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Guns N' Roses Add New 2013 Tour Dates
What are the guys in Guns N' Roses doing to keep busy between editing sessions for their upcoming 3D concert film? Why, scheduling more tour dates, of course!
According totheir official site, the band has just added two new stops to its summer itinerary, which will bring them to Lubbock, Texas on June 1 and Kansas City, Mo. the following night. It isn't exactly an extensive addition to the tour, but it'll bring an extra dose of high-volume hits to the summer concert calendar.
The new GNR dates help form the outline of something resembling a North American tour for the band, starting with their May 24 appearance at Rocklahoma, continuing two days later in San Antonio, Texas, and concluding with a stop in New York City on June 8. Tickets for the Lubbock show haven't gone on sale yet, but pre-orders are available for all the others through the Guns N' Roses website.
It's been a fairly busy touring year for Guns N' Roses -- their American dates follow an Australian tour with ZZ Top -- and while the New York date is currently the last one listed on their schedule, it seems likely that it won't be the last we hear from the band in 2013.


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I have been lusting over lots of high end products lately and Cle De Peau's Extra Silky Lipsticks caught my eye.
These babies are $50 each! Extortionate.
You get a jewel on the top:
We have 102 and 114:
102 is called cognac brown – I was a bit scared of this being too brown but its not. The other is from the newest collection and is a plummy mauve shade.
The packaging has a unique feature – a little window so you can see how much is left. When the colour disappears from the window you have 2 weeks left…approximately.
02 Brown:
OK….I love these. I LOVE these. They are way to expensive. Are you nuts? £30 each!? But there is no doubting that the moment they touch your lips, they feel like….like…..buttah. Not just any buttah, the buttah from the finest cow..ok that's a poor analogy. But this stuff is amazing, really really beautiful.
The texture is creamy and soft, and it melts onto your lips. It is pigmented but sheer at the same time – the colour payoff is just right with this lipstick.
These were the two colours the seller had – I wouldn't have instinctively gone for a mauve or a brown since I am more of an orange and nude gal, but both of these colours are a lovely suprise. The mauve in particular looks dark in the tube, almost purple but its quite flattering on the lips.
114 Mauve:
The packaging is lovely but it doesn't click in – so I would be a tad worried about the lid falling off. Also – and this is VERY VERY important – it does NOT retract (like the Nars Multiples – twist this all the way out and you will not be able to twist it back in). I am the queen of over clicking things because the product doesn't appear to come out "It's broken, it's broken, how do I always get the broken one?" followed by a spurting of about half the product, followed by convincing your boyfriend that he *needs* to wear some lipgloss – anything to avoid wasting it.
Therefore, click carefully, this lipstick is about £1 per application, after all.
What else? Anything you want to know about these beauties?

subset: commoncrawl


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Chiefs General Manager John Dorsey said Wednesday that compensation coming back from the Dolphins is the sticking point in the Branden Albert trade talks and a report from Ben Volin of the Palm Beach Post may explain the hangup.
Volin heard from a source Thursday that the Dolphins don't believe trading a second-round pick is worth what they'd be getting in return. There's no word on what the Dolphins would prefer to pony up to acquire Albert as the clock ticks on their chance to swing a deal before the moment passes both teams by.
Any trade for the tackle would include a long-term deal with Albert believed to be looking for something in the neighborhood of $9 million a year to put his name on the dotted line, a neighborhood the Dolphins weren't willing to travel to when Jake Long wound up signing with the Rams. Armando Salguero of the Miami Herald reports that the Dolphins are on board with the financial compensation for Albert, which meshes with Dorsey's comments about the trade compensation being the snag.
Signing Long wouldn't have cost them any picks, obviously, so it's reasonable to believe that the Dolphins think Albert is the better player for their offensive scheme. Whether that's enough to push them to give up what the Chiefs are looking for in an Albert trade looks like one of the biggest questions we'll have answered in the next few days.


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Keyboard instrument, any musical instrument on which different notes can be sounded by pressing a series of keys, push buttons, or parallel levers. In nearly all cases in Western music the keys correspond to consecutive notes in the chromatic scale, and they run from the bass at the left to the treble at the right.
This large group of instruments has assumed great importance because the keyboard enables a performer to play many notes at once as well as in close succession. This versatility enables the modern pianist or organist to play, in transcription, any work of Western music, whether it involves chordal harmonies, independent contrapuntal parts, or only a single melody. The capabilities of keyboard instruments have influenced the composition of music for other media, because virtually every major composer from William Byrd (c. 1543–1623) to Igor Stravinsky (1882–1971) and beyond has been at least an accomplished keyboard performer, if not a renowned virtuoso. The evolution of an idiomatic keyboard compositional style has been linked to technological and theoretical developments within Western urban culture; keyboard instruments are not normally associated with folk music, and only during the 20th century has their use spread widely outside the Western world.
In its broadest sense, the term keyboard instrument may be applied to any instrument equipped with a keyboard and thus may be used to refer to accordions, percussion instruments such as the celesta and the carillon, and many electronic instruments—for example, the Moog synthesizer (see photograph) and the Ondes Martenot. In a narrower sense, such as is employed in this discussion, the term is restricted to instruments in which sound is produced from strings, whether by plucking, striking, or rubbing, or from pipes or reeds.
Development of the keyboard
Evolution from early forms
Long before the appearance of the first stringed keyboard instruments in the 14th century, the keyboard was developed and applied to the organ. A keyboard of the kind familiar today—a series of parallel levers hinged or pivoted so that they can be pushed down by the fingers—first appeared on the hydraulus, an organ probably invented in Alexandria in the late 3rd century bc. This type of keyboard seems to have disappeared after the fall of the Roman Empire, and the organs of the early Middle Ages generally had sliders that were pulled out to sound different notes; some may have had keys that turned like the key for a lock. Keys of the last type were certainly used on the organistrum, a large medieval hurdy-gurdy operated by two players: one turned a crank rotating a wheel that rubbed against one or more strings to make them sound, while the other produced different notes by turning the key-shaped levers that stopped the strings at various points (much as guitar strings are stopped against the fingerboard).
Some small portable organs had push buttons instead of keys as late as the 1440s, but a keyboard resembling the modern type existed in the 14th century, although the arrangement of naturals and sharps (corresponding to the white and black keys on the modern piano) was only gradually standardized. The arrangement of the keys depended in part on the music played and partly on the current state of musical theory. Thus, early keyboards are reported with only a single raised key in each octave (B♭), and there were organs that had both B and B♭ as "natural" keys, with C♯, D♯, F♯, and G♯ as raised keys. The colours of the keys—white for naturals and black for sharps—became standardized much later, about 1800, depending on fashion or on the relative cost of such materials as bone, ivory, or boxwood for the "white" keys and stained hardwood or ebony for the "black" keys. Flemish instruments had bone naturals and oak sharps by 1580; French and German instruments had ebony or fruitwood naturals and bone or ivory sharps until the 1790s.
Special key arrangements
The short octave
Even after the present arrangement of five raised keys and seven natural keys per octave had become standard in the 15th century, two exceptions existed. The first of these—the "short octave"—concerned only the lowest octave at the bass end of the keyboard. In the short octave, not all keys actually sounded notes of the expected pitch; their respective strings were tuned to lower notes. In the earlier form, the keyboard apparently started on E, but the string for this key was tuned to the C below. The apparent F♯ was tuned to D and the G♯ to E, so that the notes of the entire octave from C to c were encompassed within an apparent key span of only E to c. With this arrangement C♯, E♭, F♯, and G♯ were not available in the bass octave, but these notes were rarely required in the bass in music of this period. When the missing F♯ and G♯ later became necessary, short-octave keyboards were made with these keys divided into two parts, the fronts sounding D and E and the back parts sounding F♯ and G♯. Later still, a second short octave was developed in which the keyboard apparently began on low B. This key actually sounded the G below, and the apparent C♯ and E♭ were tuned to A and B (or B♭). Eventually, as musical styles changed, the two retuned sharps were divided in this arrangement as well, providing C♯ (or sometimes B♭) and E♭ at the back of these keys while retaining A and B at the front.
Divided sharps
The second type of exceptional keyboard arrangement was originally required by the so-called meantone tuning system generally used in the 16th–18th centuries. Meantone tuning provided significantly purer tuning for a relatively small number of tonalities than does equal temperament, the system now in use (in which all tonalities are somewhat out of tune; see tuning and temperament), but only at the expense of restricting the usefulness of the remaining tonalities. This characteristic arose because in meantone tuning each of the raised keys could be used in only one way: for example, if the key between D and E was tuned to E♭, it could not be used as D♯ without retuning. One solution was to build keyboards with the raised keys divided, the front half of the key sounding the appropriate sharp while the back half sounded the equivalent flat. The keys most commonly divided were A♭/G♯, E♭/D♯, and B♭/A♯. Instruments with up to three divided keys in each octave were commonly made in the 16th and 17th centuries, especially in Italy. Since the 1590s still more complicated keyboards have been built, permitting even more refined tunings; some in the 19th century had more than 50 keys per octave. Instruments have also been made with the octave divided into 24 rather than 12 equal parts to permit playing music utilizing quarter-tone intervals.
Keyboard size and range
Although some early organs had very wide keys that could be played only with the fists, stringed keyboard instruments seem always to have had natural keys no more than an inch wide, yielding an octave span of 7 inches (17.8 centimetres). The octave span on the modern piano is about 6 1/2 inches (16.5 centimetres), much the same as on Flemish and Italian harpsichords of the 16th–18th centuries, whereas that of English keyboards was generally 6 3/8 inches (16.2 centimetres). On most French and German instruments of the 18th century, the octave span was even narrower (6 1/4 inches [15.9 centimetres]), permitting the playing of tenths—such as C to the second E above—by a hand of average size.
The range of the keyboard gradually expanded from a single octave for some early organs to 2 1/2 or 3 octaves in the 15th century and 4 or 4 1/2 octaves in the 16th century. By the early 18th century, except in Italy and Spain, a range of five octaves was common: from the F below low C to the F above high C (F′ to f‴). This range began to be expanded only at the very end of the century, usually upward toward c″″ (C above high C) but occasionally downward to C′ (C below low C). A few pianos with a range of six octaves (from C′ to c″″) were built before 1800, and Beethoven's Hammerclavier Sonata, Opus 106 (completed 1818), requires 6 1/2 octaves from C′ to f″″. A seven-octave range was reached before 1830, and the usual modern piano keyboard consisting of 88 keys provides the only slightly greater range of seven octaves and a third, from A″ to c″″′.
The clavichord
The earliest known reference to a stringed keyboard instrument dates from 1360, when an instrument called the eschiquier was mentioned in account books of John II the Good, king of France. The eschiquier was described in 1388 as "resembling an organ that sounds by means of strings." There exists no more complete description of the eschiquier, however, and it is not known whether the instrument was a variety of clavichord, in which the strings are struck by blades of metal that must remain in contact with them as long as they are to sound; a harpsichord, in which the strings are plucked; or a type of keyboard-equipped dulcimer, in which—as in the piano—the strings are struck by small hammers that immediately rebound from them. All three types of instruments were described and illustrated about 1440 by Henri Arnaut of Zwolle, personal physician of Philip the Good, duke of Burgundy.
Despite the uncertainty regarding the eschiquier, it seems probable that the clavichord was the earliest stringed instrument having keys that could be pushed down by the fingers. The term "clavichord" first appears in a German document from 1404, and the instrument is recognizable in a German altar carving from 1425. Its principle of operation resembles that of the medieval organistrum, and it is apparently closely related to the monochord, an instrument consisting of a shallow closed box over which one or two strings were stretched and supported by movable bridges. The monochord was in continuous use by theorists from ancient Greece onward as a device for explaining and measuring musical intervals. The kinship of the clavichord to the monochord was so close that, as late as the 16th century, clavichords were often called monocordia.
Principle of operation
The clavichord is rectangular in shape, and its strings run from left to right across the keys, which are placed along one of the longer sides of the rectangle. The soundboard of the instrument is at the right-hand end of the case, and the vibrations of the strings are communicated to it by a bridge on which the strings rest. The soundboard amplifies the sound of the strings by permitting them to set a large mass of air into vibration rather than the very small mass of air that contacts the string itself. (This is the same principle that makes a tuning fork sound louder when its stem is pressed against a tabletop.)
The clavichord's operation is extremely simple. A brass blade rather like the end of a screwdriver is driven into the top surface of each key near the back of the key; a smaller piece of wood, whalebone, or horn is driven into the back end of the key. (This piece fits into a fixed slot behind the key and prevents the key from moving from side to side as it moves up and down.) When the front end of the key is pushed down by the finger, the back end rises, and the brass blade, called a tangent, strikes the strings (which in most clavichords are arranged in pairs), causing them to vibrate. To the left of the tangent a strip of cloth is woven between the strings. When the key is struck, only the portion of the strings to the right of the tangent—i.e., between the tangent and the bridge—sounds; the cloth prevents the string section to the left of the tangent from sounding. As soon as the key is released, the tangent falls away from the strings, which are then entirely silenced by the cloth. Because the sounding portion of each string is the segment between tangent and bridge, the tangent serves not only to set the strings in vibration but also to determine their sounding length. Thus, a series of tangents striking a given pair of strings at different points will produce a series of different notes, and all the earliest clavichords were designed to take advantage of this fact. Arnaut of Zwolle's clavichord used only 9 or 10 pairs of strings to produce all the 37 notes of its 3-octave keyboard, and the clavichord represented in an Italian intarsia (picture in wood inlay) of about 1480 (Palazzo Ducale, Urbino) used only 17 pairs of strings to produce 47 notes in a 4-octave range.
Making a single pair of strings serve several keys had two important disadvantages. Because each pair of strings can sound only one note at a time, it is impossible to play any two notes sounded from the same strings simultaneously, making it impossible to play certain chords. Furthermore, an unpleasant clanking sound is likely to result if the performer attempts legato playing of successive notes sounded from the same strings, making it necessary to play in a semidetached fashion.
As early as the time of Arnaut of Zwolle, the first of these disadvantages was minimized by allowing no more than four keys to sound from the same pair of strings and by carefully choosing the points at which such groups of four keys were placed, so that only dissonant chords would be unplayable. The second problem could be solved only when a maximum of two keys were served by the same strings, so that each natural key shared its strings only with the sharp or flat next to it. G, for example, was paired with G♯, and in the music of the period the two notes were seldom needed at the same time or in immediate succession. Of course, if one wanted to use the G♯ key as an A♭, the problem would reassert itself; but, as long as meantone tuning was in use, the G♯ could not serve as A♭ in any case.
Eventually, however, it was felt necessary to be able to play in all tonalities without restrictions either of style of playing or in the use of dissonant chords, and clavichords began to be built with one pair of strings for each key. Such clavichords are called "unfretted," in contrast to those having several keys for each pair of strings, which are called "fretted." Although the unfretted clavichord was known as early as 1693, the oldest extant example, built by Hieronymus Albrecht Hass of Hamburg (Ger.), dates from 1742. Fretted clavichords were being made well into the 1780s; they had fewer strings to go out of tune, and the smaller number of strings permitted all the keys to be shorter and more equal in length, giving the instrument a superior touch. In addition, the smaller number of strings imposed a smaller downward force on the soundboard, resulting in a brighter, clearer tone.
Tone quality
The greatest disadvantage of the clavichord is its extremely soft tone. Because it arises directly from the way in which the sound of the instrument is produced, this disadvantage cannot readily be overcome. It is impossible to impart very much energy to a string by striking it at one end (it is for this reason that a guitarist makes less sound when he strikes the strings against the fingerboard with his left hand than when he plucks them with his right, even though the pitches produced are the same). In compensation, the clavichordist alone of all keyboard-instrument players has control over a note once it has been struck. As long as a note is sounding, he has contact with the string through the tangent and key, and by changing his pressure on the key he can vary the pitch of the note, produce a controlled vibrato, or even create the illusion of prolonging or swelling the tone. Although the maximum loudness of which a clavichord is capable is not great, its softest pianissimo is very soft indeed, and the clavichordist controls an infinite number of gradations in loudness between these two extremes. As a result of this touch sensitivity, the clavichord was highly valued as a teaching and practice instrument. In addition, its relative cheapness made it the normal domestic keyboard instrument in Germany, Iberia, and Scandinavia.
The quiet tone of the clavichord made it impractical to use the instrument in ensemble music, except for providing a discreet accompaniment for a flutist or a singer. Although much of the solo keyboard music of the 16th–18th centuries can be played on the clavichord, it cannot be stated that much of it before the latter part of the 18th century was especially composed with the clavichord in mind. At that time, however, the clavichord experienced a great revival in Germany, and music composed with its singing tone and unique capabilities of dynamic shading and vibrato was written for it by such masters as Carl Philip Emanuel Bach (1714–88).
Clavichords continued to be made in Germany and Scandinavia well into the 19th century, long after the piano was popular. Indeed, many instrument makers built both clavichords and pianos (and harpsichords as well). The continued demand for the older instruments may have been a consequence—among other things—of musicians' recognition of the three instruments' differing capabilities.
The clavichord owes its modest modern revival in the United Kingdom and America largely to the efforts of Arnold Dolmetsch, who began building clavichords and performing on them in public in the 1890s. Both his style of playing the clavichord and the design of his instruments were influential for a long period. Today, however, increasing numbers of clavichord makers and players are exploring earlier forms of the instrument.
The harpsichord
Principle of operation
Plucking mechanism
The sound of the wing-shaped harpsichord and its smaller rectangular, triangular, or polygonal relatives, the spinet and virginal, is produced by plucking their strings. The plucking mechanism, called a jack, rests on the key and consists of a narrow slip of wood with two slots cut into its top. The larger slot holds a pivoted tongue from which protrudes the quill, plastic, or leather plectrum that does the actual plucking; the smaller slot holds a piece of cloth that rests on the string and silences it when the key is not depressed. When the harpsichordist pushes down on a key, the back end rises, lifting the jack and forcing the plectrum past the string, plucking it. When he releases the key, the jack falls, and when the plectrum touches the string on the way down, it forces the pivoted tongue backward so that the plectrum can pass the string again without plucking it. Once the plectrum has passed beneath the string, a light spring made of bristle or metal pushes the tongue forward again. Finally, when the key is completely at rest, the cloth damper touches the string, silencing it. A wooden bar, padded on its underside, is placed over the jacks. The purpose of this bar is to prevent the jacks from flying out of the instrument and to limit the depth to which the keys can be depressed.
Although slight variations in loudness and timbre, or tone colour, can be obtained by differences in the firmness with which the harpsichordist depresses the keys, no sustained crescendos are obtainable by the action of the fingers alone. For this reason, most harpsichords made since about 1550 have had at least two strings and two jacks for each key. Each can be engaged or disengaged at will by a slight shift of the uppermost of two slotted guides through which the jacks pass. Moving the guide in one direction brings its entire row of jacks close enough to the strings for the plectra to pluck them; moving the guide in the opposite direction takes the jacks far enough from the strings so that the plectra cannot reach them. Two rows of jacks can provide three different levels of loudness or three differing tone colours, depending on whether the performer uses each row separately or both together.
Two-manual instruments
Even given two rows of jacks, it would not ordinarily be possible to produce the rapid changes in loudness required for pieces in echo style, for example, or to play loudly with one hand while providing a soft accompaniment with the other. To accomplish this, it is necessary to have two keyboards or "manuals," one of which operates a single row of jacks while the other operates two or more. It then becomes possible to play loudly on one keyboard and softly on the other, either simultaneously or in rapid alternation. Two-manual harpsichords of this kind were invented at some point before 1620 in Flanders and gradually became known throughout the rest of Europe during the 17th century. These instruments commonly had three sets of strings, two unison sets at normal pitch (called eight-foot pitch because the low C at this pitch is produced by an organ pipe eight feet long) and a third set of shorter strings tuned an octave higher, or at four-foot pitch; this shorter set passed over its own bridge and was fastened to pins driven through the soundboard into a rail fixed to its underside. There were three rows of jacks. The front row plucked one set of unison strings and was made in such a way that it would be moved by the keys of both the upper and the lower keyboards. Both the middle and back rows operated from the lower manual only; the second row plucked the second set of unison strings, and the back row plucked the octave strings. For most purposes a one-manual harpsichord sufficed: each row of jacks provided a continuously changing tone colour from one end of the keyboard to the other, permitting individual lines in the music to be articulated clearly. For this reason, as well as because of their lower price, the old harpsichord makers built far more single-manual instruments than doubles, and many more singles survive today.
There is, however, one type of music that can only be played on a two-manual instrument. Called in French the pièce croisée, this kind of music involves separate lines that cross and recross in the same range, frequently employing the same note either simultaneously or in close succession. The parts in such pieces cannot be distinguished when played on a single manual, and they cannot even be played on two manuals if the manuals are not completely independent. (For example, if a note is already being held on the lower manual, it cannot be restruck on the upper manual when the lower manual lifts the upper-manual jacks.) The solution to this problem was found in France in the 1640s. Instead of providing the upper-manual jacks with an extension that reached down to the keys of the lower manual, they were made to rest entirely on the upper-manual keys; the lower-manual keys were then fitted with small upright pieces of wood called coupler dogs, which reached upward toward the underside of the upper-manual keys. The upper manual was constructed to slide forward and back by about 1/4 inch. When it was pushed into the instrument, the coupler dogs were positioned below the back ends of upper-manual keys. As a result, when any lower-manual key was pushed down and its back end rose, the coupler dog would push up on the underside of the corresponding upper-manual key, lifting its jack as well. When one wished to uncouple the two keyboards in order to play pièces croisées, one could do so by pulling the upper manual outward. The coupler dogs then passed slightly beyond the ends of the upper-manual keys, so that they were not lifted when the lower-manual keys were depressed.
Two-manual harpsichords of this kind permit players to exploit the difference in the tone colours produced by the two rows, or "registers," of unison jacks. This difference depends on the distance along the string at which it is plucked. The closer the plucking point is to the end of a string, the brighter is the sound; the farther away from the end that a string is plucked, the fuller and rounder the tone becomes, until one approaches the centre; plucking near the centre of a string produces a sweet, flutey, but somewhat hollow sound. In order to emphasize the difference in tone colours produced by the two rows of unison jacks, French harpsichord builders put the row of octave jacks between them, thereby increasing the distance between the two unison plucking points and the difference in tone of the two unison registers.
Special effects
A set of jacks plucking very close to the end of the string yields a very brassy, nasal sound. This type of register, called a lute stop, was first used in Germany in the 16th century and later spread to Flanders and to England, where it was added to the normal three registers on two-manual instruments. It did not have its own set of strings but, rather, plucked those of one of the existing unison registers. In England the lute stop plucked the same set of strings as the set of jacks operated by both keyboards; but, because the lute-stop jacks rested only on the upper-manual keys, they could also be used to provide a completely independent register on the upper manual. It was thus possible to play pièces croisées by taking off the unison register controlled by both manuals, using the lute stop for the upper manual and leaving the lower manual with its own unison register. Many harpsichords of all countries were also equipped with a buff stop (sometimes also called a lute stop), a device that presses pieces of soft leather against one of the sets of unison strings, producing a muted, pizzicato tone.
In Germany in the 18th century, harpsichords were made with still more strings and jacks for each key. Some had three unison strings in addition to an octave string; some had two unisons, an octave, and a suboctave (or 16-foot) register; and some even had a 2-foot register, with very short strings tuned two octaves above the unisons. Harpsichords with three keyboards were apparently built throughout the 17th and 18th centuries, although only one authentic three-manual harpsichord is known today.
It should be emphasized, however, that the harpsichord of the 16th–18th centuries normally had only one or two keyboards and only two or three sets of strings and jacks per note. In the 16th and early 17th centuries, one-manual instruments usually had only two registers (either two unisons or a unison and an octave) with or without a buff stop; in the second half of the 17th century a second unison register became common, increasing the number of jacks and strings to three per note. Two-manual instruments, likewise, had no more than three sets of strings (two unisons and an octave) and three sets of jacks throughout the 17th century. In the 18th century, a fourth row of jacks was sometimes added. In Britain and Flanders, this row was the close-plucking lute stop; in France, if a fourth row was added, it was placed behind the other three and equipped with plectra of soft buff leather that provided a gentle, flutey tone, which was highly prized in the rather decadent period of the harpsichord's decline. Until the last half of the 18th century, it was usually possible to change registers only by moving knobs at the side of the instrument or above the keyboards, which could be done only when one hand or the other was not playing. This fact and the surviving written evidence suggests that the harpsichordists of earlier times changed registers relatively infrequently, avoiding monotony of sound by relying on variations of touch and the changes of texture and pitch level written into the music.
The harpsichord may have evolved from devices invented by medical astrologers for the purpose of investigating the effects of cosmic musical harmonies on the human body. The wing-shaped instrument was described by Arnaut of Zwolle in the mid-15th century and was apparently known throughout Europe by the end of the century, although no 15th-century examples have survived. The harpsichords depicted in sculptures, paintings, and miniatures of the period all appear to be shorter and to have thicker cases than the earliest surviving 16th-century examples, all of which are Italian and are constructed of very thin cypress.
The thin-cased style of harpsichord construction appears to have been developed in Italy about 1500, and it rapidly influenced the design of harpsichords throughout the rest of Europe. The strings of the Italian harpsichords were rather short, with the strings for c″ (C above middle C) generally being about 10 inches (25 centimetres) long on instruments tuned to what is today considered normal pitch. On some Italian harpsichords, however, the strings for c″ are about 14 inches (36 centimetres) long; it is thought that these were tuned to a pitch a fourth below that of the shorter-strung ones, the key for C sounding what today would be the G below. The comparatively short strings imposed a relatively low tension on the case of the Italian harpsichord, allowing it to hold up with so light a structure.
In general, Italian harpsichords had only one keyboard with two rows of jacks and two strings tuned in unison or unison and octave. The fragile Italian instruments were normally housed in thick outer cases of softwood, which were either painted or covered with stamped leather. The cases, in turn, rested on separate legs or elaborate stands. The tone of these lightly constructed instruments is surprisingly loud and penetrating, making them ideal as accompanying instruments in an orchestra and suiting them perfectly to the rattling scale passages typical of Italian harpsichord music.
As the new Italian design spread northward, first into Germany and then to Flanders, France, and England, it was modified to the extent that the 16th- and 17th-century northern European instruments had somewhat longer strings (11 1/2 to 12 1/2 inches [29 to 32 centimetres] for c″) and thicker cases (3/16 to 1/4 inch [5 to 6 millimetres] in contrast to the 1/8 inch [3 millimetres] found on Italian instruments). In the 1560s in Flanders, however, this type of instrument was replaced by still another design, which ultimately dominated all northern European harpsichord making. These instruments had long strings (about 14 inches for c″ at normal pitch) and thick cases with substantial internal bracing to withstand the greater tension imposed by the greater string length. Because the longer strings made it unfeasible to double the string length for each octave below middle C, harpsichords of the newer Flemish design have less gracefully curved bentsides and wider tails than either Italian harpsichords or the intermediate instruments built elsewhere north of the Alps.
The name most often associated with Flemish harpsichord building is that of the Ruckers family, which for four generations (from about 1580 to 1680) dominated Flemish harpsichord making and whose instruments were exported to all parts of Europe—one was even shipped as far as Peru. At first sight, Ruckers harpsichords appear crude compared to their Italian counterparts, and their thick softwood cases give the impression of being clumsily cobbled together on the inside. Nonetheless, the tone of unaltered or properly restored examples is extraordinarily good, and it is easy to see why Ruckers instruments were so highly prized that a lively business in making forgeries of them flourished in the 18th century.
In addition to a wide variety of virginals (discussed below under The virginal, spinet, and clavicytherium), the Ruckers family made several different harpsichord models. The most popular was apparently six feet long, having a four-octave keyboard from C to c‴, with a short octave in the bass; one unison and one octave register; and, occasionally, a buff stop on the unison. They were typically painted in imitation of marble on the outside and decorated on the inside with block-printed paper on which a Latin motto was painted. The soundboard was usually decorated with paintings of flowers, leaves, and birds. (This decoration should be contrasted with that of Italian harpsichords, which, except for their finely profiled moldings and lavish outer cases, were generally unadorned.) Flemish harpsichords were set directly on fairly massive stands, examples of which may be seen in the numerous Dutch paintings of musical groups of the period. Similar harpsichords were made in smaller sizes tuned a fifth or an octave above normal pitch (the key c′ sounding either g′ or c″). By the mid-17th century, some single-manual instruments had a range of 4 1/2 octaves from F′ or G′ to c‴.
The Ruckers family appears to have been the first to make two-manual harpsichords. These were of two types: in one (which may have been the earlier type and was not built after about 1650), both keyboards were served by a single set of unison and octave strings and were not meant to be played at the same time. Instead, the keyboards were so arranged that c‴ on the upper keyboard was placed over f‴ on the lower keyboard, which meant that playing a piece on the lower keyboard automatically transposed it to a pitch a fourth below that of the upper keyboard. Whether this arrangement was used to facilitate routine transpositions or whether it was intended to provide in a single instrument the same resources as those available from both an Italian instrument with a 10-inch c″ and one with a 14-inch c″ is still a subject for controversy. The second type of two-manual harpsichord built by the Ruckers family was basically the type one finds today, with keyboards aligned over one another and intended to provide contrasts in loudness. Because the only set of upper-manual jacks was also played directly from the lower manual, it was not possible to play pièces croisées.
During the 17th century, instruments of the Ruckers type gradually influenced those being built throughout northern Europe; and by the early 18th century France, England, and Germany all had developed their own national variations on the thick-cased Ruckers design, replacing the thinner-cased and shorter-strung instruments of their earlier native schools. The sound of a typical 18th-century French harpsichord is delicate and sweet compared to the more astringent sound of a Ruckers. Those examples by the Blanchet family and their heir Pascal Taskin (1723–93) are noted for their extraordinarily high level of craftsmanship and the lightness and evenness of their touch. Eighteenth-century French harpsichords were almost always painted and rest on elaborate carved and gilded cabriole (curved-leg) stands. As with Flemish harpsichords, the French soundboards are decorated with painted flowers and birds, and the maker's mark appears in the form of a cast ornament in the sound hole. In the 1760s, Taskin added a fourth row of jacks with soft plectra of buff leather as a special solo stop and also devised a highly ingenious system of knee levers that permitted the harpsichordist to play crescendos and decrescendos and to change registers without taking his hands from the keyboard. By the time of these inventions, however, the great Baroque composers of harpsichord music, such as François Couperin, J.S. Bach, Jean-Philippe Rameau, and Domenico Scarlatti, were dead, and these devices have no relevance to the historically accurate performance of harpsichord music of the Baroque era or earlier.
Great Britain
In Britain the making of harpsichords in the 18th century was dominated by two London families, the Kirkmans and the Shudis. Both families made instruments for several generations and eventually moved on from harpsichord building to piano building. Their harpsichords are very similar, and the two-manual instruments all have a close-plucking lute stop in addition to the usual two unisons and octave. They are invariably veneered in walnut or mahogany and rest on simple stands, usually with straight or tapered legs. The tone of a Kirkman or Shudi harpsichord is both more robust and more brilliant than that of a French or Flemish instrument, making it a superb instrument for filling in the harmonies in orchestral music as well as for the performance of the solo harpsichord literature.
Two German schools appear to have existed in the 18th century. One in the southern part of the country has left very few surviving instruments, which is unfortunate because these are the kind probably played by J.S. Bach. As far as is known, the southern German instruments were fairly plain, veneered ones, having only three registers and a rather darker tone than either French or Flemish instruments. The second German school was centred in the city of Hamburg and is best represented by the work of the Hass family. The Hass instruments are among the most elaborate ever made, in both decoration and complexity. They are the only 18th-century harpsichords with 16-foot and 2-foot registers, and some have lute stops as well. Their tone does not, unfortunately, live up to the quality of their craftsmanship or the ingenuity of their design, seeming overly brilliant and too thick in all the surviving examples that have been restored to playing condition.
Decline of the harpsichord
Although many of the finest surviving harpsichords date from after 1750, few composers of the first rank were writing for the instrument by that time. Furthermore, the emergence of a newer, lighter style of music and an increased interest in crescendo and decrescendo effects led to the addition of various new devices foreign to the essential nature of the instrument. These include the knee- and foot-operated contrivances for the rapid changing of registers or for producing crescendos and decrescendos. Such devices represent the harpsichord builders' response to the same musical needs that eventually caused the harpsichord's replacement by the piano; but they were created before the real rise in the piano's popularity and must not be thought of as attempts to stave off the competition of the newer instrument.
As with the clavichord, builders continued to make harpsichords side by side with pianos. In England, Shudi's son-in-law, John Broadwood (see below The piano: History: The English action), continued to make harpsichords until after 1800 (although in decreasing quantity), producing at the same time an ever-increasing number of pianos. There is even a small but interesting group of compositions by British, German, and French composers calling for both instruments.
Modern revival
The harpsichord had all but vanished except as a curiosity or in rare historical concerts when the modern revival began in the 1890s with the building of new harpsichords by the piano firms of Érard and Pleyel in Paris. Almost immediately, the full brunt of 19th-century piano technology was applied to the manufacture of the revived instruments, and they became increasingly massively strung and framed as time passed. Pedals for changing registers were included from the beginning, and Pleyel first added the 16-foot stop in 1911. The Pleyel's sound, as preserved in the recordings of the Polish virtuoso Wanda Landowska and her numerous pupils, typified the harpsichord for most music lovers until the 1950s, and it is for a heavy, metal-framed instrument of this type, with pedals for changing registers and a 16-foot stop, that most 20th-century harpsichord music has been composed.
In 1905 modern harpsichord building was begun in Germany, initially taking the new Pleyel and Érard instruments as inspiration. Subsequent German building produced a highly characteristic instrument somewhat reminiscent of the harpsichords of the 18th-century Hamburg school in sound. Taking as their model an improperly restored instrument falsely said to have belonged to Bach, these instruments generally had the unhistorical stop arrangement of one 8-foot and the 4-foot on the upper manual, with the second 8-foot and a 16-foot on the lower manual.
Arnold Dolmetsch, who began the modern revival of the clavichord, also built harpsichords, working in Paris and Boston as well as in England. He deserves to be considered the "godfather" not only of the present British school of harpsichord making but also of the flourishing American school, most of whose members are, however, building a very different and far more historically based instrument than any that Dolmetsch made after about 1910.
The virginal, spinet, and clavicytherium
The virginal, spinet, and clavicytherium are all varieties of harpsichord that differ from it primarily in size, shape, and musical resources. Virginals and spinets usually have only a single set of strings and a single row of jacks. The clavicytherium is basically a harpsichord set upright so that its soundboard is vertical. The earliest known mention of the clavicytherium dates from about 1460; the oldest extant example (Royal College of Music, London) was probably made in Ulm, Ger., about 1480. Instruments of this form were made from the 15th through the 18th centuries. In general, their mechanism has to be fairly complicated because the jacks must move horizontally rather than vertically and cannot therefore return to their rest position solely by the action of gravity. As a consequence of this complexity of its mechanism, the touch of the clavicytherium tends to be heavy, although the instrument takes up less floor space, and the vertical soundboard projects sound outward far more effectively than the horizontal soundboard of the conventional harpsichord.
The virginal and spinet are small varieties of harpsichord, but the precise usage of the terms differs. Some writers reserve the term virginal for rectangular instruments and call all small triangular or polygonal instruments spinets. Others apply the term virginal to all plucked stringed keyboard instruments whose strings run more or less from left to right across the keys (a usage followed in this article), reserving the term spinet for instruments in which the strings run obliquely away from the player. The terminological question is complicated by the fact that the word virginal in 16th- and 17th-century England referred to all plucked stringed keyboard instruments, including harpsichords and spinets as well as those today termed virginals. The term épinette ("spinet") had a similarly broad usage in France.
Italian builders of the 16th and 17th centuries made virginals and spinets employing a thin-cased construction similar to that of their harpsichords, and, like Italian harpsichords, these smaller instruments were kept in stout outer cases. The typical Italian virginal was either rectangular or polygonal in shape, with its keyboard projecting from the front of the case, and many of the surviving examples are sumptuously decorated with inlay or intarsia. Most Italian spinets are constructed as an irregular quadrilateral, but in the 17th century a new form was developed that more closely resembles a small harpsichord in having a bentside at the player's right and a long straight back slanting away from him. The new form was copied throughout Europe and became the standard domestic keyboard instrument in England in the late 17th century.
In Flanders, early virginals were polygonal and resembled Italian ones except that their keyboards were inset rather than projecting. In the 1560s, at the same time as the thick-cased harpsichord is believed to have emerged, thick-cased rectangular virginals made their appearance. By the end of the 16th century, two distinct types existed. They can readily be distinguished by the position of their keyboards: off-centre either to the left or to the right in one of the long sides of the rectangular case. Virginals with the keyboard at the right were far more common. They produce a characteristic flutey tone because the placement of the keyboard causes the strings to be plucked near their centre for most of the instrument's range. In virginals with the keyboard at the left, the strings are plucked off-centre except in the extreme treble, and the tone changes gradually from reedy in the bass, through full in the middle register, to flutey in the treble, much as on a harpsichord. Flemish builders produced virginals of both types in several sizes, the smaller ones being tuned to higher than normal pitches. They also made "double" virginals, consisting of a large virginal at normal pitch and a smaller one tuned an octave higher, which could be stored in a recess next to the keyboard of the larger instrument. The two virginals could be coupled together by placing the smaller instrument on top of the larger one.
The virginals made in England were of the left-keyboard type. Those made elsewhere in Europe (some having the keyboard centred) were also built with strings plucking off-centre.
Learn More in these related Britannica articles:
instrumentation: Keyboard instrumentationSince the 17th century, keyboard instruments have played an important role in orchestration. Those commonly available today are the harpsichord, celesta, organ (both pipe and electronic), and electric piano, in addition to the instrument for which most of the standard literature has been…
Western music: The keyboard sonataThe solo keyboard sonata was one of the most vital forms of the period, partly because of the great increase in amateur performers resulting from the newly affluent middle class. The sonatas of Domenico Paradisi, of J.S. Bach's sons, and of Haydn and…
musical instrument: Keyboard instrumentsOnly in Europe did the keyboard develop—for reasons that are not clear. The principle of the keyboard has been used successfully to control bells (the carillon), plucked and struck stringed instruments (the piano and harpsichord), and wind instruments (the organ, the accordion, and…
concerto: Role of the piano…what a stalwart adversary a keyboard instrument could be in the concerto contest. Now, with the greater independence of the solo part and the greater self-sufficiency of a keyboard part, both the drama and the variety of the tutti–solo opposition could be increased considerably. As for the variety, either orchestra…
chamber music…wind instruments, often with a keyboard (piano or harpsichord) as well, and music for voices with or without accompaniment have historically been included in the term.…
More About Keyboard instrument14 references found in Britannica articles
Assorted References
- major reference
- chamber music
- concerto
- sonata
history and development
- Bach
- Cabanilles
- equal temperament
- Froberger
- Gaultier


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New Car Review
2015 GMC Acadia: New Car Review
Like its nearly identical siblings, the Buick Enclave and Chevrolet Traverse, the 2015 GMC Acadia offers an extremely complete package emphasizing passenger comfort, drivability, functionality, fuel economy and spaciousness. So spacious is the Acadia, in fact, that it can seat up to eight passengers and still retain a reasonable amount of cargo room.
Although the three large GM crossovers are mechanically and structurally the same, each establishes its own distinctive personality with unique features and design cues. While the Buick Enclave is the most upscale and the Chevrolet Traverse focuses more on utility, the GMC Acadia bridges the two by offering an even mix of practicality and rich user content. Furthermore, the Acadia distinguishes itself with bolder, squared-off styling that speaks to its GMC truck heritage.
Despite its freshly updated and ruggedly designed exterior, the Acadia is not based on a truck. It's not designed for heavy trailering or off-road adventures. For these kinds of activities, a full-size SUV such as the Tahoe is better. That said, the Acadia is still capable of towing a 5,000-lb boat and treading through virtually any kinds of road conditions when equipped with all-wheel drive -- that kind of competence is more than sufficient for the needs of most American families.
What's New for 2015?
The Acadia receives no major changes for the 2015 model year, save for some new wheel designs and a few new colors.
What We Like
Bold styling; seating for up to eight passengers; vast cargo space; carlike handling; very good fuel economy; compliant ride; comfortable interior
What We Don't
Not as capable as a true truck-based SUV; limited maneuverability
How Much?
Fuel Economy
The GMC Acadia is available with front- or all-wheel drive. Power comes from a 3.6-liter V6 that makes 288 horsepower and 270 lb-ft of torque, while a 6-speed automatic is the only transmission. Gas mileage is rated at 17 miles per gallon in the city and 24 mpg on the highway with front-wheel drive or 16 mpg city/23 mpg hwy with all-wheel drive.
Standard Features & Options
The GMC Acadia offers five trim levels: base-level SLE-1 and SLE-2; mid-level SLT-1 and SLT-2; and an upscale, luxury-oriented model called the Acadia Denali. Base-level SLE-1 models feature a standard 8-passenger seating configuration, while other Acadia models offer standard seating for seven and optional seating for eight.
Included on the SLE-1 ($34,900) are 18-inch alloy wheels, automatic headlights, OnStar, Bluetooth, keyless entry, tinted windows, cruise control, park assist, a rearview camera, and a 6.5-in, center-mounted touchscreen featuring GMC's IntelliLink system. There's also a USB port for music and charge-only USB ports for rear passengers. New as of last year is a standard lane-departure warning system and forward-collision alert -- two features formerly standard on only the high-end Acadia Denali.
Move up to the SLE-2 ($36,300), and you get a power lift gate, a remote starter, power driver's and passenger seats, voice control for the infotainment system and Bluetooth audio. As mentioned, the SLE-2 also trades in the SLE-1's second-row bench for second-row captain's chairs, which drops seating capacity to seven. The bench remains an option.
Choose the SLT-1 ($41,500), and you get leather upholstery, heated front seats, tri-zone automatic climate control, a Bose sound system, 19-in alloy wheels and heated mirrors.
Next up is the SLT-2 ($42,800), which boasts driver memory settings and power-folding mirrors. It also adds a few new options, including a Technology package with xenon headlights, a head-up display and audio controls for third-row passengers.
Topping the range is the Acadia Denali ($48,400), which includes the SLT-2's Technology package as standard equipment. It also adds a few unique exterior touches, a panoramic sunroof, 20-in alloy wheels and a wood-trimmed steering wheel.
In terms of options, the Acadia offers a panoramic sunroof (standard on the Denali, not available on the SLE-1), a navigation system and a rear-seat DVD player.
The Acadia's roster of safety equipment includes anti-lock brakes, stability control, traction control and six standard airbags, including third-row head curtains. The new front-center airbag, designed to provide a cushion between the driver and front passenger, is standard on all but the base Acadia SLE. A blind spot monitoring system and rear cross-traffic alert are standard on the Acadia Denali and available on the rest of the lineup. GM's OnStar emergency telematics service is standard across the Acadia range.
In government crash tests, the Acadia received a perfect 5-star overall score, comprised of five stars for frontal and side crash protection and four stars in the government's rollover assessment.
Behind the Wheel
The 2015 GMC Acadia delivers, above all, a comfortable and well-controlled ride. It's smooth and quiet without feeling floaty, which results in daily commutes that are high on driving enjoyment and low on fatigue.
Like its Buick and Chevy counterparts, the Acadia benefits from carlike handling, which is a function of its carlike unibody construction. It feels sharper and more secure than most other big SUVs, which inspires plenty of confidence in corners. Still, drivers must remain conscious of the Acadia's large size, which becomes apparent on narrow city streets or in crowded parking lots. Among other concerns, low-speed maneuverability is limited.
The Acadia's power gives it a smooth and confident manner. When the need arises, it can accelerate strongly both off the line and in passing situations at highway speeds. Don't expect the same performance, however, when the vehicle is loaded down with passengers and cargo or towing a heavy load.
Although it's not meant for off-roading, the Acadia is more than capable in harsh weather and on rough roads, especially when equipped with all-wheel drive. Available 19- and 20-in wheels are helpful in wet and snowy conditions.
Other Cars to Consider
Mazda CX-9 -- The CX-9 has a sportier look than the Acadia, but the Acadia offers more interior room for passengers and cargo, and its plush trim makes it a better bet for long-distance interstate cruising.
Chevrolet Traverse -- Based on the same GM architecture as the Acadia, the Traverse is very similar in all respects. The Acadia's interior materials are nicer, but the Traverse has a roll-mitigation system not found on the Acadia.
Dodge Durango -- The Durango is more like a traditional SUV and as such offers more off-road and towing prowess. The Acadia is ahead in space, ride comfort and fuel efficiency, however.
AutoTrader's Advice
Of the Acadia's five trims, a mid-level SLT-1 is our pick. It's equipped with the most balanced array of amenities for the money. The up-level SLT-2 and Denali models are perhaps overloaded with creature comforts, while the base SLE trims are a bit too simple for our tastes. We suggest considering adding some stand-alone options, such as navigation and the rear-seat DVD system, to the Acadia SLT trims, especially for families who like to travel. Everyone, especially if you live in a cold climate, should consider the added traction of all-wheel drive.


text: On Sun, 15 Jun 2008, Gilad Shainer wrote: > Static routing is the best approach if your pattern is known. In other > cases it depends on the applications. LANL and Mellanox have presented a > paper on static routing and how to get the maximum of it last ISC. There > are cases where adaptive routing will show a benefit, and this is why we > see the IB vendors add adaptive routing support as well. But in general, > the average effective bandwidth is much much higher than the 40% you > claim. As Mark Hahn pointed out, how are so-called "known patterns" representative of any real system? Even a single application with a "known pattern" doesn't translate as-is in practice, even less so on a capacity system. While the "shift all-to-all pattern" referred to in the paper you cite is interesting (on paper) in that it stresses the entire connectivity of a FBB fabric, it remains a simulation carried out in isolation. Sticking to simulation, I find that looking at the observed switch latency at the egress ports as a function of switch loading using random communication patterns to be a more interesting data point. However, it can be even more revealing to try to scale an expensive communication operation on a real system, only to notice that this is where the paper FBB breaks down. 40% looks like a large number but it's not uncommon to see application writers report large speedups by breaking down bandwidth-bound problems into latency-sensitive ones. This looks counter-intuitive because the paper FBB can be available on the fabric, but suggests that systems don't always deliver FBB *even if* the pattern is known and the fabric is otherwise idle. Given a capacity system, there's huge potential in looking at alternative routing methods -- all of which is orthogonal to system size and the ability to describe and understand one's communication pattern. > There are some vendors that uses only the 24 port switches to build very > large scale clusters - 3000 nodes and above, without any > oversubscription, and they find it more cost effective. Using single > enclosures is easier, but the cables are not expensive and you can use > the smaller components. I used the 24 ports switches to connect my 96 > node cluster. I will replace my current setup with the new 36 InfiniBand > port switches this month, since they provide lower latency and adaptive > routing capabilities. And if you are bandwidth bounded, using IB QDR > will help. You will be able to drive more than 3GB/s from each server. Along similar lines (and with less product placement), buying more cores and less IB can help you solve (and scale) larger problems. In a world of quick inferences, one is also permitted to conclude that implementors find it *performance cost effective* to *not* pay top dollar for paper FBB when only a fraction of the FBB performance can be achieved. Don't need the oversubscription for those cases. Based on some of the points provided so far, it's as if "known patterns" are already well served by IB static routing and that the "other cases" will now benefit from newer IB "adaptive routing support". As working for an IB vendor myself, or for anyone out there who spends a lot of their time solving bandwidth-bound problems or working on capacity systems, the discussion can't possibly be reduced to this. The design space for routing methods based on modular switches is much larger that what is currently offered by the Mellanox portfolio. So I'd suggest that *no*, static routing is not necessarily the best approach even if your pattern is known. . . christian -- christian.bell at qlogic.com QLogic Host Solutions Group


text:
A park is an area of natural, semi-natural, or planted space set aside for human enjoyment and recreation or for the protection of wildlife or natural habitats. It may consist of grassy areas, rocks, soil, and trees, but may also contain buildings and other artifacts such as monuments, fountains or playground structures.
Kenneth Hahn State Recreation Area
Vista Hermosa Natural Park
Los Angeles State Historic Park
Griffith Park
Pan Pacific Park Recreation Center
Ladera Park
City Terrace Park
Exposition Park Rose Garden
Grand Hope Park
Obregon Park
Wilmington Waterfront Park
Playa Vista Park
Silver Lake Meadow
Angel's Knoll
Culver West Alexander Park
Grand Park
Brand Park
Harbor Highlands Park
Hollenbeck Park
Sycamore Grove Park
Augustus F. Hawkins Nature Park
Bellevue Recreation Center
Hazard Park
Seoul International Park
Barrington Recreation Center
Rancho Cienega Recreation Center
Briarwood Park
Martin Luther King, Jr. Park
De Longpre Park
Shatto Recreation Center
Harold A Henry Park
Ted Watkins Memorial Park
Branford Park
Highland Park Recreation Center
Wattles Gardens Park
Saybrook Park
Ascot Hills Park
Balboa RV Park
Lake Street Community Center
Crystal Springs Picnic Area
North Atwater Park
Elyria Canyon Park
Tierra de la Culebra Park
Van Ness Recreation Center
Wrigley Heights Dog Park
Toberman Park
Westwood Recreation Center
Lazy J. Ranch Park
Universal Studios Hollywood
Veterans Memorial Park
Cleland Avenue Bicentennial Park
Spring Street Park
Montecillo De Leo Politi
La High Memorial Park
San Julian Park
National Park Services
North Hollywood Park
Steve Soboroff Court Park
Burns Park
MacArthur Park
For more Parks in Los Angeles click here : http://us.wowcity.com/losangeles/?what=Parks
Many natural parks are protected by law, and users may have to follow restrictions. Large national and sub-national parks are typically overseen by a park ranger or a park warden.


text:
Short Love Letters
Dirty Love Letter
Hi Mrs. POd =)
how are you?
hows teaching without your period 9 class last year I havent seen you in sooooo long! i suck in math now =( Ms. R goes so fast and i get lost . i hate the math policy it only counts tests and no homework or attendence.. i hope i pass this year its my most important year in high school.
Sponsored Links


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THIS WEEKEND! The Music Arrives!
If you love music and I mean a lot of music with good times and meeting new and old friends ... there is only one place to be this weekend! Because, it's all about the music and more this weekend at Fulton Harbor Park, Rockport-Fulton, TX! Tickets are still available for this incredible line-up of talent live and in-person! Los Lobos, Marcia Ball, The Blues Broads featuring Angela Strehli and Tracy Nelson. Plus, the Greezy Wheels, Rodney Crowell, Hayes Carll, Delbert McClinton and Toni Price. Music, food and more this weekend, June 7th-9th--Fulton Harbor Park, Rockport-Fulton. Get your tickets right now at www.rockportmusic-dot-com. The Rockport Music Festival! Make it an early Father's Day outing.


text:
This goal can act as a generator and is resatisfiable. It succeeds when term is a symbol which is the name of a KnowledgeWorks class. If term is an unbound variable it generates the names of the KnowledgeWorks classes.
(kw-class truck) ; succeeds if truck is a KW class
(kw-class ?class)
; ?class binds to the name of a KW class


text:
Heart bypass surgery - minimally invasive
Heart bypass surgery creates a new route, called a bypass, for blood and oxygen to reach your heart.
Minimally invasive coronary (heart) artery bypass can be done without stopping the heart and putting a patient on a heart-lung machine.
Alternative Names
Minimally invasive direct coronary artery bypass; MIDCAB; Robot assisted coronary artery bypass; RACAB; Keyhole heart surgery
A heart surgeon will make a 3- to 5-inch-long surgical cut in the left part of your chest between your ribs. This allows the surgeon to reach your heart. Muscles in the area will be pushed apart. A small part of the front of the rib, called the costal cartilage, will be removed. Then the surgeon will find and prepare an artery on your chest wall to attach to your coronary artery that is blocked.
Once the above steps are done, the surgeon will connect the prepared chest artery to the coronary artery that is blocked.
You will not need to be on a heart-lung machine for this surgery, but a device will be attached to your heart to stabilize it. You will receive medicine to slow the heart down.
Why the Procedure Is Performed
Your doctor may recommend a minimally invasive coronary artery bypass if you have a blockage in one or two coronary arteries, usually in the front of the heart. When one or more of the coronary arteries become partly or totally blocked, your heart does not get enough blood. This is called ischemic heart disease or coronary artery disease. It can cause chest pain (
Your doctor may have first tried to treat you with medicines. You may have also tried cardiac rehabilitation or other treatments, such as angioplasty with stenting.
Coronary artery disease varies a lot from person to person, so the way it is diagnosed and treated varies. Heart bypass surgery is just one treatment. It is not right for everyone.
Surgeries or procedures that may be done instead of minimally invasive heart bypass are:
Angioplasty and stent placement Coronary bypass
Ask your doctor about the risks of surgery. In general, the complications of minimally invasive coronary artery bypass are lower than with open coronary artery bypass surgery.
Risks for any surgery include:
- Blood clots in the legs that may travel to the lungs
- Blood loss
- Breathing problems
- Heart attack or stroke
- Infection of the lungs, urinary tract, and chest
Possible risks of coronary artery bypass include:
- Memory loss, loss of mental clarity, or "fuzzy thinking" - less common in people who have minimally invasive coronary artery bypass than in people who have open coronary bypass
- Heart rhythm problems (arrhythmia)
- A chest wound infection - this is more likely to happen if you are obese, have diabetes, or have had coronary bypass surgery in the past
- Low-grade fever and chest pain (together called postpericardiotomy syndrome), which can last up to 6 months
- Pain at the site of the cut
Before the Procedure
Always tell your doctor or nurse what drugs you are taking, even drugs or herbs you bought without a prescription.
During the days before the surgery:
- For the 2-week period before surgery you may be asked to stop taking drugs that make it harder for your blood to clot. These might cause increased bleeding during the surgery. They include aspirin, ibuprofen (such as Advil and Motrin), naproxen (such as Aleve and Naprosyn), and other similar drugs. If you are taking clopidogrel (Plavix), ask your surgeon when you should stop taking it before surgery.
- Ask your doctor which drugs you should still take on the day of the surgery.
- If you smoke, try to stop. Ask your doctor for help.
- Contact your doctor if you have a cold, flu, fever, herpes breakout, or any other illness.
- Prepare your home so you can move around easily when you return from the hospital.
The day before your surgery:
- Shower and shampoo well.
- You may be asked to wash your whole body below your neck with a special soap. Scrub your chest 2 or 3 times with this soap.
On the day of the surgery:
- You will usually be asked not to drink or eat anything after midnight the night before your surgery. This includes chewing gum and using breath mints. Rinse your mouth with water if it feels dry, but be careful not to swallow.
- Take the drugs your doctor told you to take with a small sip of water.
Your doctor or nurse will tell you when to arrive at the hospital.
After the Procedure
You may be able to leave the hospital 2 or 3 days after your surgery. You may also be able to return to normal activities after 2 or 3 weeks.
Recovery from surgery takes time, and you may not see the full benefits of your surgery for 3 to 6 months. In most people who have heart bypass surgery, the grafts remain open and work well for many years.
This surgery does not prevent a blockage from coming back. However, you can do many things to slow it down. Not smoking, eating a heart-healthy diet, getting regular exercise, and treating high blood pressure, high blood sugar (if you have diabetes), and high cholesterol will all help.
You may be more likely to have problems with your blood vessels if you have kidney disease or some other medical problems.
Ferraris VA, Mentzer RM Jr. Acquired heart disease: coronary insufficiency. In: Townsend CM, Beauchamp RD, Evers BM, Mattox KL, eds. Sabiston Textbook of Surgery. 18th ed. Philadelphia, Pa: Saunders Elsevier; 2008:chap 61.
Fraker TD Jr, Fihn SD, Gibbons RJ, Abrams J, Chatterjee K, Daley J, et al. 2007 chronic angina focused update of the ACC/AHA 2002 Guidelines for the management of patients with chronic stable angina: a report of the American College of Cardiology/American Heart Association Task Force on Practice Guidelines Writing Group to develop the focused update of the 2002 Guidelines for the management of patients with chronic stable angina. Circulation. 2007;116(23):2762-2772.
Mller CH, Perko MJ, Lund JT, et al. No major differences in 30-day outcomes in high-risk patients randomized to off-pump versus on-pump coronary bypass surgery: the best bypass surgery trial. Circulation. 2010 Feb 2;121(4):498-504. Epub 2010 Jan 18.
Thiele H, Neumann-Schniedewind P, Jacobs S, et al. Randomized comparison of minimally invasive direct coronary artery bypass surgery versus sirolimus-eluting stenting in isolated proximal left anterior descending coronary artery stenosis. J Am Coll Cardiol. 2009 Jun 23;53(25):2324-31.


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Available Package Options
Flying Skill Level:Excellent for beginners and pilots of all skill levels. No previous experience necessary. Flight simulator or experienced pilot supervision recommended for beginner pilots.
Build Level:Moderate airplane assembly required. Internal wiring and electronics configuration is required. Please dry fit and test all electronics before gluing and securing any components.
Maintenance Level:After every 10 flights and before and after storing airplane, please check all control surface horns and tighten the screws on surface horns if needed. Check the control pushrod clevises to insure no cracks are visible and no clevis is loose. Make sure transmitter batteries are always fresh and or in new condition.
Copyright © Banana Hobby, All rights reserved. All prices and specifications are subject to change without notice. Banana Hobby is not responsible for typographical errors. All typographical errors are subject to correction.


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Phillip G. Clampitt Ph.D.
"Changing Neural Pathways Every Class Period"
"Anyone can talk, but few do so strategically"
7 Questions of life
Using the "Seven Questions of Life" in the early phases of casework can help guide your thought process, thinking routine, and decision-making about the many choices and solutions you will have to make about your case. They also make great grilling questions!
Listed below is some advice from former communications students who have successfully trained their neural pathways.
"Taking a Phil class will definitely raise your stress levels. However, once the class is over, you will realize that it was all worth it." -Jerome Allen
"Do not concern yourself with what you believe Phil is "looking for" as the "right answer," rather construct a unique solution to the problem and develop a strong line of rationale and you will succeed beyond measure" -Marcus Reitz
"GO TO CLASS!!! No matter how many notes you print off the website, you will never get all the information! Also...read, read, read! If you don't read, the multiple choice questions in the exams are going to kick your butt!" -Angela Stangel
Communication Students...
should be striving for excellence by: 1) continuously improving personal communication skills such as listening, public speaking, writing and managing conflict, 2) developing effective group communication skills by knowing how to effectively and efficiently solve problems, 3) becoming critical thinkers by understanding how to analytically and strategically address communication problems and 4) developing communication expertise by learning fundamental communication principles, practices and theories. Concentrating on these four critical areas puts every student in the best possible position to become a thoughtful, strategic, and professional communicator. Such individuals glisten like rare gems – coveted by friends, colleagues and organizations.
7 Questions to guide your thinking...
Can you prove it?
So what?
What are your assumptions?
What is effectiveness?
What is the pattern?
What can you do about it?
Is it ethical?
""Make everything as simple as possible, but not simpler." - Albert Einstein


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"On 18 I was just taking the whole thing in. I didn't allow myself to think about it until the 18th.
"I said 'alright, I still have a long way to go. I still have to keep in the present, keep hitting my shots'. I allowed myself the luxury of walking up 18 knowing that I was going to win. I enjoyed the moment, just let it all sink in."
It was England's Poulter who staged a stirring last-round comeback that threatened for a while to turn the final major of the season into a thriller, but in the end it was 38 year old Lynn, playing only his second Major and with one victory in 370 European Tour events, who finished strongest to claim the runner-up spot and with it a debut in the Masters Tournament next April.
Lynn was always there or thereabouts during the week - a week that also nearly brought an early demise when he came close to stepping on an alligator - and birdies at the 16th and 17th meant he walked away with the biggest cheque of his career - $865,000.
He has also leapt into the reckoning for The Ryder Cup with two weeks of Europe's race to go.
Poulter birdied the first five holes, six of the first seven and from six shots behind teeing off narrowed his deficit to just one.
Runner-up to Padraig Harrington in the 2008 Open Championship, Poulter's burst came unstuck on the back nine, however, and he had to settle for a share of third with another Englishman, Justin Rose, Swede Carl Pettersson and defending champion Keegan Bradley.
Pettersson was not going to forget the tournament in a hurry either.
Leader after an opening 66, joint top at halfway and still in with a great shout setting off for the closing 18 holes three behind, he suffered a two stroke penalty on the first.
His drive was pushed into the edge of a hazard and in playing his second shot he disturbed a leaf on his takeaway and was told about the penalty two holes later after it had been reviewed by officials.
Pettersson still managed a front-nine 34, but McIlroy bettered that by one and his extra birdies at the 12th and 16th put the icing on the cake of a majestic display - notably wearing a red shirt that is normally just Woods' domain.
"I thought if I was playing with him, I wouldn't wear it," he added. "Obviously him, you know who him is.
"It was in the script that Oakley sent me at the start of the week. If I was going to be paired with him today, I wasn't going to wear red.
"I remember what happened to Luke Donald in 2006 at Medinah [he finished six shots behind winner Woods, having started the final round level]. I wasn't playing with him and thought I would wear it - might have to do it from now on; no wonder he wins so much!"
Poulter's performance was guaranteeing him another Ryder Cup Cap next month, but Harrington was left needing a wild card when, having moved into joint fourth, he slipped back with three back-nine bogeys.
Poulter said after his 69: "I guess it was a dream start. I guess I pushed him (Rory) and I guess I ran out of steam at the end.
"It was a great day. It's just a shame I couldn't quite finish it off."
|Player name
|NA, Kevin
|O'HAIR, Sean
|VERPLANK, Scott
|ADAMS, Blake
|ALLENBY, Robert
|BADDELEY, Aaron


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For MxMo 9, I wanted to go a little crazy and make my own batch of bitters. My limoncello experiment worked well enough that bitters seemed a logical next step. Now, Darcy O'Neil reviewed the new book The Art of the Bar, back in September, and with his review, he included a bitters recipe from the book, Dr. Schwartz's Cherry Vanilla Bitters.
You're probably already thinking, oh man, cherry-vanilla bitters. Those would rock an Old Fashioned, especially if you leave out the cherry garnish altogether and let the bitters do the work. And you're right. I tried them with both Woodford Reserve and Knob Creek, and they play well with both bottlings.
I also quite liked these bitters with a Rob Roy and a rye Manhattan. But I was surprised by the drink in which they really shine.
I won't go in depth here about the process of making the bitters, since I'd rather you read Darcy's original post and even perhaps pick up the book, too. But I will say I posted a photoset to Flickr showing the steps.
This recipe makes a damn fine batch of bitters — well-balanced between the bitter flavors (mostly from gentian) and the cherry-vanilla notes. The only really difficult thing about it was tracking down an herbalist for the more obscure ingredients. I already had cardamom pods and star anise because I use those to make spice rubs and curing salts to use in my barbecuing and cooking.
Once the bitters were finally done, I started experimenting with drinks. As I mentioned earlier, these bitters, with their cherry-vanilla notes, are a shoo-in for a bourbon Old Fashioned. But I wanted to try them in less obvious drinks.
I've recently acquired a couple of vintage cocktail manuals, 1939's Just Cocktails, and 1922's Cocktails: How to Mix Them. In the former volume is a recipe for a Chelsea Sidecar, which is really just a Sidecar made with gin instead of brandy.
I don't know why it's a "Chelsea" Sidecar, really. The only thought I have on that subject is that, as a gin-based drink, it might have arisen from London's Chelsea neighborhood. But that's pure supposition. I don't even know whether Chelsea was a nightclub kinda place in the 1920s and 1930s.
The original called for equal parts gin, triple sec, and lemon juice, but that produces a drink that's too tart for modern tastes. I used a classic 3-2-1 ratio of three parts gin, two parts triple sec, and one part lemon juice.
But I also gussied it up with a dash of the cherry-vanilla bitters. And here's where the flavor of the bitters really opened up, with the vanilla notes fronting and the cherry dancing at back with the Cointreau's orange.
I'm already thinking of making another batch and experimenting with other recipes as well.


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Over the past few years, many people have asked us what makes an original recipe. This is a fair question. Few recipes are not inspired at least in part by others -- whether the inspiration comes from a cookbook, a friend, or something you ate in a restaurant. Because of this, the line between an original (or acceptably "adapted") recipe and outright plagiarism is often blurred. Does substituting one ingredient for another make a recipe your own? How about rewording the method or introducing a new technique?
On their own, these changes typically don't make an original recipe. A recipe becomes yours when you write it out in your own words, threading it with details that reflect your personal experience with it and your conviction that what you're presenting are all the right ingredients, as well as the best way to combine them. It's not about throwing in an extra tablespoon of ground cinnamon, but browning the butter before adding it to a cake batter, spreading it on a sheet pan to bake rather than in a tube pan, adding a glaze that you've come up with yourself.
It's always best to show rather than tell, so we thought the best way to explain what makes an original recipe would be to walk you through the creation of one.
My friend Sara recently brought a wonderful Asian-inspired chicken noodle salad to a picnic in the park, and afterwards I emailed her for the recipe. She sent me an enthusiastic response with no measurements and an abundance of delightful prose -- Sara is an excellent intuitive cook and never measures anything. I wanted to see if I could create my own original take on her recipe, so I set to work adding some new elements, re-writing it in my own words, and coming up with measurements and proportions for everything as I went. Below you can see the two different versions, along with explanations of some of my choices along the way.
Sara's Chicken Salad
Toss together all of the veggies with a bit of sea salt and let them soften just a bit. ?I cook up a box of pad thai brown rice noodles. Make sure to rinse with lots of cold water after you're done cooking them. Oh, and also, when they are cooking, I reach into the pot with my kitchen shears and cut the strands up, or else you'll have never ending noodles.
This time I used some leftover rotisserie chicken. I just shredded it up -- super tasty. If I don't have that on hand, I'll just pan-grill some chicken breasts or thighs and shred those. It's extra tasty when I can grill the chicken on a proper grill and get the charred bits.??Then I just toss everything together adjusting the seasoning to taste. If I think of it and have some on hand, I'll sprinkle with some chopped peanuts before I serve. It will last a day or two in the fridge, so I usually make a big batch for leftovers.
Spicy, Crunchy Grilled Chicken Salad with Noodles
We met our friends Sara and Erik for a picnic in the park recently, and after about 45 minutes, we were surprised by a sudden thunderstorm and were forced to pack up our goodies and flee in all different directions. But just before the heavens opened, I managed to try a forkful of a delicious chicken and rice noodle salad Sara had prepared. She and Erik have recently cut out gluten, and she's experimenting with a whole new slate of ingredients. Crisp vegetables, tender noodles and morsels of chicken were all cloaked in a zippy dressing spiked with lime juice, fish sauce and a hint of Sriracha, then showered with finely sliced mint and basil. As soon as we were home and dry, I asked Sara to email me the recipe, and this is my version.
Add a Headnote: A good headnote gives context to the recipe and introduces the reader to your personal voice. This is also a good place to credit anyone who may have inspired you to create this recipe.
Marinating the chicken
In a wide, shallow bowl or other container, stir together the lime juice, brown sugar, fish sauce, chili garlic sauce, sriracha and garlic, making sure to dissolve the brown sugar. Add the chicken to the marinade and turn to coat the pieces thoroughly. Cover and marinate for 2 to 6 hours in the refrigerator.
Add a New Element: Sara mentions pan-grilling or grilling chicken thighs in her version, but she doesn't use a marinade. I chose the ingredients for this marinade to echo the flavors in the dressing.
The salad
Make the Ingredient List Your Own: Sara didn't provide measurements for any of the ingredients, so I experimented until I felt I had the right ratio of vegetables, and a dressing that was tart and a little sweet but balanced. I added garlic to the dressing and cilantro to the salad, and I ramped up the heat by calling for a good amount of Sriracha and a whole (not seeded) jalapeno.
1. Combine all of the prepared vegetables (leaving out the herbs) in a large bowl. Remove the chicken from the refrigerator and let it sit at room temperature while you make the rest of the salad.
2. To make the dressing, whisk together the lime juice, garlic rice wine vinegar, Sriracha, brown sugar, fish sauce, sesame oil, walnut oil and ½ teaspoon sea salt. Taste and add more salt if you like. Set aside.
3. Bring a large pot of salted water to a boil. Toss the vegetables with a couple pinches of sea salt.
4. When the water is boiling, break the noodles in half and drop them into the pot. Cook the noodles according to the package directions, until they're tender but still have a little bite. Drain the noodles and run them under cold water for a minute or two to cool them and keep them from getting gummy. Drain them again and add to the bowl with the vegetables.
5. Heat a grill or a grill pan to medium heat. Remove the chicken thighs from the marinade and sprinkle each lightly with salt on all sides. Start the thighs fat-side down on the grill, cooking for 7 minutes, until the fat is crisp and charred. Flip the thighs and cook for another 5 to 7 minutes (slice into one with a sharp knife to check that there isn't any pink remaining). Once the chicken is cooked, remove it from the grill and set it aside to cool for about 5 minutes.
6. When the thighs are cool enough to handle, cut the meat off the bones and then slice it crosswise, so that each slice includes a little strip of charred, crispy fat.
7. Toss the vegetables and noodles with about two thirds of the dressing, and taste a noodle. Add more dressing if you like. Fold in the chicken and the herbs and serve. If you want to make this ahead of time, or if you end up with leftovers in the fridge, I recommend warming the salad gently before serving (cold rice noodles can get quite stiff). You can either warm the salad for 30 to 45 seconds in the microwave, or put it in a large sauté pan over medium low heat, tossing frequently, until it starts to loosen and warm, about 5 minutes.
Tell People How to Make the Recipe in Your Own Words: I completely re-wrote the instructions, including the methods for cooking the noodles and grilling and slicing the chicken. (Sara shreds her chicken, but I like using thick slices with slivers of crispy fat attached; she recommends snipping the noodles right in the pot with kitchen shears, but I'm not nearly as dextrous as she is and found it easier to break them before adding them to the pot.) I also added my recommendations for saving and reheating the salad, which are different from hers.
Do you think that I successfully created an original recipe? If not, share your thoughts in the comments section!


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Terms of Access and Use:
The collection is open for research.
Identities of persons named in the ledger of informants may not be published under conditions of the original interviews.
In 1921, members of the Modern Languages Association first conceived of a large-scale project to record linguistic information about regional variations in English language usage in the United States, a project that would gradually evolve into the Linguistic Atlases of the United States and Canada. After several years of discussion and planning, the MLA's Present-Day English group formally proposed undertaking the project in December 1928, and coincidentally less than a month later, E. H. Sturtevant of the Linguistic Society of America proposed a broadly similar project to the American Council of Learned Societies.
With the encouragement of the ACLS, the two initiatives joined forces at a planning conference in March 1929 and a coordinating committee was formed, chaired by Hans Kurath and including other prominent linguists such as Leonard Bloomfield, Eduard Prokosh, and John S. Kenyon. The initial plan was to carry out an ambitious project to canvas speech patterns throughout the United States and Canada, but when faced with a proposed budget of $664,000, the Executive Committee of the ACLS suggested beginning with a smaller-scale study of one region, centered on the dialects of New England. Kurath organized a staff for the proposed Linguistic Atlas of New England (LANE), and by July 1931, a cadre of linguistic fieldworkers was trained and set to work.
The primary objectives of the LANE project were to define the dialect areas of New England and to discover both innovations in speech and relics. In each community the canvassed, fieldworkers sought to include interviewees (informants or consultants) from each of three broad categories:
Although it was not always possible in a given community to find consultants for each of the theoretical categories, fieldworkers followed a rigorous protocol based on a highly structured and consistently applied worksheet. Spending from six to twenty hours with each consultant, fieldworkers elicited responses to a questionnaire regarding 814 words and phrases in 711 numbered entries, touching on a range of everyday activities from work and family to domestic goods, numbers and expressions of time, clothing and bedding, animals and calls to animals, agriculture, and social relations. By the time of the last interviews in September 1933, the survey included a total of 416 consultants in 213 communities in New England, whose responses were painstakingly transcribed using the International Phonetic Alphabet to preserve nuances of pronunciation. Although no sound recordings were made in the initial survey, a few aluminum disk recordings were made in follow up work between 1934 and 1939.
After analysis and editing, the interviews resulted in the publications Handbook to the Linguistic Geograpy of New England (1939) and the three volume Linguistic Atlas of New England (1939-1943). The methodology pioneered in New England was replicated in other regions across the country, including the Gulf States, Middle and South Atlantic, North Central, Oklahoma, Pacific Northwest, Pacific West, Rocky Mountain region, and Upper Midwest, as well as the African American and Gullah dialects of the southeast. Work on the Rocky Mountain states project was still in progress as of 2012.
The heart of the LANE records consists of carbon copies of handwritten transcription sheets recording hundreds of interviews held in communities throughout New England during the 1930s. Organized by an alphanumeric code that corresponds to the community and name of the consultant, these sheets are written in the International Phonetic Alphabet, with some including explanatory comments in longhand and others with phonological analyses, and all are keyed to the "character sketches" of consultants assembled by fieldworkers. At the end of the collection are five cassette tapes including audio recordings of follow-up interviews made in 1934. The published Handbook of the Linguistic Geography of New England (organized, like the Atlas, term by term) can be used as an index, introduction, and commentary to the collection.
For the methodology see Kurath 1939, Kurath 1939-1943.
The collection is open for research.
Identities of persons named in the ledger of informants may not be published under conditions of the original interviews.
Cite as: Linguistic Atlas of New England Records (MS 330). Special Collections and University Archives, University of Massachusetts Amherst Libraries.
Acquired in 1974 from the director of the Linguistic Atlas of the United States through Audrey R. Duckert, editor of the 2nd edition of the Handbook to the Linguistic Atlas of the United States, 1972.
Processed by Katherine Emerson and Linda Seidman, March 1983.
|Contact Information
Special Collections and University Archives
W.E.B. Du Bois Library
University of Massachusetts Amherst
Amherst, MA 01003-9275
Phone: (413) 545-2780
Fax: (413) 577-1399
Link to:
A few aluminum disk recordings made from 1933-1939 still exist in the Library of Congress. The original field books and manuscripts for the LANE project are housed with the Linguistic Atlas Project, Dept. of English, University of Georgia.
Introductory material, field worker's blank notebook, published Handbook of the Linguistic Geography of New England, word index
Box 1
Character sketches of informants by the field workers, 1-240
Box 2
Character sketches of informants by the field workers, 241-431
Box 3
Phonological analysis
Box 4
Interviews, in numerical order
Box 5-39
Tapes of the interviews, in numerical order
Box 40


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All items > Knives > Folding Knives > Medford Knife & Tool (Folding) > Medford Arktika
- Overall Length:10.125"
- Blade Length:4.25"
- Cutting Edge:3.625"
- Blade Thickness:0.26"
- Blade Material:D2
- Blade Style:Drop Point
- Blade Grind:Hollow
- Finish:Black
- Edge Type:Plain
- Handle Length:5.875"
- Handle Thickness:0.65"
- Handle Material:Titanium
- Color:Gray
- Weight:12.35 oz.
- User:Right Hand
- Pocket Clip:Tip-Up
- Knife Type:Manual
- Opener:Thumb Hole
- Lock Type:Frame Lock
- Brand:Medford Knife & Tool
- Model:Arktika
- Country of Origin:USA
- Best Use:Collection
- Product Type:Knife
This Arktika has a black oxide coated D2 steel blade and flame anodized titanium handle. Thumb hole opener and framelock. Tip-up carry pocket clip and thick glass breaker tip. Comes in a waterproof case.
The Arktika knife is named after a retired Russian icebreaker, which was the first ship to reach the north pole. The MKT Arktika is a tough knife that lives up to its namesake.


text: On Mon, 17 Feb 2003, Mark Hahn wrote: > > As long as your network cards' support PXE (most do nowadays), then it is > > is that really true? great if so! I haven't looked, but tend to only > expect builtin eth to support PXE... > Almost all current, performance-oriented motherboards have built-in Fast Ethernet with PXE support in the BIOS Flash. Most low-end Fast Ethernet cards have a socket but do not include a boot ROM. It's difficult to find the correct Flash-ROM part, and you must still program them one by one. It's easier and less expensive to just buy the slightly more expensive 3Com or Intel NICs with built-in Flash-ROMs. No matter what installation you use, we recommend leaving the system set to PXE boot. -- Donald Becker becker at scyld.com Scyld Computing Corporation http://www.scyld.com 410 Severn Ave. Suite 210 Scyld Beowulf cluster system Annapolis MD 21403 410-990-9993


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Online Resources Orthopedic SurgeryOnline Resources Orthopedic Surgery - Causes, Symptoms, Diagnosis and Treatment
The content provided here is for informational purposes only, and was not designed to diagnose or treat a health problem or disease, or replace the professional medical advice you receive from your physician. Please consult your physician with any questions or concerns you may have regarding your condition.
This page contains links to other World Wide Web sites with information about orthopedics. We hope you find these sites helpful, but please remember we do not control or endorse the information presented on these Web sites, nor do these sites endorse the information contained here.
American Academy of Orthopaedic Surgeons
Centers for Disease Control and Prevention (CDC)
National Cancer Institute (NCI)
National Institute of Child Health and Human Development
National Institutes of Health (NIH)
National Osteoporosis Foundation
Osteoporosis and Related Bone Diseases - National Resource Center - NIH