stages of development, many of which included several things eventually dropped during that period. Some remnants of this data can still be found within the internal data of the games.
Munchlax, Weavile, Cherrim, and Scizor all have had prototype sprites from various pre-release pictures and videos, but these sprites have not been found within the data of the final release. Munchlax's sprite seems to be a duplicate from the Munchlax sprite in Pokémon Dash. The Cherrim prototype sprite was shown in an early Japanese commercial. It was surprisingly like the final sprite, only with the left leg up instead. Pokémon.com published prototype sprites during their run up to the release of Pokémon Diamond and Pearl. Scizor's sprite, as shown on one of the prototype screenshots, depicted the same pose as its final sprite, albeit considerably larger, and using its color palette from the Generation III games rather than the darker palette from the final sprite.
There are also leftover sprites of both the rival and Team Galactic Grunts. Despite the fact that the Ken Sugimori artworks didn't change for the final release, the overworld sprites were different. The rival's sprite featured a slightly different hair style while the Team Galactic Grunts had darker blue hair, somewhat similar in color to Saturn's hair.
Barry's prototype overworld sprite
Team Galactic Grunts' prototype overworld sprite
Official pre-release screenshots depicted different designs of certain maps. Two screenshots are of Jubilife City and show the Pokémon Center and the Poké Mart in different spots than the final release. Another screenshot depicted Route 219 with an unfinished look for water, sand and rocks. The last screenshot depicts Route 203, where some early Trainers can be seen.
Earlier design for Route 219
Prototype Jubilife City
Prototype Jubilife City (at nighttime)
Earlier design for Route 203
Unlike in the final release, which forces a parallel perspective inside most buildings, the three-dimensional perspective view used in the overworld was apparently intended for use in all buildings. Several objects inside of the buildings themselves, through modification of the game's engine camera to force it into its perspective view, have been revealed to actually be fully 3D models, such as tables.
In Pokémon Platinum, buildings that are intended to be viewed in the forced perspective camera lack side walls, only having the back one, while buildings whose interior design is carried over from Pokémon Diamond and Pearl have side walls fully modeled, such as inside of Pokémon Centers. This modeling of the side walls actually causes a graphical glitch, due to sprites being seen to pass through the walls on their edges, as well as on their shadows.
In multiple pre-release screenshots, an early design for the Pokétch was shown. It had a smaller app changing button and more of the device on-screen. Also, the Digital Clock application was shown without a Pikachu at the bottom-left corner of the screen.
The font used for the text as seen in the pre-release screenshots of the Japanese versions is very similar to the font used in the Japanese versions of the Generation V games.
Unused Models
In the games, there is also an unused model that is used for shops. It is very similar to the ones placed outside shops in Pokémon HeartGold and SoulSilver Versions but is independent of the shop model, and they also don't rotate. Through hacking, these models can be loaded to the game and work perfectly fine, except they don't glow, unlike the Pokémon Mart.
An alternate map for Spear Pillar was discovered. It is similar to the regular Spear Pillar, but the entrance to Mt. Coronet is missing. It is speculated that the Mystery Zone found at the Pokémon League is a possible prototype map.
Mystery Zone with ID
0x019A appears to be an unused record mixing room. It plays Pokémon Center (Day) during daytime and Pokémon Center (Night) during nighttime.
- A remix of Title Screen: Main Theme from Pokémon Ruby, Sapphire, and Emerald can be found in the internal data with a label of
SEQ_TEST_TITLE. It can be inferred that it was added during the initial stages of development as either a test track (as per the filename) or as placeholder until Opening Movie was made and added in.
- An unused remix of Battle! (Gym Leader), that was most likely intended to be used for the Battle Tower battle against Palmer can also be found among the internal files under the name
- Music played while in the Mystery Zone is a variant of Route 206 (Day). Its filename is an ambiguous
SEQ_DUMMY, but it has been speculated that it could be an earlier version of the theme.
- While tweaking and given the player is present in an area that the games identify as
Jubilife City, a variant of Jubilife City (Day) is played. It is presumed that this theme was an unfinished version of the ordinary theme.
- S.S. Ticket, the ticket for granting entry on the luxury liner S.S. Anne. It is likely a carryover from Pokémon FireRed and LeafGreen.
- Contest Pass, which would allow entry into Pokémon Contests. However, Pokémon Super Contests allow entry without a pass. Furthermore, the item was only used in Pokémon Ruby and Sapphire, having been unused since Pokémon FireRed and LeafGreen.
- Magma Stone, a mystical item that would have been used at Stark Mountain. Albeit used by NPCs during the player's adventure, it is not obtainable by him or her. It is possible it would have something to do with the Heatran event. This hypothesis would later be confirmed in Pokémon Black 2 and White 2 as Nate or Rosa obtain the item at Route 18, which allows Heatran to be summoned at Reversal Mountain.
- Red Chain, which is a creation by the lake guardians that would be used to awaken Dialga or Palkia. Cyrus himself actually uses the item during the plot, and it's possible that the Team Galactic event at the Spear Pillar was initially to be activated by the player.
- Rule Book, an unusable guide book about using Nintendo Wi-Fi Connection. It's possible that this was removed since these guidelines were included in the instruction book of the games.
- Seal Bag, an unusable item that holds up to ten Seals, but was replaced with the Seal Case.
- Loot Sack, a sack for holding treasures from the Underground. It was replaced with a unique menu for the Underground.
Back sprites of Shellos and Gastrodon, presumably from one of the earliest stages of development, were found. These are possibly leftovers from when Shellos and Gastrodon were planned to be in Generation III. Shellos' sprite is pink, like its West Sea variation, and seems to combine the western variation's head with the East Sea variation's body, while Gastrodon's sprite is brown and looks like its West Sea variation, but with more rock-like protrusions on its body. Before the release of Pokémon HeartGold and SoulSilver, this was also considered by some fans to be another "unofficial confirmation" of Pokémon Gold and Silver remakes, since their Pokédex data states that its colors and shapes differ from region to region. However, this proved not to be true due to the similarities to the final forms, and the fact that there are no front sprites for either of the prototype forms. Additionally, there are no known forms of Shellos or Gastrodon that are exclusive to HeartGold and SoulSilver.
The internal data also contains different back sprites for Treecko, Torchic, Mudkip, Ralts, Kirlia, Gardevoir, Jirachi, Turtwig, Chimchar, Piplup, and Manaphy – both regular and Shiny forms. Sprites of a ???-type Arceus are also available.
Alternate sprites for the Camper, Picnicker, and Poké Kid Trainer classes, as well as a sprite for the Sis and Bro class, which consists of a male Swimmer and a female Tuber, were also discovered.
|Treecko back
|Shiny Treecko back
|Male Torchic back
|Shiny male Torchic back
|Female Torchic back
|Shiny female Torchic back
|Mudkip back
|Shiny Mudkip back
|Second Mudkip back
|Ralts back
|Shiny Ralts back
|Kirlia back
|Shiny Kirlia back
|Gardevoir back
|Shiny Gardevoir back
|Jirachi back
|Shiny Jirachi back
|Turtwig back
|Shiny Turtwig back
|Chimchar back
|Shiny Chimchar back
|Piplup back
|Shiny Piplup back
|Shellos back
|Gastrodon back
|Bronzor back
|Manaphy back
|Shiny Manaphy back
|???-type Arceus front
|???-type Arceus back
|Poké Kid
|Sis and Bro
Registeel's pose in battle was changed in the European releases as its original posture could have been misunderstood as a Nazi salute. The altered sprite is used in all other Generation IV core series games afterwards.
|International DP Registeel
|European DP / Worldwide PtHGSS Registeel
See Also
|This game-related article is part of Project Games, a Bulbapedia project that aims to write comprehensive articles on the Pokémon games.


text:
Armed officers were sent to the scene in Elsinore Road, Forest Hill, after the man threatened local police with "a large bladed weapon".
Scotland Yard said he is in a "critical but stable" condition in hospital.
At around 5.40am this morning police were called to reports by members of the public of a man attempting to break into a car in Elsinore Road, the Metropolitan Police said.
A spokesman said: "Local officers attended and attempted to approach the man who then threatened them with a large bladed weapon.
"The officers retreated and called for further units to assist including firearms officers.
"The man then approached officers on Stanstead Road threatening them with the weapon."
The firearms officers deployed both Tasers and firearms and the man received gunshot wounds.
"London Ambulance Service attended and took the man to a south London hospital. He is critical but stable," the Scotland Yard spokesman added.
"We can confirm a number of knives have been recovered from the scene."
Roads are closed in the area due to the incident.
The Independent Police Complaints Commission (IPCC) has launched an investigation.
A spokesman said the man in his early 20s, originally from Ghana but now of Forest Hill, was being treated at Kings College Hospital in the capital.
"The IPCC have deployed its on-call team and has decided this incident should be investigated independently," the spokesman said.
IPCC Commissioner Mike Franklin added: "This young man is receiving medical attention and his condition is described as critical.
"His family have been informed and have been taken to the hospital by the police so that they can be close to him.
"The IPCC investigation will be carried out by our own investigators and will look at the circumstances leading up to this shooting."

subset: commoncrawl


text:
gr3g0ry75 needed a new logo design and created a contest on 99designs.
A winner was selected from 35 designs submitted by 12 freelance designers.
Rebate Rooms
Hotel comparison site
all users looking for hotels
Colors: grey, black, and dark pink (see attached file of color).
Name: Rebate Rooms
Site: Hotel price comparison site
Idea: logo with text...looking for an icon with the text in logo that represents discount hotel rooms.
Find out how a design contest works or learn more about our logo design services.


text: I have truevine internet installed on my asus x200ca. My truevine filtered internet will not work correctly. I uninstalled true vine once and everything worked correctly. The problem is that startup is over and than maybe tree or four minutes later I cannot browse any websites except yahoo and a couple others than browsing becomes very difficult and usually times out. I was lucky to be able to get to this website. How could I totally verify that truevine is the problem? And I would like to fix the problem without uninstalling the software.


text:
This year's Professional Design-Build (D/B) Conference, sponsored by the Washington, D.C.-based Design-Build Institute of America (DBIA), showcased both the accomplishments and challenges faced by D/B practitioners. While the approach has exploded in sophistication and market share-especially in the public sector-design/build is still widely equated with fast, cheap projects, and not necessarily with aesthetics and long-term value.
To help contend with this image, the American Institute of Architects served as cosponsor again and even unveiled a new D/B workbook. Several well-known architects came, such as Albuquerque, N.M.'s Antoine Predock, San Diego's Carrier Johnson and Kaplan McLaughlin Diaz (KMD), San Francisco.
Still, even the architects in attendance acknowledged the real challenge of producing signature designs. Bradley S. Buchanan, principal of Buchanan Yonushewski Group Architects, Denver, reminded attendees that buildings are created for "commodity, purpose and delight. And that 'delight factor' has to be there, which is hard to do in a commodity-driven value-engineering process."
Award-winning proof
There was ample proof of this difficulty among the 26 projects awarded at the Design-Build Education and Research Foundation's gala dinner. All were certainly studies in effective at-risk project administration-Sundt Construction, for example, delivered a conference center for Raytheon Missile Systems in a mere 54 calendar days-but only a few truly offered images to match their efficiency. Of note were the San Francisco Civic Center by HSH Design/Build Inc.-in collaboration with Skidmore Owings & Merrill-and the Alameda County (Calif.) Recorder's Building by Hensel Phelps and KMD.
Such design successes, ironically, are vastly overshadowed by D/B's legacy of controlling costs and schedules. So as more owners buy into the method, those A/E firms with D/B track records stand to benefit. But to speed owner acceptance, DBIA needs to strengthen the case that D/B and high design go hand in hand.


text:
- About us
- Blogs
- Funding/Donations
- Challenges
- Chapters
- Papers
- Projects
- Code of Conduct
- Google SoC
- Recent posts
- Security Workshops
The ZA chapter has faced a busy year (non HNP) work wise. As a relatively young chapter, organisation and recruitment is still very much on the agenda. Much of the work being done is also within the Security and Networks Research Group (SNRG) at Rhodes University, of which a number of us are members.
Chapter Members:
Changes to Chapter
The chapter had a bit of a shuffle in April when Matt took up an opportunity to moved to colder climes and relocated to Norway. He stepped down as chair, and remains as a member at large. Barry has taken over as Chapter Lead. Leon, Benny and Dennis, have become affiliated members since there are no Chapters in .NL and .JP respectively. Etienne and Samuel are final year MSc grad students working with Barry, who have recently going to join the working world as pentesters. There has been quite a bit of interest expressed within the ZA infosec community. More members are expected once we can work out some kinks in getting members added to the global list.
Worth mentioning is that those of us based at Rhodes University now have access to a real first-world network connection, with the Universality having finally received its link to the national research backbone in early October. This resulted in an upgrade of the Universities internet pipe form 92Mbit to 10Gbit. Working on remote systems is now a LOT more viable. The ZA chapter core infrastructure will largely be being relocated to this network in the coming months.
The following have been deployed within South African IP space
Core research areas for the year have been:
Automated processing of Network Telescope Data - driven largely by Samuel and Barry
OSINT and fingerprinting of incoming probe sources on our sensors - Samuel ( this has formed a significant portion of his MSc research)
Botnet C2 communications detection based on classification of Fast-flux and Generated domain names picked up form passively monitored DNS traces - driven by Etienne as part of his Msc research
Lots of back mining and tool-chain development relating to the large store of pcap data collected form telescope sensors. CaptureFoundry provide a very nice and fast means of doing quick explorations against large (30gb+) pcap datasets, using GPU offload.
Many of the details of the Research carried out have been published in the papers listed below, but some hilights are:
While not a data finding, but worth mentioning we have run into some resistance from some organisations in setting up honeypots. Suggestions or success stories form other chapters would be appreciated!
A number of papers have been written and presented. Most of these relate to work being done in other forums, but with a distinct honeypot flavor. Copies of the majority of these are available online (otherwise ask Barry)
A couple of other papers are underway, and should appear in Early 2013. Samuel and Etienne should have their respective MSc theses, both with themes strong related to HNP, published in early 2013.
Primary Goals for 2013 are:
Feedback received form discussions within the ZA infosec community is positive, and we look forward to growing membership, deployment infrastructure and awareness of the HoneyNet Project within Southern Africa in the coming year. There are several interesting projects lined up which some of Barry's postgraduates will be exploring ion 2013.


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Are you ready for some football?? It's that time of year again and for the die-hard football fans out there, tailgating is often taken just as seriously as the outcome of the game. It's a time to socialize, grill up some pre-game food, and to show off your tailgating set-up of course. You certainly don't want to be left without power when you're still getting geared up for the game and with the 900 Watts Peak/800 Running Watts, 2 HP Gas Generator from Harbor Freight Tools, you can rest easy while you party hard.
"Used to provide power for tools and appliances in the motor home at the racetrack. Starts easy and runs up to 9 hours on tank of gas. Bolted this to a platform on the back of the motor home to run refrigerator, electric cooler, and fans on the 6 hour tow to the track. Ran great all the way. Ran for 9 hours on a tank of gas on the trip home, powering the 4 cubic foot fridge, and the electric cooler." – FV Racer from Plainfield, NH
"Works whenever I need it to. Stays in the shed and always starts second pull. I keep stabilizer in the mix and it is over a year old without any issues. I used it for charging my cell phone, radio, and primarily fish tank life support." – Chromebody from Maryland
At just $129.99, this little portable generator is a reliable and powerful addition to your tailgating kit. Power up your mini-fridge, a TV or radio, and maybe a little heater or fan depending on the weather! But no matter if it's rain or shine, the 900 Watts Gas Generator is sure to make any pre-game party a little brighter.


text:
Tips for Installing the Bathroom Medicine Cabinets
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text: Bruce Allen wrote: > Hi Jeff, > > OK, I see the point. You are not worried about multiple unreadable > sectors making it impossible to reconstruct lost data. You are > worried about 'whole disk' failure. Well, no actually. I'm worried about unrecoverable reads on the remaining disks during reconstruction. :) Is that what you are referring to? > I definitely agree that this is a possible problem. In fact we > operate all of our UWM data archives (about 300 TB) as RAID-6 to > reduce the probability of this. The idea of a second disk failing in > a RAID-5 array during rebuild does not make for a good night's sleep! Did you see Garth's comments? Even using a number of 500TB drives greatly increases the probability of a URE during reconstruction. RAID-6 helps you sleep, but not as much as you think :) Scares the cr** out of me. I'm looking to build a home server and I think I'm going to do RAID-61 to give myself some extra protection. I just have to figure out how to power all of them and find a case where they can fit and a motherboard with enough SATA connectors :) Enjoy! Jeff > > Cheers, > Bruce > > On Fri, 24 Aug 2007, Jeffrey B. Layton wrote: > >> Bruce, >> >> I urge you to read Garth's comments. Your description of what >> RAID controllers do is very good when there are no failed drives. >> If a drive fails though, you can't scan the disks looking for bad >> sectors. >> >> During a reconstruction, the RAID controller is reconstructing >> the data based on the remaining drives and the parity. >> Unfortunately, the controller is likely to be block based so it has >> to rebuild every block of the failed disk. But if the controller is >> doing a reconstruction and hits a URE, then the reconstruction >> process just stops and the controller cries uncle. This means you >> have to restore the failed array from a backup. This means the >> entire volume. >> >> With drives getting larger and larger all the time, the window of >> vulnerability during reconstruction (where a second drive failure >> will fail the entire volume) has grown because it takes longer and >> longer to reconstruct so much data. This is why people are moving >> to RAID-6. But RAID-6 is expensive in terms of capacity and performance >> (Note: it has worse write performance than RAID-5). It gives the >> ability to tolerate a second drive failure, but it may not reduce the >> window of vulnerability during reconstruction because it takes longer >> to reconstruct. >> >> Here's an article where Garth talks about this (it's at the end): >> >> http://www.eweek.com/article2/0,1895,2168821,00.asp >> >> I wanted to note one quick thing from the article: >> >> "The probability of the disk failing to read back data is the same as >> it was long ago, so today you can expect at least one failed read every >> 10TB to 100TB. But the reconstruction of a failed 500GB disk in an >> 11-disk array has to read 5TB, so there can be an unacceptably large >> chance of failure to rebuild every one of the 1 billion sectors on the >> failed disk." >> >> So if a reconstruction fails, you have to copy 5TB of data from the >> backup to the volume. If you do this from tape - you're going to wait >> a long time. You can do it from a disk backup but it still may take >> some time to move 5TB across the wire depending upon how you >> everything connected. >> >> Jeff >> >> >>> Hi Jeff, >>> >>> For this reason, in a RAID system with a lot of disks it is >>> important to scan the disks looking for unreadable (UNC = >>> uncorrectable) data blocks on a regular basis. If these are found, >>> then the missing data at that Logical Block Address (LBA) has to be >>> reconstructed from the *other* disks and re-written onto the failed >>> disk. >>> >>> In a well-designed (hardware or software) RAID implementation, you >>> can reconstruct the missing data by only reading a handful of >>> logical blocks from the redundant disks. It is not necessary to >>> read the entire disk surface just to get a few 512 byte sectors of >>> data. So a failure for different data somewhere else on a disk >>> should not (in principle) prevent reconstruction of the lost/missing >>> data. In a poorly-designed RAID implementation, you have to read >>> the ENTIRE disk surface to get data from a few sectors. In this >>> case, another uncorrectable disk sector can be crippling. >>> >>> Most good hardware RAID cards have an option for continous disk >>> scanning. For example ARECA called this 'consistency checking'. It >>> should be done on a regular basis. >>> >>> You can use smartmontools to do this also, by cayring out regular >>> read scans of the disk surface and then forcing a RAID consistency >>> check/rebuild if there is a read failure at some disk block. >>> >>> Note that continous scanning is also needed for ECC memory to >>> prevent correctable single-bit errors from becomming uncorrectable >>> double-bit errors. In this RAM/memory context it is called 'memory >>> scrubbing' >>> >>> Cheers, >>> Bruce >>> >>> On Thu, 23 Aug 2007, Jeffrey B. Layton wrote: >>> >>>> This isn't really directed at Jeff, but it seemed like a good segway >>>> for a comment. Everyone - please read some recent article by >>>> Garth Gibson about large capacity disks and large number of >>>> disks in a RAID group. Just to cut to the chase, given the >>>> Unrecoverable Read Error (URE) rate and large disks, during >>>> a rebuild you are almost guaranteed to hit a URE. When that >>>> happens, the rebuild stops and you have to restore everything >>>> from a backup. RAID-6 can help, but given enough disks and >>>> large enough disks, the same thing can happen (plus RAID-6 >>>> rebuilds take longer since there are more computations involved). >>>> >>>> Jeff >>>> >>>> P.S. I guess I should disclose that my day job is at Panasas. But >>>> regardless, I would recommend reading some of Garth's comments. >>>> Maybe I can also get one of his presentations to pass around. >>>> >>>> P.P.S. If you don't know Garth, he's one of the fathers of RAID. >>>> >>>>> Hello Jakob, >>>>> A couple of things... >>>>> 1. ClusterFS has an easy to understand calculation on why raid 6 is >>>>> necessary for the amount of disks you're considering. You do need to >>>>> plan for multi-disk failure, especially with the rebuild time of 1TB >>>>> disks. >>>>> http://manual.lustre.org/manual/LustreManual16_HTML/DynamicHTML-10-1.html#wp1037512 >>>>> >>>>> 2. Avoid tape if you can. At this scale, the administrative time and >>>>> costs far outweigh the benefits. Of course if you need to move your >>>>> data to a secure vault that's another thing. If you really want to do >>>>> tape, some people choose to do disk > disk > tape. This eliminates >>>>> the >>>>> read interrupts on the primary storage and provides some added >>>>> redundancy. >>>>> >>>>> 3. We do use Nexsan's satabeasts for storage similar to this. Without >>>>> commenting on costs, the jackrabbit is technologically superior. >>>>> >>>>> Thanks, >>>>> jeff >>>>> >>>>> On 8/23/07, Jakob Oestergaard <jakob at unthought.net> wrote: >>>>> >>>>>> On Thu, Aug 23, 2007 at 07:56:15AM -0400, Joe Landman wrote: >>>>>> >>>>>>> Greetings Jakob: >>>>>>> >>>>>>> >>>>>> Hi Joe, >>>>>> >>>>>> Thanks for answering! >>>>>> >>>>>> ... >>>>>> >>>>>>> up front disclaimer: we design/build/market/support such things. >>>>>>> >>>>>> That does not disqualify you :) >>>>>> >>>>>> >>>>>>>> I'm looking at getting some big storage. Of all the parameters, >>>>>>>> getting as low >>>>>>>> dollars/(month*GB) is by far the most important. The price of >>>>>>>> acquiring and >>>>>>>> maintaining the storage solution is the number one concern. >>>>>>>> >>>>>>> Should I presume density, reliability, and performance also >>>>>>> factor in >>>>>>> somewhere as 2,3,4 (somehow) on the concern list? >>>>>>> >>>>>> I expect that the major components of the total cost of running >>>>>> this beast will >>>>>> be something like >>>>>> >>>>>> acquisition >>>>>> + power >>>>>> + cooling >>>>>> + payroll (disk-replacing admins :) >>>>>> >>>>>> Real-estate is a concern as well, of course. The rent isn't free. >>>>>> It would be >>>>>> nice to pack this in as few racks as possible. Reliability, >>>>>> well... I expect >>>>>> frequent drive failures, and I would expect that we'd run some >>>>>> form of RAID to >>>>>> mitigate this. If the rest of the hardware is just reasonably >>>>>> well designed, >>>>>> the most frequently failing components should be redundant and >>>>>> hot-swap >>>>>> replacable (fans and PSUs). >>>>>> >>>>>> It's acceptable that a head-node fails for a short period of >>>>>> time. The entire >>>>>> system will not depend on all head nodes functioning simultaneously. >>>>>> >>>>>> >>>>>>>> The setup will probably have a number of "head nodes" which >>>>>>>> receive a large >>>>>>>> amount of data over standard gigabit from a large amount of >>>>>>>> remote sources. >>>>>>>> Data is read infrequently from the head nodes by remote >>>>>>>> systems. The primary >>>>>>>> load on the system will be data writes. >>>>>>>> >>>>>>> Ok, so you are write dominated. Could you describe (guesses are >>>>>>> fine) >>>>>>> what the writes will look like? Large sequential data, small >>>>>>> random >>>>>>> data (seek, write, close)? >>>>>>> >>>>>> I would expect something like 100-1000 simultaneous streaming >>>>>> writes to just as >>>>>> many files (one file per writer). The files will be everything >>>>>> from a few >>>>>> hundred MiB to many GiB. >>>>>> >>>>>> I guess that on most filesystems these streaming sequential >>>>>> writes will result >>>>>> in something close to "random writes" to the block layer. >>>>>> However, we can be >>>>>> very generous with write buffering. >>>>>> >>>>>> >>>>>>>> The head nodes need not see the same unified storage; so I am >>>>>>>> not required to >>>>>>>> have one big shared filesystem. If beneficial, each of the head >>>>>>>> nodes could >>>>>>>> have their own local storage. >>>>>>>> >>>>>>> There are some interesting designs with a variety of systems, >>>>>>> including >>>>>>> GFS/Lustre/... on those head nodes, and a big pool of drives behind >>>>>>> them. These designs will add to the overall cost, and increase >>>>>>> complexity. >>>>>>> >>>>>> Simple is nice :) >>>>>> >>>>>> >>>>>>>> The storage pool will start out at around 100TiB and will grow >>>>>>>> to ~1PiB within >>>>>>>> a year or two (too early to tell). It would be nice to use as >>>>>>>> few racks as >>>>>>>> possible, and as little power as possible :) >>>>>>>> >>>>>>> Ok, so density and power are important. This is good. Coupled >>>>>>> with the >>>>>>> low management cost and low acquisition cost, we have about 3/4 >>>>>>> of what >>>>>>> we need. Just need a little more description of the writes. >>>>>>> >>>>>> I hope the above helped. >>>>>> >>>>>> >>>>>>> Also, do you intend to back this up? >>>>>>> >>>>>> That is a *very* good question. >>>>>> >>>>>> >>>>>>> How important is resiliency of the >>>>>>> system? Can you tolerate a failed unit (assume the units have hot >>>>>>> spares, RAID6, etc). >>>>>>> >>>>>> Yes. Single head nodes may fail. They must be fairly quick to get >>>>>> back on line >>>>>> (having a replacement box I would expect no more than an hour of >>>>>> downtime). >>>>>> >>>>>> >>>>>>> When you look at storage of this size, you have to >>>>>>> start planning for the eventual (and likely) failure of a >>>>>>> chassis (or >>>>>>> some number of them), and think about with a RAIN configuration. >>>>>>> >>>>>> Yep. I don't know how likely a "many-disk" failure would be... If >>>>>> I have a full >>>>>> replacement chassis, I would guess that I could simply pull out >>>>>> all the disks >>>>>> from a failed system, move them to the replacement chassis and be >>>>>> up and >>>>>> running again in "short" time. >>>>>> >>>>>> If a PSU decides to fry everything connected to it including the >>>>>> disks, then >>>>>> yes, I can see the point in RAIN or a full backup. >>>>>> >>>>>> It's a business decision if a full node loss would be acceptable. >>>>>> I honestly >>>>>> don't know that, but it is definitely interesting to consider >>>>>> both "yes" and >>>>>> "no". >>>>>> >>>>>> >>>>>>> Either >>>>>>> that, or invest into massive low level redundancy (which should >>>>>>> be scope >>>>>>> limited to the box it is on anyway). >>>>>>> >>>>>> Yes; I had something like RAID-5 or so in mind on the nodes. >>>>>> >>>>>> >>>>>>>> It *might* be possible to offload older files to tape; does >>>>>>>> anyone have >>>>>>>> experience with HSM on Linux? Does it work? Could it be >>>>>>>> worthwhile to >>>>>>>> investigate? >>>>>>>> >>>>>>> Hmmm... First I would suggest avoiding tape, you should likely be >>>>>>> looking at disk to disk for backup, and use slower nearline >>>>>>> mechanisms. >>>>>>> >>>>>> Why would you avoid tape? >>>>>> >>>>>> Let's say there was software which allowed me to offload data to >>>>>> tape in a >>>>>> reasonable manner. Considering the running costs of disk versus >>>>>> tape, tape >>>>>> would win hands down on power, cooling and replacements. >>>>>> >>>>>> Sure, the random seek time of a tape library sucks golf balls >>>>>> through a garden >>>>>> hose, but assuming that one could live with that, are there more >>>>>> important >>>>>> reasons to avoid tape? >>>>>> >>>>>> >>>>>>>> One setup I was looking at, is simply using SunFire X4500 >>>>>>>> systems (you can put >>>>>>>> 48 standard 3.5" SATA drives in each 4U system). Assuming I can >>>>>>>> buy them with >>>>>>>> 1T SATA drives shortly, I could start out with 3 systems (12U) >>>>>>>> and grow the >>>>>>>> entire setup to 1P with 22 systems in little over two full racks. >>>>>>>> >>>>>>>> Any better ideas? Is there a way to get this more dense >>>>>>>> without paying an arm >>>>>>>> and a leg? Has anyone tried something like this with HSM? >>>>>>>> >>>>>>> Yes, but I don't want to turn this into a commercial, so I will be >>>>>>> succinct. Scalable Informatics (my company) has a similar product, >>>>>>> which does have a good price and price per gigabyte, while >>>>>>> providing >>>>>>> excellent performance. Details (white paper, benchmarks, >>>>>>> presentations) >>>>>>> at the http://jackrabbit.scalableinformatics.com web site. >>>>>>> >>>>>> Yep, I was just looking at that actually. >>>>>> >>>>>> The hardware looks similar in concept to the SunFire, but as I >>>>>> see it you guys >>>>>> have thought about a number of services atop of that (RAIN etc.) >>>>>> >>>>>> >>>>>> Very interesting! >>>>>> >>>>>> -- >>>>>> >>>>>> / jakob >>>>>>


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Generation Drinks Prove It's all about Me
Making a splash in the drink aisle is ME, a new line of caffeine-free, all natural one-of-a-kind edgy flavored beverages from Chico, Calif.-based Juice Creations Co. Packaged in sleek, vibrant, 10.5-oz. slim cans, they are sold individually and in four-pack carriers.
At only 70 calories per can, ME is a beverage solution that active Gen-Xers and Millennials can relate to. Without caffeine, added sugars, loads of calories and energy-ramping substances, it provides an enticing, healthful twist unlike anything else on the market.
Highlighting its playful character, ME encourages consumers to "Find Your ME," through the interactive Web site www.findyourme.com – that matches drinkers' personalities or moods with specific ME flavors, which include: Vivacious (tangerine pineapple) – The vivacious individual is animated, energetic, and full of life. This person exudes passion and exhilaration, offering a contagious energy that lifts the spirits of everyone around them; Curious (blueberry lime) – The curious individual is inquisitive, careful, and eager to know and learn. They are considerate, highly intelligent, understanding, and generally mindful of others; Uninhibited (pink grapefruit) – The uninhibited individual is not constrained by societal norms or peer pressure. They are free spirited, open-minded, and eager to experience the unknown. The uninhibited person carves his or her own path in life; and Unavailable (dragonfruit blackberry) – The unavailable individual has a strong personality, and is confident in his or her position and inner strength. They are a bit intimidating, perceived to be unapproachable, yet offer a great deal of beauty and insight.
Suggested retail price is $3.99 per four-pack.


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Express. Home of the Daily and Sunday Express.
Wenger has doubt in Thomas
Arsenal manager Arsene Wenger has warned Thomas Vermaelen he cannot expect to be the first name on the team-sheet simply because he is captain.
The Belgian centre-half was, along with goalkeeper Wojciech Szczesny, left out against Bayern Munich in midweek. Despite the importance traditionally placed on the armband within the English game, Wenger insists his skipper must sometimes be prepared to make way for the good of the team.
"In England, it is true the captain is a massive importance," said Wenger. "But (the) one who is a captain and a leader, that shouldn't guarantee you a place in any game."
The Frenchman went on: "For purely sporting reasons, or tactical reasons in the game when you don't think it is the right selection, do you put the player in just because he is captain? That is disrespectful to the guy who doesn't play. For sporting reasons it is not completely justifiable."
Wenger admits getting his central defensive pairing right this season has not proved as straightforward as he had hoped.
Per Mertesacker, so often the target of criticism, and Laurent Koscielny produced a solid display as the team secured a clean sheet in the Allianz Arena, albeit one which in the end was not enough for safe passage into the quarter-finals of the Champions League, with the Gunners ousted on away goals.
Wenger said: "They do well together - it is true, but I can't see any obvious reason why Per and Vermaelen should not do well together.
"Also in some big games, I have played Vermaelen and Koscielny together. You think that should work as well because they are two good football players, one is right-footed and one is left-footed, they compliment each other well. However, sometimes there are mysteries in our game that are difficult to rationalise."
Koscielny was a largely unknown quantity when he signed from Lorient in July 2010, but the 27-year-old is now an established France international and has impressed with some consistent displays, including at full-back, in what has at times been a shaky Arsenal rearguard.
Wenger said: "Koscielny has shown a bit more authority than usual and when he gets into that frame of mind, you can see he has the outstanding qualities. It is something I know he has, but he needs that authority in his game to get his qualities completely out."


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Reassuring Children in Boston Bombing Aftermath
CHARLESTON, W.Va. - In the wake of another deadly day in America with the Boston Marathon bombings, parents are being reminded how such events can emotionally traumatize young children.
The images and stories splashed everywhere can have a negative impact on a child's well-being, said psychologist Korenna Barto, urging parents to reinforce their roles as a "safe haven" and secure base.
"It really just means that you have a person or persons that you know you can always turn to that make you feel safe and valued," she said, "and help provide an emotional and psychological compass or barometer."
A safe haven and secure base are especially important for children through age 5, she said, adding that the key in providing a secure base for children is consistency.
"When children don't get that consistency," she said, "sometimes they don't feel even like their parent - who is there every day, they wake up to, they go to bed to - doesn't give them as secure of a base, as secure of a feeling, as someone who is consistently available."
One way to provide the consistency, Barto said, is with regular scheduling of everything from bedtime to family events. She said that can be as easy as eating dinner together.
"Special moments, where you can even just tune out everything else for just 10 minutes, and focus purely on one child at a time," she said. "It does wonders for feeding that secure base. I think family dinners are a great example of that."
A variety of resources for talking with children about tragedy can be found online at attachmentparenting.org.


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Can Natural Resources Pave the Road to Africa's Industrialization?
Many African countries face a dilemma. After a decade of consistent economic growth, often propelled by high commodity prices, half the continent's population still lives in poverty. Even if rising demand for raw materials from the booming cities of China and India, among others, has driven growth in Africa's mining sector, most of the continent has not yet translated mineral wealth into industrialization and widespread economic development. Most African countries continue to export raw materials and then pay a premium to import the products made with them.


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Why The Jammie Thomas Verdicts Return Such Huge Amounts Per Song Shared: It's All About The Framing
from the pick-a-number-in-the-middle deptWith the latest jury in the never-ending series of trials for Jammie Thomas-Rasset, awarding $1.5 million, or $62,500 per song, many were wondering how the jury comes up with such numbers that seem so ridiculously out of line with any actual damages. The real problem isn't the jury, but the law. Copyright law has ridiculous statutory damages, which by definition have no basis in actual damages. This leads to purposely nonsensical results like being fined $1.5 million for sharing 24 songs you liked. So why is the jury still picking those numbers? Well, it's all about the framing. If you read the jury instructions to the latest jury, you can see why the jury more or less picked the number it did. Just take this key section:
You are hereby instructed that a jury in a previous trial has already determined that the defendant's infringement of plaintiffs' copyrights was willful. In this case, there is no issue as to the defendant's liability for willful copyright infringement. As a result, your sole responsibility is to determine the amount of damages to be awarded to the plaintiffs for the defendant's willful infringement of the plaintiffs' copyrights.There's nothing specifically wrong with the jury instructions. They're exactly what the law basically says the judge should say. But, if you're the average person in the jury box, these instructions effectively say "pick a number higher than $30,000 and less than $150,000." That's basically it. The numbers are framed right there, and the jury just has to pick. So, the last two juries picked $80,000 and now $62,500. If you're on the jury, you're not really thinking about what this actually means, or if the punishment fits the actions. You're told, by law, you should pick a ridiculously high number, and then you just sorta pick one within that frame, which has already been set for you. If you're told that they can be fined $150,000 per song shared, and you assume that the law must make sense (because who would pass a nonsensical law?), then at no point do you ever consider the reasonableness of such an award. That seems like a pretty bad judicial system, because it encourages frivolous results that very few people can respect.
In this case, each plaintiff has elected to recover "statutory damages" instead of actual damages and profits. A copyright holder may recover statutory damages even if it did not submit evidence regarding actual damages. Under the Copyright Act, each plaintiff is entitled to a sum of not less than $750 or more than $30,000 per act of infringement (that is, per sound recording downloaded or distributed without license). Because the defendant's conduct was willful, then each plaintiff is entitled to a sum of up to $150,000 per act of infringement (that is, per sound recording downloaded or distributed without license), as you consider just.
Filed Under: framing, jammie thomas, juries, statutory damages


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Benny Faccone '78: The Perfect Mix
By Mark Small
October 1, 2012
Veteran recording engineer and mixer Benny Faccone has been a mainstay in the American and Latin music industry for decades. Born in Italy and raised in Canada, Faccone arrived in Los Angeles in 1980 and has since engineered or mixed countless projects that have netted him six American Grammys and eight Latin Grammys. He's also garnered countless certificates for his work on winning recordings during the years before the National Academy of Recording Arts and Sciences began issuing statues to recording engineers.
A keyboard player, Faccone earned a composition degree at Berklee while simultaneously working and studying with Joe Hostetter, a pioneer in Berklee's recording studios and audio engineering education efforts. In addition to gaining experience behind the board at student and faculty recording sessions, Faccone also worked in the Berklee Performance Center doing live sound for pro shows by Weather Report, Chick Corea, Lou Rawls, and others.
After relocating to Los Angeles, he took an entry-level job at the famed A&M Studios, where he gained priceless insight working elbow to elbow with fabled engineers Bruce Swedien, Don Hahn, and others. His six-year tenure at A&M secured him work with such top producers as Quincy Jones, David Foster, Phil Ramone, and more on celebrated recordings by Stevie Wonder, Michael Jackson, the Manhattan Transfer, and Whitney Houston, to name just a few.
Before leaving A&M to become a freelancer, Faccone began tracking and mixing for Latin-music stars José José, Roberto Carlos, María Conchita Alonso, among others. He worked with then-budding Mexican rock band Maná and has since worked on all but two of the supergroup's platinum-selling records. These days Faccone is in high demand with top Latin artists and has worked on chart-busting records by Ricky Martin, Marco Antonio Solis, and Santana.
Faccone is known for his masterful mixes. He prides himself on having developed by learning at the feet of old-school master engineers. He recalls working with one expert engineer who spliced "window edits" in two-inch multi-track tapes in the days before Pro Tools software offered "nondestructive" editing options and ease in creating backup files. While he is adept with Pro Tools, Faccone still prefers to mix with analog consoles and have his hands on the faders. In 2006 he opened his own facility, the Cavern (named after the Liverpool club where the Beatles played). Faccone's studio is part of I-58 Studios, tucked away in Westlake Village, a suburb north of Los Angeles. It's a studio complex built and managed by younger-generation Berklee alumni Daniel Aguilar '05 and wife, Cammy Aguilar '04.
During a rare day of downtime, I caught up with Faccone at the Cavern preceding a horn session for a Marco Antonio Solis record and shortly before he would return for the first time to Italy, the country of his birth, to record a string session for the same project.
After you graduated from Berklee, what was your first move?
I went back to Montreal and got a job in a great studio. They were doing music for industrial films, and I was taking records from their music library and editing music cues to the film. I'd record the cue from an LP to tape and then cut the tape and match it to the voice-over. I did that for two years.
What motivated your relocatation to Los Angeles?
I met my wife when we were both students in Boston. We got married in Montreal and lived there for a while, but there wasn't much of a music scene up there then. I kind of wanted to move to L.A. but needed a little push. My wife wanted to come here to become a writer for magazines. We took a vacation in California in 1979 and drove from San Francisco down to L.A. On our last night, we went to Disneyland and I ran into someone I knew, Curt Sobel ['78]. He told me he was living in L.A. working as a film editor. I told him I was thinking of moving, and he encouraged me to do it. So we moved here in May of 1980, and I took a job as a salesman at a stereo store.
What led to your first break in the recording studios?
Through a connection of Joe Hostetter's, I got an interview with Don Hahn at A&M Studios. He liked the Berklee grads he'd met and offered me a job for $75 per week. I had been making $250 at the stereo store, and my wife and I just had our first child. I asked Don if he could pay me more. He said, "Take it or leave it." So I went out on a limb and took the job. I was driving 53 miles each way to work and back, and after taxes, I was only taking home $40 a week. Most of that went to pay for gas. It was hard at first, but it was worth it to have a job working in a real studio. Later, I got paid more and the job offered benefits as well as overtime pay. I stayed at A&M for six years.
Did you start as an assistant engineer?
For the first few months, I was making coffee. Later I did some assisting, and I would get there early to set up the room for a tracking date at 9:00 or 10:00 A.M. I'd work all day and then it was my job to make sure the room was cleaned up and ready for the next day's session.
You got to work with some iconic people while you were at A&M.
Yeah. I remember working on a couple of Barbra Streisand albums—Yentl with Phil Ramone producing and The Broadway Album with Peter Matz producing. I was assisting Don Hahn in recording the orchestra and vocals. When Barbra sang, her breaths were part of her phrases. I'd have to punch in between lines and keep the breaths in. This was long before Pro Tools. The people sitting in the studio were Stephen Sondheim, Marilyn and Alan Bergman, and others. Back then, an assistant engineer didn't say anything and had to be five steps ahead of everyone to anticipate what was going to happen next. Those sessions were high pressure.
I learned a lot working with great producers, including Quincy Jones. I got to see what a good producer does. Those guys really weren't telling everyone what to do; they did more guiding to get the artist's vision to come out. They would direct and be objective observers for the artist. Some producers would arrange and choose the right musicians for each song.
What was your motivation to leave A&M to become a freelance engineer in 1986?
I had worked as an assistant to Don Hahn—who was a great engineer and the studio manager at A&M—and I'd engineered for Phil Ramone before that. I went solo after Shelly Yakus and Jimmy Iovine took over A&M for Herb Alpert. I became an assistant to Shelly, and it became a 24-hour-a-day job every day. Shelly and Jimmy were bringing in rock acts like Bruce Springsteen, Tom Petty and the Heartbreakers, Stevie Nicks, and other artists I wanted to work with. But it involved lots of hours. After a while, I really wanted to be able to spend more time with my family, so I decided I'd go out on my own.
After going freelance, how did you become the go-to engineer for Latin artists?
Back in 1981, Herb [Alpert] recorded his Fandango record where he returned to the Latin style of music he did with his band the Tijuana Brass in the sixties. In 1984, Herb decided to start a Latin subdivision, A&M Discos. There wasn't another American label putting out Latin music then, so artists from Mexico started coming to A&M to record for the new label.
So I got to meet José José and Juan Gabriel, who were huge back then. I had already met [composer and producer] Juan Carlos Calderón when Herb brought him in to work on Fandango. After I went solo, I started getting calls from Latin artists, and some of those people went on to become very successful.
What do you think these artists heard in your work that made them want you for their projects?
You don't get calls because you are friends with an artist. An engineer develops a sound, and you get calls because of what you can contribute. I'm always thinking about the details and what will be involved with the mix. A part might sound great by itself, but may sound funny with the rest of the music. I still think of the project as a whole.
I learned from my mentors that you have to be a good engineer and mixer but with an artist who feels insecure, you really need to make them feel that you know what you are doing so that they will be more confident. This is a business, but you always want to go into the studio and have fun too.
Once you went freelance, was it all smooth sailing?
Well, back in 1988, I got tired of working on the Latin projects where we would do 10 songs in a day. So I decided to take a job with a studio in Cincinnati that was going to do all the jingles for Proctor & Gamble. I moved my family out there, we built a nice house, and I had a good salary. But there weren't enough great musicians there. Next thing I knew, we were sending things out to L.A. to get them done right. I saw that the situation wasn't going to last and figured that if I got out quickly, I could still salvage my career.
I started thinking that when I was in L.A. working on Latin music, I was still tracking with the best studio musicians in the great studios. The only difference between that work and American projects was that the vocals were in Spanish. When I went back, I treated everything as I would an American record. The quality of what I was putting out was different.
As a mixer, if you work on American music, you get pigeonholed as someone who does rock or pop or r&b. You have a niche. But in Latin music, there's rock, pop, salsa, and more, and you don't get put in a style niche. I'm lucky to get to do a little of everything. I do a rock artist like Maná or Santana and pop artists like Ricky Martin. There is a nice variety.
I'm currently working with Marco Antonio Solis. He is an incredible pop singer and gets everything in one take. We went to East West [Recording] Studios, and he wanted to record bass, drums, percussion, keyboard, and two guitars all at once. We tracked everybody playing together and did 10 songs in four days. Now we're doing overdubs and are really close to finishing the musical stuff. Working with Maná is totally different. They spent four months recording.
Throughout your career, have you done more tracking or mixing?
I do more mixing than recording. It's probably 20 percent recording, and the rest of the time I'm mixing files that people send me. When I got into this, you started recording a project and then mixed. The producers generally didn't know much about the consoles. These days, a producer will have a home studio and know the equipment. But in the old days a producer needed an engineer and an assistant to run things.
Do you want to do more producing in the future?
I've done some producing and have won Latin Grammys for some of the projects I produced. I tell people that I am not a producer per se; I'm more of a collaborator with the artist. Producers today arrange, play keyboards, create drum parts, and then replace parts with real instruments. I'm not someone who is going to make all the tracks and then have a singer come in.
Do you like mixing best?
I don't know if I'd say that. I like the whole process. It's fun to record and then after doing that for a while, I can't wait to start mixing by myself in a quieter environment. Then after a few months of just mixing, I get bored being by myself. Working with Latin artists, I get more latitude. I'm not pigeonholed as just an engineer or a mixer.
What shaped your approach to mixing?
One thing I learned from Bruce Swedien was to work on a mix from beginning to end rather than just mixing the chorus, then going to another place in the song. When you start at the beginning of a song, the level sounds different by the time you get to the chorus. Things can be different every time you touch a fader. I think of mixing as an art form.
What I like to do is start by getting a basic blend. Everyone is going to have an opinion on how things should go because music is so subjective, but I get pretty close 99 percent of the time. These days, producers generally don't come in to work on the mix. So I make a mix, send it out, and wait to hear back. I give people a time frame to approve it or request changes. I still like to mix in analog, so I stay with one mix until it's done before going to the next song. Other people mixing in Pro Tools will decide to come back to a mix a week later and change the panning of a guitar part or something. I don't work that way. I like to keep moving with the project rather than keep tweaking a mix. That can be endless.
Can you point to any one session as your most amazing session?
You never know until after it's over. The sessions for "We Are the World" and Santana's Supernatural album were like that. After something sells 30 million records, you say, "Yeah, that was great."
Have you ever worked on sessions that you felt were a complete disaster?
There have been some disasters because of technical issues that were beyond my control, but the perfectionist in me doesn't allow me to leave anything to chance. When I was at A&M, I would go to the studio six hours before the session just to be sure everything was ready to go. At the end of the day, an engineer has to get the job done. People don't care how you do it, just as long as you give them a great record.


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I'd like to express my thanks to the countless individuals—both locally hired and volunteers—who provided invaluable help in designing and constructing the Makuya Empowered Voices Resource Center. In particular, appreciation goes out to:
Paul Marias, eco-architect and know-everything man who aided in designing the center; provided construction guidance; transported me on multiple days to pick up 10 computers from customs in Joburg, provided Linux software and essential computer knowledge, and had a general personal investment in the project that pushed me through the rough spots.
Fhatuwani Makuya, the local Tshulu Trust volunteer manager who provided moral support and local knowledge, without which this project would have been impossible to manage.
Start Mudzinani, a local builder who volunteered on his weekend to do a wide variety of construction projects—floor, doors, ceiling, and painting—when money and time got tight.
Thendo, a young volunteer construction worker who often worked harder than many paid workers throughout construction of the center. He also took the initiative to dig the toilet pit.
Margaret Mudau, Thiemulwi Ndou, and Maureen Mudzanani, the women who volunteered to clean.
Mr. Malala, who volunteered time on the weekend to help with electricity installation.
Alfred, a welder on the project, who also provided an extension cord at multiple stages of construction.
Neighbors on all sides of the center who provided storage space, helped with construction, and gave access to electricity.
The three gentlemen who were recruited by Fhatuwani to load water and sand and install window panes.
Neighboring kids, who filled my days with playfulness, weeded the yard, and painted the center.
Colbert, who painted the center and the shelves.
Mutshekwa Matshamis, a local woman who harvested reeds and allowed me to interrupt her party to collect the bundles.
Guilt, who made the ceiling and floor, kept the center secure, and did countless other odd jobs.
Moses, an artist who created and installed two murals.
Opa, a carpenter who made the inverted roof, desks, and tables.
Mpho, the electrician.
Simeon Makuya, a contactor who hired builders to construct the center and who also participated in hands-on construction.
Fhatuwani Makuya, a builder who helped construct the center.
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What do I see as soon as I walk in to the room we were supposed to be in?
Cupcakes, and lots of them!
Bourjois have launched a fantastic Spring range that is mainly inspired by corals, peaches and golden hues. This is their ad poster that was created in Paris.
The event started off with lots of eating and talking, we then watched a presentation of the Spring make up demonstrated by Bourjois make up artist Cassie Lomas. She was so lovely, she can do my makeup any day!
Bourjois is a brand with a lot of history, it was actually launched in Paris by Alexander Napoleon Bourjois in the 18th Century. This was a time when respectable women hardly wore makeup, However, Alexander changed that after his inspiration of the theatre and love for the stars of the stage. He created a light quality stage make up that became the "Official supplier to the imperial Theatre".
Here's me giving you a pose!
After much chit chat after the presentation, we were to go up and choose what we wanted from a huge selection that was laid out for us. I think this was very thoughtful as we didn't end up with a foundation that was 10X too light for us or a lipstick shade we would never wear. (The photo you see is an 'after' pic by the way!)
Hope you are having a lovely weekend! X


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Allen Happy He's With Vikes, In Final Year Of Deal
EDEN PRAIRIE, Minn. -- Jared Allen has entered the final season of his mega contract without any guarantee from the Minnesota Vikings of an extension.
The five-time Pro Bowl defensive end, of course, would rather have already signed a new deal with the team that traded a first-round draft pick and a pair of third-round selections to Kansas City for him in 2008.
But in the NFL even a guy with 117 career sacks, the second-most among active players, can get cut.
"I was in an organization previously that didn't respect where I was at in my contract," Allen said Wednesday, referring to the Chiefs. "They promised me a lot of stuff and didn't deliver. And here, I don't have that problem."
Allen turned 31 in April. His salary for 2013 is more than $14 million, before the bonuses he'll likely collect. That's a huge hit on a club's salary cap, and the Vikings could've forced him to take a pay cut as they did with defensive tackle Kevin Williams, left guard Charlie Johnson and tight end John Carlson. Or they could've released him, like veteran cornerback Antoine Winfield.
Two of the other pass-rushing specialists in the current top five on the active career sack list, John Abraham and Dwight Freeney, were recently dumped by their teams.
"A lot of guys get let go in the last year or restructure the last year," Allen said, adding: "They want to honor it. So that's great for me. I have no beefs, quarrels, nothing."
Asked whether he'd be open to a new deal during the season, Allen didn't answer the question directly but indicated his disinterest in considering such matters while the games are going on.
"We're all on the same page," Allen said, praising his relationship with coach Leslie Frazier, general manager Rick Spielman and owner Zygi Wilf. "You know what? I'm excited they're letting me play my contract out. ... I feel like I've got plenty of good football left in me. But that's a decision we'll sit down and make when the time is right."
Williams is also in the final season of his contract. So are fellow defensive ends Everson Griffen and Brian Robison. That's created an intriguing dynamic among a group that has been one of the team's strongest positions for the last half-decade.
"If we sit there and worry about the contract thing and things like that, it's not going to do anything but hurt our play," Robison said. "I mean, I think any guy will tell you as long as your mind is on playing football and you're playing well, everything else will take care of itself."
With 22 sacks in 2011, Allen just missed the NFL single-season record. Last year, he had 12 sacks. Perhaps that's a sign of some decline, but Allen played in all 17 games (including the postseason loss at Green Bay) with a torn labrum in his left shoulder. Allen had surgery to repair that a little more than four months ago, also undergoing a minor procedure for the meniscus cartilage in his right knee at the same time.
He joined his teammates this week for the second round of on-field practices, known in league parlance as organized team activities, but he's only an observer.
"We probably won't see him until training camp," Frazier said. "But ... medically he is doing great and there won't be any problems when we get to training camp. The fact that he's in town, he's doing his rehab here, he's coming out to our practices, that's a good thing."
He's finally sleeping through the night, too. The shoulder injury, he said, happened in the middle of the 2011 season. He was able to play through the condition, but it caused plenty of sharp pain.
"I'd wake up every night tossing and turning," he said, then describing his euphoria a few months ago when he opened his eyes and realized it was morning, having not been jolted awake by the discomfort.
Allen estimated his flexibility in the joint at 97 percent.
"I feel good. Just trying to build strength up now," he said, adding: "Just trying to make sure I'm in the best shape possible and I can get back out there with the guys."
Perhaps for the final time in purple.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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RUSTON, La. (AP) Raheem Appleby scored 15 points and Cordarius Johnson added 12 as Louisiana Tech defeated Texas-Arlington 64-51 Saturday night to win its 11th straight game and remain undefeated in Western Athletic Conference play.
The Bulldogs (19-3, 10-0) swept the season series after also beating the Mavericks 55-52 on Jan. 5.
Louisiana Tech overcame a seven-point deficit in the teams' first meeting, but this time never trailed. The Bulldogs led 23-9 before Texas-Arlington closed to 33-28 at the half.
After Louisiana Tech scored the first four points after the break, the Mavericks again closed to within five, but could get no closer.
Texas-Arlington, which came in ranked No. 8 nationally in field-goal percentage defense (37.2) held Louisiana Tech to 36.7 percent (18 of 49), but could not capitalize, shooting only 36 percent (18 of 50).
Brandon Edwards scored 17 to lead the Mavericks (10-9, 5-5), who saw their two-game winning streak end.


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I passed through security gate. Went to the lounge. Took out my computer to start to etch out what I learned, heard and saw at the V-Marketing forum in La Rioja, where I had just delivered my appeal for the region to get into rehab, kick the adjunct and alcohol habit. But reaching into my bag I realized it happened again. By beloved compter did it's stray dog act. Gone missing. Again? After racing through the airport, and a round trip to security, the silver bullet was retrieved. My heart resumed its normal pace. I think the world is trying to tell me something, or maybe I was distracted because of the juicy, limpid, other worldy, fresh waterfall with plenty of tangerine marcona almonds 1968 Lopez de Heredia blanco I had in San Sebastian last night---but more on that later. BELIEVE IT OR NOT Computer in lap and all well with the world at least for a few minutes, I tried to make sense of the afternoon I spent at the Logrono wine marketing forum. This was a pretty special event. Most of the time panels are mild mannered, everyone on best behavior, telling the audience what they already know. But at this one? Opinions were diverse, explosive and sometimes, also naive.
As a warm up, Miguel Otero Toranzo, a marketing guy in the region, talked about seizing reasons for generating news. He related something that might be true, sounds true, but I haven't done my due diligence. He cited Bordeaux. He said the AOC plans to decrease carbon emissions by 15% in five years ( I said to my neighbor, did he mean 50%? No, he meant 15%).
Hold on to your hats--they're going to use that to promote their Greeness. I think if I heard a rumor that Bernie Madoff was going to give every investor of his $50 to help ease the pain, I'd have a similar reaction. If you've seen the rampant usage of chemical in Bordeaux, you can see that 15% isn't even giving someone a tissue after a sneeze. Mr. Toranzo went on to point out that there is one Chateau who can't comply, but they will be helping a South African estate to go carbon neutral and so on their Bordeaux label, they will proudly claim how their helping the environment. This is a little like a Mafia boss who sends their son into the priesthood and expects to be sainted.
That was just a warm up because the next guy up truly was the man with ideas.
Director of Wine & Estates, LVMH, Xavier Ybarguengoitia. Dapper, direct, sometimes insulting, extremely prepared and quick minded, he came to help Rioja. I'm sure he thought that was his mission and message, and his message was brand. I am passing on of his comments.
*Do you think someone in Shanghai knows where Rioja is? They have to find out where Spain is first.
*Quality is not the reason connoisseurs buy wine.
*People do not buy wine, they buy dreams.
*We (LVMH) want the highest prestige.
*We need profits way beyond what is considered normal in the wine business.
*Create the Brand not the denomination origin.
*Wine has to be easy to understand.
*Most people are led by wine experts, this is the big problem.
*Most consumers have no idea about wine, we must come to them with simplicity. Simplicity is essential.
Then he projected two images: one of the Australian Cape Mentelle sauvignon blanc and the other a Bouchard Nuits St. George, Clos St. Marc. He proceeds to use the NSG as an example of derision, and of why Burgundy is doomed for failure. Does anyone out there reading this know the owner of Bouchard, Joseph Henriot's relationship to the other Bernie, Bernard Arnault? (# 3 in the series) Putting the Bouchard next to the Cape Mentelle, an Aussie, Margaret River winery owned by LVMH seemed like an insider joke, but a pernicious one. The current owner of Bouchard is Joseph Henriot who used to be with Bernie and broke off from the company, let's just say there was bad blood between the two men. So this director of LVMH uses a wine that JH owns as an example of what he views as the stupidity of the Burgundian label?
Then Xavier was playing on his perceived provincialism of the Riojanians. Clos St. Marc is a monopole belonging to Bouchard. They have less than an Hectare. The production is tiny. I have no idea how many millions of bottles Mentelle makes. The situation is not analogous. But it is the same philosophy that is driving the EU, that wine needs to be dumbed down for the lowest common denominator. People inside of LVMH are aiming to take out real wine, or at the very least ridicule those who seek the real stuff out, and the wine team over at the EU seems to agree. It's like, you actually READ? But, what a waste of time that is. You try to make your own decisions? Here, let me tell you what to think. Much easier for you. Actually the philosophy is so similar I wonder if someone from LVMH is sitting on the EU wine advisory board.
Xavier's point was that wine needs to be simple.
Who else but an expert is going to know what that (burgundy) wine is? he asked.
His next trick was to show how LVMH carves out special niches for their wines. He projected the Newton label which LVMH bought in 2003, when they made 95,000 cases. With great pride hs said in 2008 they produces 95,000 cases. 'At Newton,' he says. 'we PLAY with the concept of nature.' They frame Newton as a natural wine, good for the environment. They are proud that their boxes are bamboo, a detail that most in the room didn't quite get. He showed how they proclaim on the label how much of a % is given back to the environment (I don't know what this means). They orchestrate all of their wine events at restaurants with gardens. Then he reiterated, 'You don't make a brand with a good product. You must have a concept.' For example, If Newton is about Nature, Cloudy Bay is about Purity. He finished up his talk by bringing the world back to the LVMH starship, Moet Champagne. He projected the models and the glamour and the dream used when marketing bubbles and I was reminded that the champagne group of LVMH probably makes more wine than Rioja produces. What Xavier forgot is if you don't produce billions of bottles, all you need to do is make great wine and find your niche. After all, what you spend in marketing, you could invest in respect to the soil and the wine and your consumer. Probably, LVMH would love to shift production to China, and when they demolish the AOC they will be able to grow cheaply over in Asia and bottle their Moet because after all, it doesn't matter, all that matters is branding.
But Victor Pascual Artacho, president of the Consorzio of Rioja, was not so sure and he gave Xavier a piece of advice, 'With all due respect,' he said, 'never take the words Champagne off of your label.'
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Perl 6 : the language that is easier to read than to write
As I was sitting in Jonathan Worthington's talk about Perl 6 signatures this morning, it struck me how easy it was to read the code he was showing. The intent was always very clear, it was short and to the point, and just made sense.
But then I looked closer, and there were a lot of sigils, *, := and so on, and I could not see myself writing this. Now the fact that I have never actually written any Perl 6 might explain that ;--) I will see what the learning curve is when I start using Perl 6 for good.
Still, it looks to me like the necessary complexity of code is pushed into a compact and for me quite overwhelming syntax. Which is probably as good a place as any to put it.
It's still quite striking though that Perl 6 might turn out to be a language that is easier to read than to write. Some might say that this makes it the exact opposite of Perl 5!


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A 15-year-old girl died Tuesday of a suspected drug overdose after attending a rave over the weekend at the Los Angeles Memorial Coliseum that had a minimum age requirement of 16.
The girl, identified by family members as Sasha Rodriguez, was one of two rave attendees who were in critical condition at California Hospital Medical Center after the 14th annual Electric Daisy Carnival.
As Sasha's family decided whether to remove her from life support Tuesday, her mother, Grace Rodriguez, told the CBS Evening News: "I was supposed to be planning her Sweet Sixteen party. Now I have to plan her funeral."
Sasha, who lived in the Atwater neighborhood, died shortly before 5:30 p.m. Tuesday, according Katreena Salgado, a spokeswoman for the hospital.
She and the other critically ill patient had been taken to the downtown Los Angeles hospital by ambulance directly from the venue, officials said. Both were treated for drug intoxication in the intensive care unit.
"She came in as an emergency patient from the rave. She was in respiratory arrest when she got here, and she never recovered," said Salgado, who said Sasha was in a coma and experienced multiple organ failure.
Outside California Hospital Tuesday night, friends and family said that when Sasha was found, she did not have identification.
"Obviously they didn't check IDs," said Eva Rodriguez, Sasha's godmother.
Doctors told Sasha's family that she had the drug ecstasy in her system when the ambulance got her to the emergency room.
Kimberly Keith, a family friend, said Sasha's loved ones are still trying to figure out what happened. Although they knew Sasha was going to her first rave, Keith said, drug use was "not her character."
When they got the call that Sasha had been taken to the hospital, they had no idea how serious her condition was.
"We were almost like joking, 'Oh she's going to be in trouble. I can't believe she went there!' " she said. Keith said they thought maybe the rave was "too packed, she was excited and passed out.... Never in a million years would we would have imagined" drugs.
A 16-year old friend who was with Sasha at the rave said Sasha was dancing, got hot and began quickly drinking cold water.
Doctors said "her sodium, electrolytes were so low that when she started replacing them so quickly [with cold water], ecstasy messes up your body's ability to process that, so it threw her body out of whack," said Keith.
Sasha passed out, hitting her head on the floor. The friend who was with her tried to shield her body but told her family that the venue was so crowded, people stepped on them.
"We've got kids in inappropriate situations that are dying," Keith said. "That's a city-, state-, county-owned building. They throw it, they rent it, yet they fill it full of minors in a setting where everybody knows what a rave is about. Where's the accountability?"
On Monday, Dr. Caitlin Reed, a physician from the U.S. Centers for Disease Control and Prevention on assignment with the Los Angeles County Department of Public Health, said she was at the rave on both days and did not see anyone checking identification.
"I didn't see any ID being checked at the entry point," Reed said. "This was an all-ages event. There were many, many younger teenagers present."
Pat Lynch, who manages the Coliseum, was stunned to learn of the death Tuesday.
"Oh, no. Oh, my God," Lynch said. "I don't know what to say. That's just terrible."
When asked how a 15-year-old was able to get into the event when the minimum age for entry was 16 without a legal guardian, Lynch said he needed to investigate.
"I'm at a loss," Lynch said. "Sixteen is what the promoter requested, and I just don't know."
Dr. Brian Johnston, the emergency room medical director at White Memorial Medical Center, called the death tragic. Johnston is among doctors who have said that raves at the publicly owned facility put people at risk. He believes that such parties should no longer be permitted at the Coliseum, which was built on state land and is under the authority of a joint city, county and state commission.
"I think it's tragic when a 15-year-old girl dies in this way as a result of a public policy that put her at risk," Johnston said. "Can you imagine explaining that to her parents?"
Barry Sanders, president of the Coliseum commission, issued a statement Tuesday expressing "dismay and deep sadness on the death of the young woman."
Sanders said he plans to call a special meeting of the commission to review all criteria required for organizers using the venue.
Pasquale Rotella, founder of Los Angeles-based Insomniac Events, the company that organized the event, did not respond to a request made through his publicist for comment.
The event, held Friday and Saturday, drew about 185,000 people to carnival rides, five stages and performances by Moby, Will.i.am, Steve Aoki and Deadmau5. About 120 required transport to local hospitals, mostly for drug intoxication.
The volume of patients in need of hospital care led several emergency room physicians on Monday to call for an end to raves at the Coliseum.
Cathy Chidester, director of the county Emergency Medical Systems agency, said Monday that officials treat raves at the Coliseum like a "multi-casualty incident," which she said was similar to planning for a disaster like the Chatsworth Metrolink train crash, which killed 25 and injured more than 130.
Tuesday's death was the latest in a string of high-profile problems at raves at public venues. Earlier this year, at least 18 drug overdoses tied to ecstasy were reported at a New Year's Eve rave at the Los Angeles Sports Arena, next to the Coliseum. And two men died of suspected drug overdoses during a Memorial Day weekend rave at the Cow Palace in Daly City, south of San Francisco.
Although many partygoers consider ecstasy to be safe, doctors and researchers warn that the drug, also known as MDMA, can cause high blood pressure leading to stroke. The hallucinogen can also trigger seizures, releasing toxins that cause kidney failure.
"There are multiple mechanisms through which ecstasy can cause death," Reed said earlier this month when a CDC report she co-wrote on the overdoses at the New Year's Eve rave was released.


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text: Until I watched this video, I did not realize how much an armadillo looks like a bug. A giant weird pillbug with hair on it. This pillbug-mammal-creature happens to be a football fan, by which I mean a fan of the actual ball. I believe it thinks the ball is its baby, or its lover. It appears to have picked the winner of Sunday's Bengals/Steelers game incorrectly, but I still think all questions should now be resolved by letting an armadillo roll around in them. For the 2012 election, just put the two candidates in a room with an armadillo. It probably won't pick either of them, but after watching its weird-cute bug-playtime for an hour, their hearts will grow three sizes and they will magically agree on everything and there will be peace and prosperity forever.


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Tag Heuer is one of the top-most luxury watch brands successfully experimenting with the creativity, sports timing.,automobile racing, and introducing pioneering improvements in the field of ultra-fast mechanical chronographs. It has a grand collection of watches including Aquaracer, Carrera, Calibre, Formula, Aquaracer Calibre, Formula Calibre, Grand Carrera, and so on. It offers the most redesigned modern-era watches for both men and women.
Tag Heuer Carrera: Among the most iconic models of Tag Heuer, Carrera is one of them having similarity with automobile racing. Carrera is prioritized at legibility and durability and so the product comes with waterproof, shockproof, and anti-magnetic from the very beginning. Most of the dials are big and clean markers and also well-spaced so that the users can read the chronograph accurately at a glance. The collection has responsive pushers and extremely active chronographs. The clean thin bezel with faceted lugs and sleek profile resembles that of old Carrera until and unless new technologies are used in it. The watch reflects like a shiny object with all its radiant and highly polished silver markers. The intensified detailing and unique design are added through the style of minute numerals and readable seconds. The automatic movement of the watch helps it to be always self-updated. The Carrera collection seems to be most appropriate for the sporty look in an everyday fashion.
Well, another masterpiece from Tag Heuer is Tag Heuer watches which turns 30 years old in this year. The new 2017 Link models are very different in its look from the former ones. This collection comes in variable colours like silver, blue, dark gray or black for both men and women. The case of the models is mostly made of steel and is 41 mm wide. Most of the models have a contrasting colour with polished and brushed surfaces. Tag Heuer Link models also have a three-hand automatic mechanical movement which reserves the power at least for two days and helps to auto-updated. These models have the power of water resistance at least up to 100 meters. The sapphire crystal protects the cover from heat and dust, scratches and shatters. The complicated design of slightly tapering crown, crown guards, bracelet, bezel, make the models a sense of refinement. Any dress you wear, it will look classic on you. Even, the Tag Heuer Link models are not priced too badly if we pass through the detailed functions generously. In India, you can buy these models at a super-flexi price.


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Category : Project Management.
Topic : Agile project management metrics. Author : Efrain Deleon.
Posted : Wed, Feb 27th 2019 01:41 AM.
Format : jpg/jpeg.
This makes sense because the project has a specific stop date (otherwise it is a process), so all tasks have to end sometime. A word of caution, you are still in the "planning" phase here. Do not get overwhelmed with the lack of details. Every home needs a frame before it can be built. But, before the frame is constructed there is a rough idea of the total square footage of the home, how many rooms, bathrooms, etc. that there will be. Thats what the planning phase if for...to determine how this thing should look.


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The European Commission will set out its plans to dramatically increase spending on migration control on Thursday (14 June), as part of its overhaul of EU development spending between 2021 and 2027. Source: Euractiv
GEFIRA provides in-depth and comprehensive analysis of and valuable insight into current events that investors, financial planners and politicians need to know to anticipate the world of tomorrow; it is intended for professional and non-professional readers.
Yearly subscription: 10 issues for €225/$250
Renewal: €160/$175
The Gefira bulletin is available in ENGLISH, GERMAN and SPANISH.
One of Northern Ireland's "most promising" journalists has been shot dead during rioting that police are treating as a terrorist incident. Dissident republicans are being blamed for killing 29-year-old Lyra McKee after violence broke out during police searches in Londonderry on Thursday. Source: BBC
Spain's far-right Vox party has been banned from a televised debate leading up to the general elections. The April 23 debate is the only debate scheduled before the April 28 elections. The anti-immigration party was banned from the debate following a ruling from the electoral commission. The commission argued that Vox's inclusion was not "proportional" because the party currently holds no seats in the national parliament. Source: Euronews
Moscow views Malta's refusal to allow Russian aircraft to use its airspace to fly to Venezuela as an unfriendly move, Russian Foreign Ministry Spokeswoman Maria Zakharova told reporters at a press briefing on Thursday. Source: Tass


text: > On Thu, Sep 18, 2008 at 02:18:33PM +0100, John Hearns wrote: >> >> 2008/9/18 Eric Thibodeau <[1]kyron at neuralbs.com> >> >> Wooo...I think I'll explore this then with my new machines, >> link >> aggregation on the head node will come in handy for diskless nodes ;) >> >> These days, would you not be better speccing a 10Gbps ethernet >> card, >> and a switch with a couple of 10Gbps ports? > > Absolutely. That probably is cheaper than buying a switch that supports > bonding in a HPC sense (round-robin). > > Cheers, > Martin Oh..yeah...hrmpf... I'd have to wait for someone to want to get rid of their hot hot hot switch so I could do bonding (which I doubt my hardware supports). Guess I'll just fall back to aggregation through some TCP/IP addressing hacks ;)


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There is a book showing Monet studying a book with astro on it. There's also a possibility that she asked for her wings voluntarily by Law instead of it being a devil fruit, indicating a fascination with the sky.
Personally I think this is just theorists jumping the gun but who knows.


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Success Stories
Young talented students from around the world come to Pacific to experience a vibrant, student-centered learning environment. Once they graduate, they leave prepared to practice their professions at the highest level, engage in international affairs, and lead global businesses and organizations. Here are a few alumni who have left indelible marks throughout their careers.
Click here to see the complete list of Alumni of Distinction >>
Khushwinder Gill '06, Principal
In a time when low test scores and a lack of physical activity are major issues for school children across the country, 2006 Pacific graduate Khushwinder Gill has implemented successful afterschool programs to combat both. The school principal was awarded "Principal of the Year" by Gov. Jerry Brown on Sept. 14., 2011. The award includes a check for $10,000 to help support the programs that she helped establish at the school.
Yoshiaki Onishi '04, Composer
From Emmys to a Grammy for Lifetime Achievement, musicians from University of the Pacific's Conservatory of Music have won some of the most prestigious awards in the music industry. Following in that tradition, Yoshiaki Onishi received the 2011 Gaudeamus Prize for his composition "Départ dans..." at Gaudeamus Music Week in Utrecht, The Netherlands, on Sept. 11, 2011. The work by the 2004 Pacific graduate was picked from nearly 400 compositions.
The son of migrant farm workers, Jose Hernandez went from dreaming under the stars to actually reaching them. The 1985 Pacific graduate and former NASA astronaut was one of seven crew members aboard the Space Shuttle Discovery on Aug. 28, 2009 when it launched into space. Hernandez served as a flight engineer and operated the shuttle's robotic arm. As a child of migrant farm workers, he helped pick strawberries and cucumbers in fields throughout the Central Valley. Born in French Camp and raised in Stockton, Hernandez attended Pacific through the Community Involvement Program (CIP), a scholarship program for underrepresented students, and earned a bachelor's degree in electrical engineering. He later received a master's degree in electrical engineering from University of California-Santa Barbara.
Mark Amodei, '83, Congressman
Mark Amodei became a U.S. congressman after winning a seat in the U.S. House of Representatives on Sept. 13, 2011. With an easy victory in a special election to fill a vacant House seat, the 1983 Pacific graduate now represents Nevada's congressional district two. The former GOP state chairman and state senator took 58 percent of the vote against his Democratic opponent and two minor-party candidates. Amodei, who worked as an attorney in Carson City, was first elected to the Nevada Assembly in 1996 and two years later won a seat in the State Senate.
Scott Boras '77, '82, Sports Agent
Scott Boras is one of the most powerful people in Major League Baseball. The former minor league outfielder has negotiated some of the game's biggest contracts, including a 10-year, $252 million contract for Yankees' infielder Alex Rodriguez. At Pacific, Boras was known as "Scotty B" and was an outfielder and captain of Pacific's baseball team. After knee injuries ended his career while playing in the minor leagues, Boras went on to earn a pharmacy degree in 1977 from Pacific's Thomas J. Long School of Pharmacy and a law degree from Pacific McGeorge School of Law in 1982. Shortly after working as a lawyer in the pharmaceutical defense department of a Chicago law firm, he negotiated his first multimillion-dollar contract.
Larry Groupé '79, Composer
Larry Groupé has composed music for countless films, earning awards and praise for his work. Among his accolades, the 1979 Pacific graduate has received two Emmys for the documentary scores for "Jonas Salk: Personally Speaking," and "Residue." He also was nominated for an Emmy for the score to the television series "Mind of a Married Man." His work has also appeared in feature films, including "Straw Dogs," which was released in September 2011. The remake of the 1971 classic tells the story of a married couple who moves to a new town and faces increasing hostility and harassment. Other films featuring Groupé's music include "Nothing but the Truth," "Resurrecting the Champ" and "The Contender." Over his career, the San Diego resident has composed, conducted and produced more than 80 CD recordings. Groupé's music has also been performed by a number of symphony orchestras.
Dave Brubeck '42, Pianist and Composer
Jazz icon Dave Brubeck is a world-renowned pianist and composer of jazz and classical music whose experimentation with unexplored time signatures introduced millions of listeners to jazz. A 1942 graduate of Pacific, Brubeck has achieved extraordinary success throughout his music career, including the Dave Brubeck Quartet's highly acclaimed album "Time Out" (1959), which sold more than one million copies. While attending Pacific, he met his future wife, Iola Whitlock, who would later become his business manager and his primary lyricist. A plaque can be found inside the Faye Spanos Concert Hall that marks the spot where Dave first met Iola when they were both students at Pacific.