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But neither is Jadeveon Clowney's subpar junior season. Once thought to be crown jewel of the 2014 NFL draft, the South Carolina defensive end has opened himself up to scrutiny about his work ethic and maturity. He doesn't turn 21 until Valentine's Day, but teams are going to dig deep before falling in love
COLUMBIA, S.C. — Believe the hype.
South Carolina end Jadeveon Clowney, heralded as the best NFL defensive draft prospect in more than a decade, trots out of the tunnel at Williams-Brice Stadium for pregame warm-ups before taking on blood rival Clemson on Nov. 30. And, my word, is he physically imposing.
Listed in the program at 6-6 and 274 pounds—and the eyeball test says that's close to legit—Clowney, who doesn't turn 21 until Valentine's Day, looks as if he entered the NFL five years ago. He has muscles from his toes to the top of his scalp. He is rock-solid, especially in his thighs, hamstrings and butt—the nuclear reactor for a pass rusher. He is power personified, with oversized, strapping arms and enormous hands capable of doing with an offensive player whatever he wishes.
Meld together the best parts of the NFL's most impactful edge players over the last 20 years—the natural power of Michael Strahan, the length of Julius Peppers and the speed of Jason Taylor—and you have the promise of Jadeveon Clowney.
But will he deliver?
After NFL personnel departments wrap up their postseason draft meetings and set their draft boards, they'll fan out across the country again to dig deep on every prospect. Texas A&M quarterback Johnny Manziel and Clowney will be the most scrutinized players from February to early May. In many ways Clowney will be more researched and dissected. While Manziel has let everyone into every aspect of his life through social media, Clowney has only come through as a person in tightly controlled press conferences. There's much to unearth about him, especially after an underwhelming final season: about his effort, his family and the hangers-on, and his maturity.
But greatness in the NFL usually comes down to one simple question: Are you motivated by love of the game, or by money?
"I think there's flashes of brilliance and flashes of extreme inconsistency," an AFC general manager says of Clowney. "I mean, it's a boom or bust thing."
* * *
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The top-10 showdown with Clemson was supposed to be Clowney's 2013 coming-out party. After not suiting up against Coastal Carolina, he had played just once in the previous 28 days. That should have given plenty of time for his troublesome ribs and/or ankle bone spurs (which likely need surgery) to heal. The No. 10 Gamecocks were facing the sixth-ranked Tigers, their bitter in-state rival in Clowney's final home game. Last season Clowney had 4.5 sacks against the same opponent and the same left tackle, Brandon Thomas. It was time for him to give everyone one final glance at the player who, by the end of last season, was probably the most impressive sophomore defensive prospect in recent memory.
Yet as has been the case for most of this season, Clowney didn't have much of an impact. On Clemson's first touchdown he followed the fake, not realizing the run was through his gap until quarterback Tajh Boyd went by him for the easy score. Clowney had one sack in the game, but on that play he was actually blocked well by the understated yet effective Thomas; Boyd just ran into the sack. And it's not as if Clowney was given extra attention: He was single-blocked for much of the game by Thomas, and even sometimes by a tight end.
Clowney's most impressive play came with 6:12 left in the third quarter, when he slipped inside Thomas with a swim move and decked Boyd in just 1.82 seconds, forcing an incomplete pass. Ferocious explosiveness. And that's what sends the tongues of NFL personnel evaluators wagging.
"When you look at him on film, he can do whatever he wants to do," says an AFC college scouting director. "When he's locked in and engaged ... it takes such a concentrated effort to neutralize him. It opens up opportunities for others to make plays."
Clowney's best asset is his power. He hasn't even developed the proper handwork needed in the NFL, and yet he's shown the ability to overpower opponents. His first step is devastating, and he has very good quickness in a small box, able to make one move and go like few can.
That's what happened on the hit-heard-around-the-country in the Outback Bowl against Michigan last season. Clowney was in the backfield in 1.45 seconds—just after running back Vincent Smith got the handoff—and jarred the Wolverine's helmet off. That's great and all, but Clowney wasn't blocked. "It's not like he destroyed a blocker and made that play," the AFC director says.
Clowney isn't a bend-around-the edge rusher like Robert Mathis, Robert Quinn, Von Miller or Aldon Smith. He is extremely stiff in the hips, a straight-line player. That's why, in a survey of six NFL front office executives, Clowney is viewed optimally as a 4-3 left defensive end, where he can hold the edge against the tackle and/or tight end in the run and turn it loose when needed. He'll be especially lethal when kicked inside in sub-packages to overwhelm guards.
"Strahan ran a 4.9 but had great power," says an NFC personnel director "He was able to develop his pass rush. [Clowney will] be able to power some people and then develop as a pass rusher."
Some old-school types feel that being a strong-side outside linebacker in a two-gap system would be best for Clowney, although the use of those schemes is dwindling because of the speed in today's game.
"Bill Belichick would make a monster out of him," says an NFC general manager, who likens Clowney's physical attributes to those of former Patriots outside linebacker Willie McGinest, who was drafted fourth overall by Bill Parcells in 1994.
"Parcells would have loved to put [Clowney] at SAM linebacker outside and set that edge, and would have just loved this kid—the way he played, maybe not the kid himself," adds the NFC personnel director.
What about Clowney the person?
Outwardly, he appears to be a happy-go-lucky kid with a ready smile. That can be viewed as not being serious enough about the task at hand, but that's a bit unfair. Those who have known him for a while say Clowney is a big kid at heart, which some might use to explain how he was recently ticketed for going 110 in a 70 mph zone. It would also induce the maturity questions that are on the minds of NFL talent evaluators.
It doesn't help that South Carolina coach Steve Spurrier has mostly restricted Clowney to talking in press conferences after games. But it would be a mistake to make the leap and think that it's correlated to Clowney's lack of maturity: Spurrier restricts all the players, mostly to keep distractions to a minimum, but also to prevent one player from being perceived as being above the team.
Clowney's background—he was raised mostly by a hard-working single mother after his father spent almost 12 years in prison for second-degree burglary—will receive scrutiny, but other draft prospects have come from much worse. Cowboys receiver Dez Bryant's mother had him when she was 14, and he had to live in several homes after her arrest and conviction for selling crack cocaine. Despite all that, and with some hard work by the Cowboys to supervise his activities and financials, Bryant has flourished.
Whoever drafts him is going to dig into every nook and cranny," says an AFC GM. "And they're going to see what's in his soul.
The reason is that Bryant loves the game of football. He treated spring games in college like they were the Super Bowl, even as he got closer to the NFL. Evidence, and it is admittedly circumstantial, shows that Clowney is not the same breed of competitor.
As a sophomore last year, Clowney had 54 tackles, 23.5 for loss, and 13 sacks. With one game to play in his college career, he has 35 tackles, 10.5 for a loss, and three sacks in 2013. Clowney has certainly received more attention from blockers, and teams try to go away from him, but that alone doesn't explain the downturn. The game tape never lies.
"Looking at him this year compared to last year, it seemed like last year every single play was balls to the wall, hell on wheels," says the AFC executive. "This year, there's a lot of plays where he comes off the ball super hard, and if the ball is away he just kind of chills and watches the play. There's definitely going to be some questions about that."
There was also the well-documented situation in October when Clowney informed Spurrier just before kickoff against Kentucky that he couldn't play. Elite recruits often rule the roost once they're established at schools. The coaches have little power once that happens, even less when a player like Clowney knows he isn't just turning pro but is a top-10 pick who could have sat out the entire year to avoid getting hurt without affecting his draft stock. Combine that with Clowney's watching Marcus Lattimore, the Gamecocks' star running back, drop from a first-round talent to the fourth round because of a gruesome knee injury last year, and the stars aligned for Clowney's subpar season—perhaps dropping him from being the first overall pick.
"I don't see how that is such a factor that a team would take him off their board," says an AFC scouting director. "Yeah, he's immature and a young kid, but you can also go against that and say when he had a chance to shut it down, he did decide to come back. I think some of that can be overblown."
But there's still a question of how much Clowney lives and breathes football. Those who know him well say he loved to play the game in high school, and during his first two years at Carolina. But this season, with the rib and ankle issues, and teams dedicated to stopping him, Clowney has appeared to grow frustrated on game days. If Clowney is already having problems dealing with his first football adversity, how is he going to handle the NFL, a league that is tough from down to down in practice, let alone games? That's what teams headed for the top of the draft will be digging through as draft day approaches.
Jevon Kearse was selected 16th overall by the Titans and coach Jeff Fisher (now with the Rams) in 1999 out of Florida. At 6-5, 262 pounds, and having run a 4.42 in the 40-yard dash—all comparable to Clowney's actual or projected numbers—Kearse was known as "The Freak" for his unreal athleticism. He had 14.5 sacks as a rookie and was named first-team All Pro and Defensive Rookie of the Year. Kearse had double-digit sacks in each of his first three seasons, but never again.
"Does [Clowney] have all the talent in the world? Yeah," says the AFC GM. "For people to get secure with him, it's going to come in the interviews, the one-on-ones with teams. They'll try to get him off the pre-scripted stuff from the agent. You have to be able to pass that smell test. Whoever drafts him is going to dig into every nook and cranny on him. And they're going to see what's in his soul. They're going to see what makes him tick."
All six personnel executives who were consulted for this story said it's imperative that Clowney lands with a top-notch defensive line coach who can draw the best out of him on a consistent basis. Peppers had many of the same questions surrounding him when the Panthers took him with the second overall pick in 2002. While he hasn't been the model of consistency, he still has 118 sacks in 12 seasons and has been a top force his entire career. With the Panthers, Peppers also had John Fox as his head coach and Mike Trgovac as his coordinator, two supreme motivators. Same with Rod Marinelli in Peppers' first three seasons with the Bears.
* * *
Where will Clowney land? Right now, the Texans have the first pick and a glaring need at quarterback, where Louisville's Teddy Bridgewater is the clear-cut top prospect. But Houston could address several positions. The intrigue really starts with the Rams, who have the second selection via Washington and the Robert Griffin III trade. St. Louis also has its own first-round pick (currently 13th).
The Rams appear to be happy with quarterback Sam Bradford, who has two years remaining on his contract and is coming back from ACL surgery. Left defensive end Chris Long received a contract extension before the 2012 season. Right end Robert Quinn is second in the league with 13 sacks. But the Rams still don't have a top-flight pass rush. They're 13th in the The MMQB's Pressure Points rating, which measures the total pressure generated on opposing quarterbacks. Clowney, in a three-man rotation and at tackle in sub-packages, would help make their rush one of the best in the league. But the Rams could also use immediate help on the offensive line, safety and receiver.
[polldaddy poll=7636106 align=right]The Falcons currently sit in the third spot, and if there's any team that desperately needs an impact pass rusher, it's Atlanta. It ranks 30th in Pressure Points and is tied for 27th in sacks. The Falcons also need help on the offensive line, and several prospect tackles could have first-round grades. But Clowney makes all the sense in the world. Would general manager Thomas Dimitroff, whose daring trade for receiver Julio Jones doesn't look great today, trade up to get Clowney? It can't be ruled out. "I can see Atlanta doing something," says the AFC general manager. "They have an extreme need. He needs defensive help a lot."
After that, there are four quarterback-desperate teams: Minnesota, Jacksonville, Cleveland and Oakland.
Wherever he lands, Clowney will be subjected to a spotlight that will make what he's seen as the nation's top high school recruit, and in the artificially cozy confines of Columbia, look like a reading light. He'll be on a high wire without a net. There's no question he has all the physical tools to be the next great pass rusher; the hype is no joke. It's how he handles the off-field distractions and the game preparation that will determine whether he realizes his full potential.
"He's a man amongst boys," says an NFC personnel director. "But he's one of those guys that's a Pro Bowler, or he could be a big-time bust depending on what's on the inside. That's what we'll all be digging into."
We'll find out for ourselves when Clowney puts his hand into the dirt on Sundays.
Opening photo credits, clockwise from top left: Steve Jacobson/Sports Illustrated :: John Bazemore/AP :: Simon Bruty/Sports Illustrted :: Scott Cunningham/Sports Illustrated :: Jim Dedmon/Icon SMI :: Rainier Ehrhardt/AP :: Kevin C. Cox/Getty Images (sign)


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December 3, 2012
"The success in reducing the number of children born with HIV is in danger of leaving children who already have the disease with poor access to treatment, experts in HIV and AIDS have warned," BMJ reports. "Denis Broun, executive director of UNITAID, a not-for-profit organization that purchases drugs for the treatment of HIV and AIDS and other diseases, has welcomed news that the number of new infections in children is falling," the journal writes, adding, "But he said that because fewer children are born with the virus, drug companies would no longer have an incentive to manufacture treatments and that childhood HIV might become a neglected disease."
"A report by UNAIDS, ... released a week before World AIDS Day on 1 December, said that the annual number of new HIV infections among children worldwide had fallen from 560,000 in 2003 to 330,000 in 2011," BMJ notes. "However, it said that only 28 percent of children who needed antiretrovirals got them, whereas the proportion in adults is 50 percent," the journal adds. "Kate Iorpenda, senior adviser on HIV and children at the International HIV and AIDS Alliance, said that, in the worldwide push to stop transmission from mothers to their babies -- 'the mantra of the AIDS-free generation' -- children already infected with HIV were in danger of being forgotten," BMJ writes, noting, "She said that pediatric HIV drugs were not a profitable market for drug companies and that there was a lack of drugs that were 'appropriate, affordable, and palatable'" (Gulland, 11/30).
Back to other news for December 2012
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subset: commoncrawl


text:
Scale out with Ubuntu Server
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text:
- Bobbi Brown "Moisture rich foundation" - Shade: Natural
- Bobbi Brown "Creamy concealer" - Shade: Natural
- Mac "Oak" lipliner
I also purchased...
- Mac "Sweet and Punchy" eyeshadow from the latest "To the beach" collection. A gorgeous golden lime green with a veluxe pearl finish which is my favourite type.
- Mac "Bronze body oil" also from "To the beach" collection.
- Mac "Carbon" e/s in pan form for my palette.
I still haven't located my usb cable so I used my camera on my phone for photos which are really making me cringe as I hate the quality - Eeek!
Peanut says "Hi"! :)
What did you buy from "To the beach"? I totally skipped the cream bronzers I was lemming as nothing is as good as Chanel's bronze universel.
Do you like Bobbi Brown bases?


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For God
Code: QG-M
This DVD takes the illustrations and text of the books and animates them with music and friendly voiceovers. Great for classroom use, or to follow along with the books.
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Plaza Theatre
600 George Street,
4 people favorited this theater
Built on the site of the DeLuxe Theatre. Hoyts Plaza Theatre in Sydney was the original quintessential "Spanish" styled theatre. It was famous in the old days as a picture palace complete with an English built Christie theatre organ and a full orchestra on an elevated platform. The Plaza Theatre was opened on 9th May 1930 with Cecil B. DeMille's production of "Dynamite" which starred Conrad Nagel. The supporting programme was Laurel & Hardy in "Night Owls" and American organist Eddie Fitch opened the Christie organ. The original plan was for a 4,000 seater, but the stock market crash of 1929 was to see those plans go out the window.
In September 1958, the Plaza Theatre was refurbished for 3-strip Cinerama and the screen at that time was the largest in Australia for an indoor cinema.
All big 70mm blockbusters from Fox, MGM, United Artists, etc., were shown here from March 1965 onwards. The screen dimensions were 75ft x 35ft. The Plaza Theatre was closed in June 1977 with Terence Hill in "Mr Billion".
It was used for a time as both skating rinkm Maxie's Manhattan Disco and a restaurant. A Heritage order prevented its demolition until 1995, when Planet Hollywood removed the remainder of the auditorium's decoration. The foyer is intact and is used as a McDonalds restaurant. Planet Hollywood only lasted a short while, and today the auditorium has been 'twinned' with the Plaza Restauraunt operating in the upper half.
Recent comments (view all 16 comments)
This was not one of my favourite Cinemas but when I visit Sydney often eat there it makes a much better McDonalds Restaurant.
Loved this theatre when it was a showcase of Cinerama, have very faint memories of "How the West was Won" in 3 strip format which for a very young boy was awesome!! I'm glad at least some of the interior is still there and the exterior is just great, the younger generation have no idea what going "to the pictures" was like in the 50's and 60's in those fantastic movie palaces – most of todays movie houses are unbelievably depressing, cheap and nasty!
Early photo of Plaza neon sign being erected:
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1962 exterior photo of the crowds attending Cinerama presentation:
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1966 exterior photo with Cinerama signage:
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mcdonalds plaza lobby…best looking mcdonalds i've ever been in
BEFORE THE PLAZA The site was home to several theatres, beginning with the Atheneum Hall which opened in 1907. It was renamed the Oxford Theatre for live events in 1908 and then the Colonial, a 1200 seat theatre in 1910 which showed films. Hoyts took over in 1917 with the name DeLuxe. See photo section for the DeLuxe. The Plaza opened on April 11, 1930 with "Dynamite" Demille's first talkie. The Sydney Morning Herald reported "Mr. Eddie Fitch, formerly of the Oriental Theatre, Chicago, has been engaged as organist for Hoyts' new Plaza Theatre. Mr. Fitch came to Australia last year and has been acting as organist at Hoyts Regent Theatres in Melbourne and Brisbane."
I saw the original three-way-split Cinerama "demo" film here….lots of exciting stuff such as a roller-coaster ride, the U.S. Navy's "Blue Angels " flight team and so forth. It was really an introduction to Cinerama.
Then I saw every Cinerama film that came to Sydney, including "Grand Prix" and "2001: A Space Odyssey". I think "Alien" was also screened here.
Great memories!
Worked at the Plaza 1968-70 as assistant to the chief operator. The plaza had the proscenium of its predecessor theatre, behind the cinerama screen. The theatre had very ornate ceilings that were hand painted with stars, moons and the like. The ceiling was not held up with poles. At the rear of the auditorium was the two entrances from the foyer.The bain entry was from the north side of the foyer. the second was facing the street and was only used to empty the theatre at the conclusion of the program.
The original bio box was in the elevated rear wall of the auditorium.Above the entrance. When redeveloped for Cinerama, three bioboxes were added to the auditorium. Able, Baker and charlie.The old room became the sound booth for the system and was accessed from the ladder behind able booth on the north side of the theatre. It also served as the file room for Hoyts Ltd head office.
The Original Cinerama screen was patented and was in three parts to match the projector booths. The two side screens were multiple 1" slats that could be remotely re-aligned to eliminate cross reflection. The centre screen was a single square sheet.
In front of Baker booth (in the centre) was the chief operators console. From here the operator could monitor and adjust each projector, to ensure that they kept in step with each other.
When I started at the Plaza they Had already shifted to the new single lense Cinerama format. As such they shifted into 70mm, Cinemeccanica 10s and after about 18 months changed from carbon arcs to Zenon Arc Lamps as a light source. As the original Cinerama screen was patented, a new single sheet had to be installed and yes as you guessed to pull it around a curve created a belly in the middle of the sheet and thus a slight distortion of the image.
At this time Hoyts had a number of theatres in the city. The Regent, George Street. The Century, George Street. The Palace, Pitt Street. The Paris, Liverpool Street. The Town, Pitt Street. The Mayfair and The Embassy, Pitt Street.
All these theatres were replaced with the Hoyts Cinema Complex opposite the Plaza in George Street.
I seem to remember the Plaza had a brief period as something like Maxy's Diner/New York Diner… something like that. It was open 24 hours, and it didn't last long. It would be sometime in the 1980s. Does anyone have any information? Many thanks.
The cinema was originally build for grandeur (70mm wide screen) in 1930 but the brief 3 year wide screen era never eventuated in Australia.
This opened on April 11th, 1930. Its grand opening ad can be found in the photo section for this cinema.
Just login to your account and subscribe to this theater


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The world is rapidly aging. A whopping two billion people will be 60 years and older by 2050, more than triple the number in 2000, according to the World Health Organization.
This demographic change has major implications for the global economy. Some of the world's biggest economies are facing rising health-care costs, a shrinking workforce, higher pension costs and diminishing fertility rates. Many countries have already begun adapting to their increasingly aging populations by raising the retirement age, reducing pension benefits and spending more on elderly care.
We've come up with a list of countries with the starkest gap between the number of old and the number of young. We calculated the number of people aged 65 and older for every person 14 years and younger. We've also provided statistics on the percentage of the total population aged 65 and above as well as the percentage aged 14 years and below.
The population numbers are from the CIA World Factbook, while we used organizations such as the World Bank, United Nations (UN), and International Monetary Fund (IMF) to illustrate demographic trends.
So, which countries have the biggest gap between old and young? Click ahead to find out.
By Rajeshni Naidu-Ghelani (First posted Jan. 23, 2012, updated Oct. 30, 2012)


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With long hair flowing wildly as the band members of Bo Ningen head banged to the chaotic sounds emanating from their instruments in the Gobi tent, a movement reciprocated by fans in the audience, many of whom jumped around crazily or yelled each time the band plunged into another instrumental break.
The members of the band were actually all born and raised in different parts of Japan, meeting each other and forming Bo Ningen in London. Nearly seven years later, Bo Ningen made their Coachella Valley Music & Arts Festival debut Sunday, wearing long skirts and cranking the volume to the maximum.
"It was great," said guitarist Yuki Tsujii. "Coachella is huge and everyone knows it well. We were kind of worried in the beginning, but then more people started coming in. The feedback was really direct to us, even more than London and it was a more straightforward audience."
The Japanese psychedelic band based in London is known for their improvisational tendencies, from their Japanese lyrics, to their instrumentals and crazy theatrics onstage.
"My theory is if you plan it or try to prepare too much, then it's going to be fake and the audience will understand that," said Taigen Kawabe, lead singer and bassist. "Based on most of the feeling, it's improvised."
Kawabe, got up and personal with the audience, playing his bass guitar behind his back and over his head.
"It's kind of natural to me," Kawabe said. "It's an honest side of myself. Onstage, it's something I can't share in daily life and it's kind of the opposite of that as well. I want to make it surreal to the stage, but at the same time I don't want to be like pretending or whatever. It's an expression you don't usually express in daily life that you can only do on the stage. Some people are so surprised when they meet us, but I feel like it's honest."
Tsujii flung his guitar about, swinging it in circles and guitarist Kohhei Matsuda sank lower and lower until he was kneeling and playing guitar on the stage floor. In the back, Akihide Monna enthusiastically kept the beat with emphatic drumming.
"He does it on much smaller stages as well," said Matsuda with a laugh, referring to Tsujii's dangerous guitar flinging. "I was safe today because there's more of an open spot for me on the stage."
The band will be playing shows all over the world this year, from the United States to the UK and despite its crazy performances and seemingly drug-induced antics, the band said they remain sober for their shows, unlike many other psychedelic bands.
"If it's better for the audience and they take it then that's fine, but for us, we need to be able to control the music," Kawabe said. "If you take drugs or stuff you feel like any sound or any music sounds OK to you, which is OK for the audience, but if you make music and you perform, you cant judge as well when you're on drugs."


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Polymer Clay Necklace – Jaffa Fudge $65.00 SOLD
Inspired by a love of desserts & all things sweet, these delectable handmade polymer clay necklaces speak for themselves. The beads are incorporated with stylish 24kt gold plated ceramic squares and 24kt gold dipped metal cornflake chip beads for a little hint of luxe. The delightful colour combinations make them just irresistibly scrumptious!
Measures approx: 80cm L (31.5")
Material mix includes: polymer clay, 24kt gold plated ceramic squares, 24kt gold dipped metal cornflake chips, gold plated brass snake chain
*Due to the handmade nature of each individual beads, no two will be identical and may possibly contain slight flaws or imperfections.


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Atlassian Sourcetree is a free Git and Mercurial client for Windows.
Atlassian Sourcetree is a free Git and Mercurial client for Mac.
README for Pygments
This is the source of Pygments. It is a generic syntax highlighter that supports over 300 languages and text formats, for use in code hosting, forums, wikis or other applications that need to prettify source code.
... works as usual, use python setup.py install.
... can be found online at http://pygments.org/ or created by
cd doc make html
... takes place on Bitbucket, where the Mercurial repository, tickets and pull requests can be viewed.
Continuous testing runs on drone.io:


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UPDATE: This year's bake sale was a great success! Thanks to all of the bakers and bloggers that helped out and contributed and thanks to all of you that stopped by! We made $1140! It's that time of the year again! For the past two years, there has been a bake sale put on by food bloggers around the world to help raise money for Share Our Strength. You can participate and help out in several ways; you can bake something for the sale, and you can help sell the items, or you can come buy something, or you can go to the website and donate directly! This year, it is going to be Saturday, April 28th at Omnivore Books in San Francisco. Oh, and yes, I am making something for the sale, so at the very least, you can come by and say hi! 🙂
2 thoughts on "Food blogger's Bakesale 2012"
Pingback: Hello, May! {Good-bye, April!} « Having My Cake And Sharing It 2
Pingback: What I'm Reading Wednesday « Having My Cake And Sharing It 2


text: On Mon, 14 Feb 2005, Ashley Pittman wrote: > On Mon, 2005-02-14 at 11:11 -0600, Rob Ross wrote: > > If you used the non-blocking send to allow for overlapped communication, > > then you would like the implementation to play nicely. In this case the > > user will compute and eventually call MPI_Test or MPI_Wait (or a flavor > > thereof). > > > > If you used the non-blocking sends to post a bunch of communications that > > you are going to then wait to complete, you probably don't care about the > > CPU -- you just want the messaging done. In this case the user will call > > MPI_Wait after posting everything it wants done. > > > > One way the implementation *could* behave is to assume the user is trying > > to overlap comm. and comp. until it sees an MPI_Wait, at which point it > > could go into this theoretical "burn CPU to make things go faster" mode. > > That mode could, for example, tweak the interrupt coalescing on an > > ethernet NIC to process packets more quickly (I don't know off the top of > > my head if that would work or not; it's just an example). > > Maybe if you were using a channel interface (sockets) and all messages > were to the same remote process then it might make sense to coalesce all > the sends into a single transaction and just send this in the MPI_Wait > call. The latency for a bigger network transaction *might* be lower > than the sum of the issue rates for smaller ones. This is exactly what MPICH2 does for the one-sided calls; see Thakur et. al in EuroPVM/MPI 2004. It can be a very big win in some situations. > I'd hope that a well written application would bunch all it's sends into > a single larger block when possible though if this optimisation was > possible though. We would hope that too, but applications do not always adhere to best practice. > Given any reasonably fast network not doing anything until the MPI_Wait > call however would destroy your latency. It strikes me as this isn't > overlapping comms and compute though rather artificially delaying comms > to allow compute to finish, seems rather pointless? I agree that postponing progress until MPI_Wait for the purposes of providing lower CPU utilization would be pointless. It can be useful for coalescing purposes, as mentioned above. But certainly there will be a latency cost. > If you had a bunch of sends to do to N remote processes then I'd expect > you to post them in order (non-blocking) and wait for them all at the > end, the time taken to do this should be (base_latency + ( (N-1) * M )) > where M is the recpipiocal of the "issue rate". You can clearly see > here that even for small number of batched sends (even a 2d/3d nearest > neighbour matrix) the issue rate (that is how little CPU the send call > consumes) is at least as important that the raw latency. Well I wasn't trying to start an argument about the importance of CPU utilization as it relates to issue rate :). The original question simply asked if there was generally an advantage to doing what you expect people to do anyway! And I think that we agree the answer is yes. > > All of this is moot of course unless the implementation actually has more > > than one algorithm that it could employ... > > In my experience there are often dozens of different algorithms for > every situation and each has their trade offs. Choosing the right one > based on the parameters given is the tricky bit. Absolutely! And which few of those dozens are applicable to a wide-enough range of situations that you want to actually implement/debug them? Rob


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It's the art world, Charlie Brown.
When Scott Minerd began compiling "Peanuts" memorabilia a decade ago, he did it on a small scale. By the time he prepared his collection for its first-ever public showing, which will open Wednesday at the Laguna College of Art + Design, an appropriate response to it might have been, "Good grief!"
The Marina del Rey resident, who works for a financial services firm, had packed his guest room so tightly with artifacts of Linus, Lucy, Schroeder, et al that he had to move the bed out to gain more space. His office had turned into a similar shrine, and the house had run out of wall space.
"I never started out with the plan that I was going to acquire all this much stuff," Minerd said. "But then you see something from 'The Great Pumpkin' and you think, 'Oh, I don't have anything from 'The Great Pumpkin.'"
Original cels and drawings from that 1966 animated classic — formally titled "It's the Great Pumpkin, Charlie Brown" — will be on display in Laguna, along with story boards from "A Charlie Brown Christmas" and other artifacts. "The Art of Charles Schulz and Peanuts — The Minerd Collection" will run through Feb. 14 in the campus gallery and has a reception scheduled during First Thursdays Art Walk on Feb. 7.
And if anyone craves a followup show, there's plenty of material left; Minerd estimates that the items on display comprise less than a fifth of his ownings.
That collection started modestly shortly after Schulz died in 2000, when Minerd was reading Barron's magazine and found an ad for a Florida-based company that had "Peanuts" artwork for sale. A lifelong fan of the strip, Minerd called the company and negotiated a price over the phone for 20 pieces.
Over the next decade, those 20 grew to 50, then 100, then 200 and beyond, as Minerd's fame as a "Peanuts" collector spread and friends contacted him to let him know of available works. Finally, Dave Pruiksma, the co-chair of LCAD's animation department, met Minerd through a mutual friend and invited him to compile an exhibit.
The eclectic offerings had a particular resonance for LCAD, which teaches many of the disciplines — drawing, animation, advertising — in which Schulz worked. And it helped that Pruiksma is a huge "Peanuts" fan himself; one of his prized photos is a shot of himself on his 12th birthday, reading the comics on his bed while surrounded by character memorabilia.
"He was a complex man," Pruiksma said of Schulz. "He had a lot of insight, and I think he was able to give insight in a very simple and accessible way. I think that's why the strip is so popular with kids as well as adults."
So what were Schulz's great insights? For both Pruiskma and Minerd, they came down to a central one: that childhood is merely adulthood played out on a small scale, and that the hopes, dreams and anxieties of grownups take root in those formative years.
Unlike another comic strip that meshed grownup and childhood issues, Bill Watterson's "Calvin and Hobbes," Schulz's creation didn't hold out from merchandising. After decades of Camp Snoopy, greeting cards, animated specials and other tie-ins, the strip, at a distance, can look simply like an innocuous product targeted at kids.
But look at it closer and its deeper themes emerge: failure, self-esteem, unrequited love, social conformity. Shortly before Schulz's death in 2000, the reclusive Watterson himself wrote a syndicated tribute to him, praising his "vividly tragic characters" and his willingness to depict a "pretty dark world" in a strip intended for a broad commercial audience.
Minerd, who gravitated most to Snoopy as a child, said he came to appreciate Schulz's deeper subjects later in life.
"Because he dealt with children and animals, he was able to get under the radar screen," he said. "He was able to deal with some serious life issues in a way that was not threatening."
Minerd may have another kindred spirit in Laguna: Karen Johnson, director of the Charles M. Schulz Museum in Santa Rosa, said the cartoonist's widow, Jean Schulz, hopes to attend the show along with others from the museum.
"We're very excited," Johnson said. "We're thrilled that someone loves 'Peanuts' so much that they're sharing their entire collection at a school that teaches animation and cartooning. What could be better?"
A date with the Little Red-Haired Girl aside, maybe not much.
Twitter: @MichaelMillerHB
If You Go
What: "The Art of Charles Schulz and Peanuts — The Minerd Collection"
Where: Laguna College of Art + Design, 2222 Laguna Canyon Road, Laguna Beach
When: Noon to 4 p.m. Monday through Friday; reception from 5 to 8 p.m. Feb. 7
Cost: Free
Information: (949) 376-6000 or http://www.lcad.edu