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|This article is about the Power Rangers series.
- "Once a Ranger! Always a Ranger! Power Rangers forever!"
- ―roll call in unison
Power Rangers is a name of a meta-franchise series, chronicling the adventures of the Power Rangers.
The concept is based on the Super Sentai series of shows, however, is not an English dub of the original, but rather a new production with English-speaking actors spliced in with the original Japanese footage to varying ratios. Due to the very Japanese nature of many of Sentai's stories, the American adaptations are generally changed to fit its Western audience. (Ironically, the American Power Rangers was dubbed into Japanese. This practice stopped, however, after Lightspeed Rescue.) In 2011 Power Rangers S.P.D. was dubbed into Japanese as well, followed in 2012 by Mystic Force and in late 2013 by Samurai . Power Rangers was produced by Saban Entertainment and Renaissance-Atlantic Films from 1993 until the end of 2002 and was broadcast on the FOX Kids Network. At the end of 2002 when Wild Force was in early production, Power Rangers changed ownership to Walt Disney Television, BVS Entertainment. However, the show continued to air on FOX until Saban was closed down in the middle of the Wild Force run. The remainder of the series and all subsequent series have aired on various Disney-owned stations up until the end of 2009. The next year, the series Mighty Morphin was rebroadcast on ABC Kids with footage restored to better quality, some scenes cut from the original episodes, and comic-book style graphics added. It was announced on May 12, 2010 that Saban Brands bought the Power Rangers franchise including all world wide rights and property from the Walt Disney company. It was also announced that Saban would be entering a partnership with Nickelodeon to bring the new 18th season to Nickelodeon in early 2011 and older episodes of series such as Jungle Fury and Dino Thunder later in 2011. Power Rangers Samurai becomes the first series to be shot and broadcast in HD and the second series to be split into more than one season: Power Rangers Super Samurai. Power Rangers Megaforce is the next season of Power Rangers. The season celebrate the 20th anniversary of Power Rangers in 2013. This initiated a major event called Power Rangers 20. The second season of Megaforce, titled Power Rangers Super Megaforce, will incorporate elements from Gokaiger. That makes the first hybrid adaptation since Mighty Morphin Power Rangers, and historic rangers will make an appearance. Power Rangers will continue to air until at least 2016.[1]
Each of the Power Rangers seasons, or "incarnations", centers around a group of people, often teenagers (age of actors actually varies from 18 to 23 years old), that gain super powers to fight various villains, ranging from demons to witches to aliens. To activate these powers, these characters, known in general as the Power Rangers, morph by performing a standard action and reciting a morphing call. Throughout the series, the Power Rangers learn the importance of teamwork and perseverance as they battle progressively harder-to-defeat villains. Like its Super Sentai counterpart, from which part of an episode's action footage is taken, a monster is unleashed on the Power Rangers and it is usually up to them to destroy the monster.
Often, before a monster is defeated, a monster will grow into gigantic proportions, forcing the Power Rangers to use gigantic (bio)mechanical machines known as Zords. In many cases, these Zords can be combined to form a more advanced (and humanlike) machine, known as a Megazord. In many series, because of the way Zords are combined, the Power Rangers may also use interchangeable parts to enhance their fighting power, or combine Megazords together to form larger Megazords. Though only in the first four seasons, there were extremely large combinations of Zords known as Ultrazords. Technically, two new Ultrazords appeared in Ninja Storm, but these formations were never referred to as such. Operation Overdrive, RPM, and Super Samurai were the next three series to feature official Ultrazords, even going beyond the usual number of Zords combined to create Ultrazords, the Drivemax Ultrazord using 10 Zords, succeeded by the RPM Ultrazord which used 12 and the Samurai Gigazord which used 13.
"End of the World" Plot
In several Power Rangers series, the series ends with a battle that pits the Rangers against overwhelming odds. Each battle features several basic traits, including:
- All or most of the current Zords are destroyed either during or prior to the battle.
- The main villain makes their presence known to everyone and fights the Rangers.
- The city is overwhelmed by an army of Enemy Foot Soldiers.
- Several or all of the Rangers' vehicles are destroyed.
- The lead Ranger, usually Red, faces the primary villain in a battle that seems to be in the villain's favor.
- The villain is sealed away or destroyed, putting an end to their threat until next season.
Several series also involve the villains unleashing evil Zords upon the city, which do battle with the Rangers' remaining Zords. After the end of this plot, the threat of the current villain is negated for good or until their next appearance. The only seasons not to feature this plot are Mighty Morphin Power Rangers, Mighty Morphin Alien Rangers, Zeo and Turbo, as their ending battles are all combined with that of In Space in the special episode "Countdown to Destruction". It should also be noted that the Super Sentai shows also use this kind of plotline for the end of their storylines, but is generally something different, although the final battle plots for some of the PR series do have a few similarities to the final battles of the Sentai series that they are based on.
Elements of a Power Rangers season
In each incarnation of the Power Rangers seasons, there are generally people outside the Power Rangers aiding their cause. Among them is a mentor or teacher figure to help lead the Power Rangers (Zordon for example), as well as a technical wizard or magician who design the various tools used by the Power Rangers (Billy Cranston, for example). There are also characters who have tools and powers like the Rangers but are not Rangers themselves (Ninjor, etc.) Characters for comic relief are generally also present, with such characters attempting to discover the identities of the Power Rangers (Bulk and Skull, for instance), and nearly succeeding on several occasions.
The Rangers themselves are often color-coded, with each Ranger wearing their designated color even when unmorphed. In some series (such as Lightspeed Rescue, Wild Force, and SPD), a jacket is given to the Power Rangers to distinguish them from non-Ranger characters. Typically, red, blue, green or black, yellow, and pink or white are the colors used. In series where new Power Rangers are introduced, they either utilize one of the not-yet-utilized previously mentioned colors, or they don't follow the color-naming conventions at all (for example, the Titanium Ranger in Lightspeed Rescue). The Red Ranger is usually the leader of the team, except in the second and third seasons of Mighty Morphin Power Rangers, Mighty Morphin Alien Rangers, Time Force and arguably SPD.
Each team of Power Rangers, with few exceptions, obey a general set of conventions, outlined at the beginning of Mighty Morphin Power Rangers and implied throughout many of the other incarnations, although not stated explicitly. These include the Power Rangers being forbidden to use their Ranger powers for personal gain or for escalating a fight, explaining why the Rangers don't just step on the small monsters with their Megazord. The Power Rangers are also forbidden to disclose their identities to the general public, barring extenuating circumstances (although this rule was disregarded in Lightspeed Rescue, SPD, Operation Overdrive, and RPM). The penalty for disobeying these rules, at least in Mighty Morphin Power Rangers would be the loss of the power.
The arsenal available to the Power Rangers is also somewhat standardized: each Ranger is generally armed with a weapon such as a laser gun or a sword. Each Ranger also has a secondary set of weapons, that can often combine to form a larger weapon (usually a cannon). As the series progresses, one or even all of the Rangers are also usually given a motorcycle for long-distance travel, as well as individual zords. In many series, a Ranger is also given additional zords or weapons, in some cases one Ranger may receive something that other Rangers may not have - an example of this is the Battlizer given to the Red Rangers (up until the 19th season) of each series since In Space but has stopped at Jungle Fury and restarted recently in Super Samurai. Although much of the arsenal can also be found in Super Sentai, there is generally at least some that are not, generally added for the express purpose of marketing toys designed and sold by Bandai.
In later incarnations, it is also common for each incarnation to be separate, story-wise, from another incarnation. A tradition in later incarnations is for two teams of Power Rangers to team up and take on a villain. In Wild Force, the tenth incarnation of Power Rangers, this is taken to the next level, as ten Red Rangers teamed up in the episode "Forever Red." The only seasons not to feature this are Mighty Morphin, Turbo, Ninja Storm, Mystic Force, Jungle Fury and RPM.
Many critics of the early Power Rangers series claimed that the Power Rangers use unnecessary force to destroy their monsters, and often get into fights when better alternatives were available. In some cases, networks pulled Power Rangers from its lineup, citing such concerns. Later incarnations of Power Rangers often attempt to explain the actions of the Power Rangers, but many still believe that Power Rangers remains a series too violent for young children. Norway pulled the series as they believed that the series caused two boys to beat up a girl in 1993 (it was eventually found that the murder was unconnected to the series). For a time Power Rangers was pulled from Malaysian television screens as the word "morphin" (in the phrase "It's Morphin Time!") sounded a bit too much like the drug morphine. Then they showed the title shortened to only "Power Rangers" instead.
The first season of Power Rangers also drew criticism from some groups claiming that the Ranger colors were racist, specifically referring to Zack, the Black Ranger (played by African-American actor Walter Jones) and Trini, the Yellow Ranger (played by Asian-American actress Thuy Trang). This criticism was rendered moot when the two actors left the show (along with the Red Ranger) halfway through Season Two and were replaced with an Asian American male as the Black Ranger, and an African American woman as the Yellow Ranger. This was mentioned on VH1's I Love the '90s. Amy Jo Johnson and Walter Jones appeared in the "1993" episode.
The fact that there are very few links between the later Power Rangers series (apart from the name and format) is often resented by the older Power Rangers fans. Each series now seems to start the story anew instead of continuing from the previous season as it used to. The first Power Rangers show to stop being a direct continuation from the previous was Lost Galaxy; however, recently there has been a small attempt at making the series after Lost Galaxy in canon with the Power Rangers timeline with Tommy Oliver's recall of the events in an episode of Dino Thunder and in Wild Force's tenth incarnation celebrationary episode "Forever Red" which featured all the Red Rangers from Jason Lee Scott right up to Cole himself.
In the United Kingdom, the first incarnation sparked fears that kids would hurt themselves by recreating the moves in the series. As a result, GMTV had to issue a warning at the end of an episode stating, "The Power Rangers are specially trained martial arts experts, so don't you copy them!".
When Power Rangers was first released it was classified as children's programming. However, since its release, the show has continued to evolve into a program that is enjoyed by more mature audiences, partly due to its aging original fans. This has led to some fans requesting that the tone and format of the show be changed in order to better suit its more mature audience. However, whereas Power Rangers still appeals to older viewers, the show's producers feel that a more mature show might alienate their largest demographic—children. It would also cause them to lose revenue in toy and merchandising sales, which finance the shows.
Motion Pictures
The Power Rangers series have also brought forth two movies.
- Mighty Morphin Power Rangers: The Movie (1995)
- Turbo: A Power Rangers Movie (1997)
- This movie provides the series premiere to Power Rangers: Turbo. Lerigot from Liaria flees to Earth from the Piranhatrons, and 12-year-old Justin Stewart steps in as the new Blue Ranger. Zordon gives the rangers new Turbo powers.
A movie was planned to be produced for Power Rangers: Time Force in 2001, but the threat of a Screen Actors Guild strike cancelled those plans.
It was also announced that Saban plans to make a new Power Rangers theatrical movie. Saban made this announcment following their re-acquisition of the Power Rangers franchise.
Thus far, both Mighty Morphin Power Rangers: The Movie & Turbo: A Power Rangers Movie grossed $76 million worldwide altogether. MMPR:TM grossed $66,433,194, while T:APRM grossed only $9,615,840 and was considered a flop (though it won back the rest of its budget when it was released on video, and it's even more of a hit in the UK).
Home Media
As of March 22, 2012, 37 Power Rangers DVD collections have been released in the United States:
- The Best of the Power Rangers: The Ultimate Rangers, 2003; BVHE (DVD compilation of episodes from five different seasons of Power Rangers. The episodes include "Forever Red" and "White Light" [Tommy's reintroduction as the White Power Ranger])
- Power Rangers Ninja Storm Volumes 1–5, 2003
- Power Rangers Dino Thunder Volumes 1–5, 2004
- Power Rangers S.P.D. Volumes 1–5, 2005
- Power Rangers Mystic Force Volumes 1–3 and 'Dark Wish', 2006
- Power Rangers Operation Overdrive Volumes 1–5, 2007; BVHE (The release of an entire season for the first time in the US.)
- Power Rangers Jungle Fury Volumes 1 & 2, 2008 (Volumes 3,4 & 5 are only available in the UK.)
- Power Rangers RPM Volumes 1 & 2, 2009; BVHE[35] Volumes 3 & 4, exclusive to Amazon.com, will also be available in the near future.
- Power Rangers RPM 'Bandai Demo DVD', 2009; BVHE (A promo DVD given away at Disney Stores. Contains the episode In or Out).
On March 12, 2012, Shout! Factory announced a home video distribution deal with Saban, which includes the first 15 series of Power Rangers. In Summer 2012, TimeLife.com released two box sets. One being all three seasons of Mighty Morphin Power Rangers, the second contained Power Rangers Zeo to Power Rangers Lost Galaxy. On August 28, 2012, Mighty Morphin Power Rangers Season 1, Volume 1 was released at retail. In November 2012, Mighty Morphin Power Rangers: The Complete Series was released, as well as Zeo to Lost Galaxy in two separate sets outside of Time Life in late 2012 and early 2013. In mid 2013, they announced a similar set for release of Power Rangers Lightspeed Rescue to Power Rangers Dino Thunder. April 2014 will see the release of Shouts' final box set, Power Rangers S.P.D. to Power Rangers RPM.
Lions Gate has also been releasing DVDs and Blu-Rays of Samurai, Super Samurai, and eventually Megaforce, in a deal with Saban.
- Power Rangers Samurai Volumes 1–3.
- Power Rangers Samurai: Monster Bash.
- Power Rangers Samurai: Christmas Together, Friends Forever
- Power Rangers Super Samurai: The Complete Season
- Power Rangers: The Clash of the Red Rangers
- Power Rangers Super Samurai Volumes 1–3.
Power Rangers Megaforce: Ultimate Team Power
|This page uses content from Wikipedia. The original article was at Power Rangers. The list of authors can be seen in the page history. As with RangerWiki, the text of Wikipedia is available under the Creative Commons Attribution-Share Alike License.


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Karen Pennar, a former senior writer for BusinessWeek magazine, takes over as the new editor of Voices of NY. Pennar has been working part-time for Voices for more than a year, most recently as interim editor. She succeeds Maite Junco, who left last fall to join Mayor Bill de Blasio's administration.
Earlier this month, Pennar curated an article from The Korea Times about a McDonald's in Flushing, Queens, that was evicting elderly Korean patrons who were congregating at the restaurant for hours a day for the price of some cups of coffee. The story was translated by Voices intern Jiwon Choi and picked up by The New York Times, The Daily News, and several television and radio stations before getting international play.
"We're thrilled to have Karen lead the site at such a critical moment," said Garry Pierre-Pierre, executive director of the CUNY Graduate School of Journalism's Center for Community and Ethnic Media. "She brings a steady hand and strong leadership as we move toward creating more original content."
Pennar, who has also worked in the health care field and been a playwright, was project director for "Many Voices, One City: The Guide to the Community and Ethnic Media of Metropolitan New York," a directory published in 2013 by the Center for Community and Ethnic Media. She has freelanced for Voices of NY and The New York Times.
Her first reporting job was at the Journal of Commerce, where she wrote about foreign currencies. She worked for nearly two decades at BusinessWeek, covering a wide range of domestic and international topics, including globalization, Federal Reserve policy, international trade, human capital, and the privatization of Russian enterprises. She was the lead writer on numerous BusinessWeek cover stories and served as assistant managing editor for its 1999 special issue, 100 Years of Innovation.
Pennar grew up in Washington Heights in northern Manhattan in a multicultural household: Her mother was Egyptian and her father was Estonian. She received a B.A. in economics from Barnard College and a Masters in Public Health from Yale University. She speaks conversational French and Russian.

subset: commoncrawl


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The Fedora Elections for two Board seats, four Engineering Steering Committee seats, and all seven Ambassadors Steering Committee seats has just a few hours left (ends 2009-12-16 UTC 2359). I'm excited that we have such a great slate of candidate volunteers for these important positions of leadership in our community – it really speaks to our ability to incorporate new contributors and help stretch the Project in new directions.
I've been pleased to be a member of the Board for 3.5 years now, and hope you would consider re-electing me.
If you haven't already voted, please take a few minutes to do so. If you have already voted, thank you.
I'd also like to thank John Rose for stepping in as Election Coordinator – a mostly-thankless yet critical task that ensures a smooth election process. Also special thanks to Thorsten Leemhuis for coordinating the election questionnaire (for the last time!). Informally I asked several attendees at FUDCon Toronto if they felt that the questionnaire was helpful to them, and universally I heard that it was indeed helpful. It takes a fair bit of time to gather the questions, sort for "really good" questions, gather the results, and of course, for candidates to answer. I'm glad it provides benefit proportional to the effort, and remind community members that next election cycle (Spring 2010), someone else will need to take on this task that Thorsten has done for several cycles now.


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As the holiday season begins, many people will be shopping for a big-screen, flat-panel, digital television set, especially those capable of receiving high-definition television, or HDTV. But what's it like to own and use an HDTV set? Are the benefits as good as advertised? What, if any, are the downsides?
To find out, my wife, Edie, and I lived for several weeks with a big, beautiful HDTV, the Pioneer Elite PRO-1140HD, lent to us by Pioneer Electronics. It has a 50-inch screen, a long list of features and lists for $5,000, though you can find it for under $4,000 on the Web.
I tested the Pioneer with digital cable service from Comcast, my local cable provider. This service transmits high-definition programs where available and can record them to a digital video recorder (DVR) built into its set-top box. Comcast also has an on-demand feature that allows you to watch certain programs whenever you like.
The test demonstrated why people are so hooked on HDTV. The Pioneer Elite set performed brilliantly and was a joy to watch with HDTV programming. With HDTV, you are not only increasing the size of the picture, but its quality as well. On the Pioneer, colors popped, details I never saw before emerged, and the whole experience was almost cinematic. DVDs looked great, as did content from a computer plugged into the set.
But there is a hitch: Most TV programs aren't available in HDTV, and these non-HDTV shows can actually look worse on an HDTV set than they do on older, standard TV sets. So do most videotapes. Also, buying a big-screen HDTV carries hidden costs and hassles. You may well need help installing the set. You may also have to switch or upgrade your cable or satellite service, get a new DVD player and buy new furniture.
The Pioneer Elite model I tested happens to be a plasma TV, which is one of the three major types of HDTV sets. It works by stimulating a captive gas with an electrical charge. The other two are LCD, or liquid crystal display, which uses a screen like those on laptop computers; and "microdisplay" sets that project the image onto the screen from the rear of the set, mainly using two technologies: DLP, or digital light processing, and a form of LCD.
Plasma TVs tend to have the blackest blacks and the best ability to be viewed from all angles of a room. Their colors are warm and vivid. And they cost less than LCDs in large sizes. But their screens are more reflective and a bit darker than LCD screens. There is also a slight chance they can suffer "burn-in," the permanent embedding of an image, like a network logo, if you leave such an image on for a very long time without changing channels.
LCDs are bright, and they are the thinnest and lightest of the HDTVs. But their colors often seem cold and their blacks too gray. Their viewing angles aren't as good as with plasmas. And in some cases, fast motion can look blurry.
Microdisplay sets typically cost the least, but they are the thickest of the three types. They tend to have limited viewing angles and can display a "rainbow" effect, which causes problems for some people.
Our Comcast service gave us high-definition channels from all the big broadcast networks and some of the major cable ones. We immediately started watching shows like "Grey's Anatomy," "Desperate Housewives" and "Heroes" in high definition, and found they were greatly enhanced. Watching the World Series and NFL games was a great experience, with every clump of dirt, bead of sweat and blade of grass looking so much more real.
The Pioneer also did a great job with an Apple Mac Mini computer we plugged into it, displaying family photos and downloaded videos stored on the Mac.
The big downside was that only a small fraction of programming is high definition. At 8 p.m. on Tuesday night this week, there were just 13 high-definition programs available from Comcast, out of more than 230 total. The on-demand service had a smattering of additional high-definition shows and movies.
And standard TV shows on a high-definition set can look awful. They can be fuzzy. They also typically fill only a portion of the wide screen, with big black or gray bands on the sides. You can eliminate the bands using TV features that stretch or zoom the picture, but these modes either cut off too much or distort people so they look unnaturally short and stout.
Also, we ran into plenty of extra costs and hassles. We had to buy new furniture to hold the TV and all the gadgets that attached to it. We had to replace our DirecTV satellite service with Comcast cable, because the trees in our yard blocked the high-definition satellite signal — which is beamed separately from another position in the sky. The Comcast digital service with high-definition costs more than the company's standard cable service and its DVR holds only 15 hours of high-definition programming versus 60 hours of standard programming.
Despite all these costs and limitations, we were won over by our HDTV test. After returning the test unit, we went out and bought our own HDTV. We decided that in the slow transition to high-definition programming, there's now enough content to make HDTV worthwhile. And once you get used to high definition, it's tough to go back to plain old TV.
Email me at email@example.com.


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Moderator: MudBug
Texas Sheepdawg wrote:We created this section for everyone who has questions about the optics and open sights options being used for the 450 Bushmaster. Enjoy.
Ghost Dog wrote:I usually have both eyes shut!!!
Actually, on my various rifles I have Leopold, Nikon and Burris. All the scopes work very well but (in MY mind) I think the Leopold has the clearest glass.
I use a Burris MTAC on my 223 race gun ( getting into 3 gun). For my eyes 4 power is about as low as I would go for 100 yard shots. While my future son-in-law was
banging steal at 200 yards at the last match, so age of eyes has a lot to do with it!
The Leopold is a 3 x 9 that sits on my 450. Works just fine.
Return to Optics for the 450 Bushmaster
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Daily Slice: Hopworks Urban Brewery, Portland, Oregon
A different slice profiled each day.
Recommendations for Hopworks Urban Brewery pizza flow freely among the happy hour crowds of Portland. I've often visited for (excellent) beer, but my food experience did not extend beyond a warm $2 bowl of oven-roasted peanuts. From now on, I'll stick with the beer.
The daily option for meat lovers featured Canadian bacon with onion and red peppers. The onions were white, and chopped haphazardly, leaving bursts of raw, pungent onion flavor. The red peppers were half-cooked, giving this slice a salad-like feel. The tomato sauce was a sweet paste best suited to a glass jar on a grocery store shelf. A thick layer of mozzarella was gelatinous due to a poor reheat; the crust was buttery, crunchy, and flaky but underseasoned.
At the edge, the crust was fluffy, more like an English muffin than pizza. Almost two full inches of toppingless crust sat at the end of slice. The Canadian bacon was thinly sliced, nicely crisped by the oven, and added much needed salt, but it couldn't save the slice.
Hopworks manages to offer a slice that's filling but unremarkable. If you're looking for a sponge to soak up their delicious IPA, go for it, but it's not a slice I'd recommend to pizza fanatics.
Hopworks Urban Brewery
2944 SE Powell Blvd, Portland, OR 97202 (map) 503-232-4677; www.hopworksbeer.com
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Strut the Pup, a local dog-walking and pet-sitting service, is opening its first retail store in Phinney Ridge, at 6003 Phinney Ave. N.
I Heart Dogs will sell dog food, toys and accessories such as leashes, collars, dog beds, training tools and pooch-themed artwork. It will also offer a dog food and pet supply subscription delivery service.
I Heart Dogs plans to open on Saturday, Jan. 12.


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Cassini-Huygens due to arrive at Saturn
The NASA/ESA/ASI Cassini-Huygens spacecraft is due to arrive at Saturn on 1 July 2004. This will mark the end of the spacecraft's journey through the Solar System and the beginning of its tour of Saturn.
The spacecraft will approach Saturn from below the ring plane, and will cross through the large gap between the F Ring and G Ring. The spacecraft's main engine will fire (or 'burn') shortly after passing through the rings to slow Cassini-Huygens enough to be captured by Saturn's gravity. This is called Saturn Orbit Insertion (SOI).
The main engine will be turned to face the direction of travel, and the resulting thrust from the engine will act as a braking device, which will slow down the spacecraft as it enters Saturn's orbit.
The engine burn will begin on 1 July 2004 at 04:36 Central European Summer Time (CEST) and will last 96 minutes, placing Cassini-Huygens in a highly elliptical orbit. Note that the burn starts at 4:36 CEST as perceived on Earth (Earth-Received Time), but the physical burning actually began 84 minutes before, i.e. at 3:12 CEST. This difference is due to the time taken for the signals from Cassini-Huygens to reach Earth.
Cassini's closest approach to Saturn during the entire four-year tour will occur during this burn. The spacecraft's distance from Saturn will be about 18 000 kilometres, or less than a sixth of Saturn's diameter. Cassini will continue to coast above the rings for approximately one hour and 44 minutes before its descent back through the ring plane.
The SOI burn is critical to the success of the mission at Saturn. The spacecraft's close proximity to the planet and its rings provides a unique opportunity for an in-depth study of the planet. Instruments on board the spacecraft will conduct studies on waves, particles and imaging data.
|Time (CEST)
|1 July
|Loss of signal as spacecraft turns high-gain antenna away from Earth.
|(Antenna is used a shield during passage through ring plane)
|Passing through ring plane, ascending.
Spacecraft makes 'turn to burn' manoeuvre.
Regains signal.
|96-minute SOI burn begins
|Closest approach to Saturn in entire mission.
|SOI burn ends. SOI achieved.
|Spacecraft passes behind Saturn. Loss of signal again.
|Passing through ring plane, descending.
|Spacecraft regains signal, and sends SOI data back to Earth.
|First images of Saturn downloaded from spacecraft.
|2 July
|First close approach to Titan.


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Delegate, others continue rain tax pushback
There is continued pushback to Maryland's new controversial stormwater remediation fee, also known as the rain tax.
On Tuesday, business and property owners stood beside Delegate Pat McDonough, R-Baltimore and Harford counties, to say the tax adds unnecessary costs to their day-to-day operations.
The Republican leader said the tax also creates a negative effect on the economy, jobs and rental properties.
"This is a huge amount of money coming into state government, and it's not even a designated fund or a trust fund. This means the governor and the politicians are going to have access to this money, and that's like giving the keys to the vault to bank robbers," McDonough said.
The stormwater remediation fee is designed to help fund projects to keep toxic stormwater runoff from polluting the Chesapeake Bay.
Baltimore City and nine Maryland counties were given until July 1 to decide how to collect the money.


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Jagged peaks—some of them more than a mile high—line both sides of Alaska's Stikine River as we follow the winding waterway up a deep glacial valley. Torrents of opaque, robin's-egg-blue meltwater mark our path through what looks like an impossibly vivid, three-dimensional video game. Shimmering fields of massive ice blocks on the Le Conte Glacier carve deep trenches along the rocky valley floor as the irresistible force bulls its way to the sea. On the valley's nearly vertical rock walls, pine trees with branches stunted by hurricane-force winter winds defiantly cling to their footholds, and cascading waterfalls many hundreds of feet high pass by in a blur.
I'm flying with Jill "Ivy" McIver, Cirrus Aircraft sales director for the Pacific Northwest, and Chris Rose, AOPA photographer, in an urbane, technologically advanced Cirrus SR22 Generation 5 that seems like an out-of-place city slicker in this vast wilderness. But the turbocharged, 185-knot G5 is proving more than a match for the demanding trip. This morning, it carried us nonstop 620 nm from Seattle to Ketchikan, Alaska, covering the "inside passage" in four hours with the safety and situational awareness that come from synthetic vision, ADS-B weather and traffic, ice protection, and an airframe parachute. And on this second leg of the trip—a 60-minute jaunt to Juneau with a sightseeing detour over a formidable ring of glaciers—the airplane provides a remarkable, highly maneuverable perch from which to take in this string of natural wonders.
Our airplane is among a group of six Cirrus SR22s and SR20s that launched together from Boeing Field for a five-day tour of southeast Alaska organized by The Flight Academy, a Seattle firm that specializes in Cirrus training. Several instructors from The Flight Academy are taking part in the company's tenth Alaska tour, and they are starting to hear questions that seldom arise in the flatter parts of the lower 48 states.
"Is there any way to turn off this lady's voice?" Jay Klein of Amarillo, Texas, asks from another G5 on the air-to-air radio frequency, referring to the aural warnings in the Garmin Perspective avionics suite. "She just keeps saying the same things over and over again." (Terrain ahead! Pull up! Terrain! ) McIver relays instructions on how to silence the constant warnings ("Go to the Terrain page and hit the 'Inhibit' soft key.")
This panhandle portion of Alaska is a rain forest and the mountains are shrouded in low clouds more than 300 days a year. But on this June afternoon a week before the summer solstice, the sky is brilliantly clear and reveals details of the dramatic landscape with exceptional clarity. Our circular path through the mountains and over the glaciers leads us back to the coast, and when we get there we turn northwest again and follow the Stephens Passage, as well as the cruise ships plying it, to Juneau International Airport (PAJN). We have covered about 750 nm in five flight hours since leaving Seattle. But the flight conditions are too perfect, and too rare, to stay on the ground.
After refueling ($6.70 per gallon), the two G5s fly northwest together for a photography mission over Glacier Bay, a broad expanse of tranquil water just 40 nm away renowned for whales and abundant sea life. We take off together and cross the Lynn Canal and scenic Chilkat Range with its ragged, snow-capped 6,000-foot peaks, then descend over the bay.
Countless rivers, streams, and waterfalls flow into this wide expanse that mixes with the Pacific Ocean less than 30 nm to the west. The surrounding peaks are so tall, however; the distances are so vast; and the air is so clear that any sense of scale is elusive. To the west, ironically named Mount Fairweather rises 15,300 feet from its base at sea level. To the north, the glacier-topped St. Elias Mountains exceed 9,000 feet. And to the east, the cliffs of the Chilkat Range rise almost vertically from the bay's pristine water. A pod of humpback whales feeds on candlefish or krill a mere 50 feet from the rocky shoreline.
It's a few minutes after 9 p.m., and the sun is still well above the horizon at this latitude of 58 degrees. The nearly constant daylight, and the fact that our compass swings leisurely with errors of 30 degrees or more, adds to a vague but persistent feeling of disorientation. We fly parallel, and at eye level, to a series of towering palisades and then circle the mirror-smooth waters at the foot of the fragmented Casement Glacier.
This is the first day of my first-ever trip to Alaska, and I can't imagine a more wondrous place to fly.
The fun part
This annual trip to southeast Alaska is the inspiration of Luke Lysen, founder of The Flight Academy, who spent six summers here during his late teens and twenties working on commercial fishing boats. The tall, easygoing, unflappable pilot/instructor/business owner thought he had left the place behind. But he was drawn back a decade ago when he and two brothers returned to the region for a flying/fishing trip. And it became obvious to Lysen that clients at his then-new aviation business would enjoy flying there in their own airplanes—and the experience would make them better, more confident pilots.
"I love Alaska's natural beauty and its wildness," says Lysen, who also has ferried SR22s across the Pacific to China, Australia, and New Zealand. "I'm always looking for interesting and challenging places to take students and fellow pilots. So I decided to put together this flying trip to southeast Alaska, which is my favorite part of the entire state. This trip has become the highlight of the year for me and something everybody at The Flight Academy looks forward to."
Flight planning for the Alaska trip isn't particularly complex, but it can be daunting. It involves crossing into Canada and returning to U.S. airspace, and distances between airports along the route can be huge. The flight can be made VFR or IFR, but the coastal region is known for almost constant clouds. And since the mountains throughout British Columbia and southeast Alaska come right to the coast, minimum altitudes for IFR airways can reach 10,000 feet, so icing can be a hazard even in summer.
The Flight Academy keeps participants informed about the routes and weather as the departure date nears, provides charts and approach plates for Alaska and Canada, and files flight plans for the entire group. Four highly experienced Cirrus instructors who have flown internationally many times—Lysen, Helen Cirnik, Jason Reinke, and Chase Friesen—are there to fly right seat and help with planning and logistics during the five-day journey. (They also provide comic relief with their barbed banter, cryptic radio commentary, and flying tales from oceanic Cirrus ferry flights.)
"The information for planning and making a trip like this is readily available, but putting it all together can be complex, quite time-consuming, and intimidating," Lysen says. "Most of our clients are busy people with businesses to run, families, and lots of pressing obligations. When they come along with our group, they can leave the planning to us and not worry about logistics. All they have to think about is the actual flying—and that's the fun part."
For McIver, the flying itself is the attraction. "The benefit of flying with this group is that you have people with vast experience and local knowledge, but at the same time, you get to fly your own airplane and learn for yourself," McIver said. "For me, coming to Alaska is all about the flying. It's not the magical scenery or the fishing. It's the challenge of flying in a place where the weather and winds can change quickly. It's flying IFR in a nonradar environment and doing all that in a place where distances between airports can be vast."
Alaska sunshine
Leaving Seattle, each airplane takes off about 10 minutes apart. Our route north takes us over the Space Needle downtown as well as Paine Field, where dozens of new Boing airliners cover the pavement, and the sparkling San Juan Islands. There, we check in with Vancouver Approach for a transponder code before crossing the Canadian border and continue VFR up the coast. Each pilot listens on an air-to-air frequency for wind, weather, and position reports from the other Cirrus pilots. And even though several of the airplanes are turbocharged and can travel faster at high altitude, most of us stay relatively low to take in the magnificent scenery (and lighter headwinds).
McIver jokes that the only thing different about flying in Canada is that controllers say "decimal" instead of "point" when assigning radio frequencies. There are many more differences in airspace, regulations, and radio phraseology, of course—but for our group those matters are academic, since we are only transiting Canadian airspace and avoiding the busy terminal area at Vancouver.
Still, one verbal exchange between Canadian ATC and Klein, a drawling Texan, provides a few chuckles and a motto for our group. When instructed to "squawk ident" by a particularly fast-talking Canadian, Klein asks for a clarification: "Did you say 'Squawk it in?'"
For the rest of the week, "squawk it in" becomes a catchall for our group, covering everything from ordering off a lunch menu to sending a text. Just squawk it in.
The SR22 G5 we are flying carries more fuel (92 gallons) than most of the other airplanes on the trip, and its higher gross weight allows full fuel tanks, three adults, and all of our bulky photo and video gear. The extra fuel and lean-of-peak engine management lets us cover most of the westward trip between 4,500 and 6,500 feet at 75 percent power, flying 182 KTAS while burning 16.5 gph. Even with a 10-knot headwind, we land at Ketchikan (PAKT) with more than 90 minutes of avgas in our tanks.
Approaching Ketchikan from the southeast also provides a glimpse of the improved situational awareness many U.S. pilots could experience beginning in 2020, when ADS-B will be required in airspace where a transponder suffices today. The G5 we're flying already has ADS-B In and Out, and hundreds of other airplanes in this region are similarly equipped. Other ADS-B aircraft show up on our multifunction display with identifying N-numbers or airline flight codes as well as their distances, headings, and relative altitudes. I also use an iPad with a Garmin GDL39 ADS-B receiver, and it displays much of the same information.
At Ketchikan, our traffic system shows multiple ADS-B-equipped seaplanes over the busy Tongass Narrows and wheeled aircraft using the hard-surface runway.
Since the late 1990s, southeast Alaska has been a testing ground for the pioneering Capstone project that first demonstrated the utility and safety enhancements of the ADS-B system, and a high percentage of the commercial floatplanes, air charters, and regional airliners here are ADS-B-equipped. Even though the geography of the towering mountains and coastal canals means there can be little or no radar coverage at the low altitudes we're flying, airplane-to-airplane ADS-B signals let us know each other's whereabouts.
ADS-B ground stations have long been in place throughout southeast Alaska, so in airspace with radar coverage, aircraft with Mode C transponders also show up with relative altitudes, headings, and distances—but not N-numbers or flight codes. Commercial operators here also use an as-yet-unpublished network of IFR low-level GPS airways that allow them to navigate in the clouds through high-walled canals on cloudy days that otherwise would ground them. Since many of the towns and settlements in this region can only be reached by air or water, the ability to fly safely in inclement weather is a major plus.
The rare Alaska sunshine holds out during our flight to Klawock, a fishing village at the southern tip of the imposing Prince of Wales Island, and a day of fishing turns out to be my favorite part of the trip. The fishing is incredible, and our group lands what seems like enough salmon, halibut, ling cod, and snapper to stock the Pike's Place Market in Seattle. But the amount and variety of wildlife around us is far more impressive.
Otters and sea lions seem as curious about us as we are about them; clusters of eagles (a.k.a. "Alaska pigeons") swoop low over schooling fish, and humpback whales gorge themselves near the shoreline. At times, the majestic, submarine-sized mammals cruise directly under our 24-foot boat and spout near enough for us to hear the roar of their hardworking lungs.
The weather forecast calls for low ceilings and rain on our departure day, and I'm secretly looking forward to an introduction to nonradar IFR flying in Alaska. From Klawock, we're flying just 20 minutes east to Ketchikan to refuel before starting the long leg to Seattle. The procedure calls for a climb to 6,000 feet over the ocean, then intercepting the airway that leads to the final approach fix for the ILS approach to Runway 11. But as we drive to the airport, the ceiling and visibility improve to what Lysen describes as "VFRish" (about 800 feet), and it's VFR by the time we take off. More sunshine awaits in Ketchikan.
A cooler of fish in our baggage compartment puts our airplane right at its maximum gross weight. The airplane seems not to mind, however, as we lift off the ground in 1,500 feet and climb 2,000 fpm. Our VFR border crossing goes smoothly just north of the San Juan Islands, and after 3.5 hours of flying, we're back at Boeing Field in Seattle where this trip of a lifetime began.
"One of the most surprising things about Alaska is how accessible it is," says McIver, whose sales territory includes the entire state. "Ketchikan is within easy nonstop range for an SR22. And Anchorage is only one tank of avgas beyond that. It may feel like the end of the Earth, but it's within reach."
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Wow. This is the last race report I'll have all year for the year of 2009. I really wish I had a great report to end the year off right, but alas, it wasn't in my cards, but it seems that people like to read about me exploding so that shall entertain you for sometime hopefully. The weekend was a complete blast though, so that is the upside of this cold race. Also, my running twin Aron, BQ'ed this weekend and I was so happy to be there for that, albeit a bit behind her in the race, but I did get to see her and I am so happy for her. You can check out her blog if you want a happy race report! :) There are many signs of fail during this post. Hang tight people, we all know I love to talk.
I flew up Friday night and was well rested and excited to run. I had many people telling me that the rest I've taken was sufficient and though my legs felt tired they would pull through. As I stated in my post CIM goals post, I was tired, and I was scared my legs weren't going to corporate. Well, they got me to the finish, and pretty much that was all I could ask for.
We drove up to Sacramento on Saturday and I felt okay, but once we got there, I was freezing. I am NOT used to cold weather at all. Call me whatever you want, but it's just not what I deal with down here in southern California, and I don't have warm weather clothes. I was wearing a long sleeve and short sleeve over top and my peacoat, but I think I've come to realize that my peacoat is not for warmth but more for 'I'm wearing a cute peacoat!' Not bueno. Walking to the expo I realized I would for sure be sporting my capris come race day and also my long sleeve Zensah shirt. I knew that my little southern California body was going to die without warmth and the race would be miserable if I was completely frozen the entire time.
Saturday night was dinner at California Pizza Kitchen and I had the same thing I ate before Long Beach. We went to bed at a reasonable time after I got my heart broken by watching USC lose to ARIZONA. That was a sign of fail for sure.
I woke up Sunday morning and was ready to go. I felt great and besides being freezing, but I told myself to man up. I did my hair in monkey buns and they were pretty amazing, so that was a bonus. I put on my ear warmers, mittens, sweats, Uggs and got my gear check bag ready and put on my timing chip. I dressed up like a ninja and was still in good spirits.
We walked downstairs and waited for what seemed like forever. Finally, we boarded the bus after annoyingly having to walk to the convention center when there were buses all lined up on the street (sign two of fail) Then the longest bus ride of my life ensued and the whole way I was thinking, "This is a LONG WAY!" Ugh, I am realizing I hate point to point races. Of course we were on the bus where a mutiny almost broke out about the heater being on, and people were on the verge of yelling at each other. That was awkward and sign three of fail.
We get to the starting line, walk to the porta-potties, which little did I know would soon be my best friends, and we all go pee really quick. This point I was feeling really good. I had all my stuff together and though I was col, I was excited. The gear check was a MESS with people throwing bags into trucks and clothes flying everywhere. That was pretty disappointing and I've never seen anything as horrible as that gear check, they also, come to find out, post race lost my friend Nicole's bag and made her walk all over asking for it, and were not any help. Sign of fail numero four. My bag was tossed in over people's heads and I crossed my fingers that I would be able to find it at the finish line. I got into the starting line pack with Maritza and started around the 4:15 pace group. I cannot tell you how many people told me they liked my hair at the starting line. If I hear I like your buns from a guy one more time I might have punched someone. I know I like to start farther back and find my pace and run my own race. It was chipped time anyways, so it didn't matter where I started or who I started with. The beginning of the race I may have taken out a tad too fast, but I felt really good and I kept thinking I was going to warm up.
Mile one was good but crowded. I felt like I was weaving for a while and people were walking? That was kind of weird. I was still freezing. The beginning of the race went well, though I do remember going through the first water stop and almost slipping on some water that had frozen on the ground. I thought that might be a sign of bad things to come. I was pretty consistent though and felt good. My legs were keeping up and I wasn't tired at all. I ditched my mittens at mile 6 because they were annoying me. Sign of fail number five. I should have NEVER ditched them. My hands became frozen and tweeting during the race was not going well! Every aid station I passed I took a drink.
I was running well, even though I was still very cold, and at mile 6 I took my first sandwich with the course drink, Ultimo, which I think lead to my problems in the upcoming miles. I was still feeling pretty good and then about mile 11 I realized that I was getting sick. I was to take my next sandwich at mile 12, but couldn't find a station to drink anything, I know perhaps I should have brought my own drink, whatever. Mile 11 to mile 13.1, when you have to go to the bathroom is a long way to go. There were no bathrooms along this path and I felt like a lot of the race I was looking for a bathroom or an aid station and there were none. I finally found a bathroom at the half way point and had to wait in a line for it that was four people deep. Sign of fail number six. I had no other choice but to wait. Then after going to the bathroom and waiting who knows how long I started jogging again and felt okay, took my 2nd sandwich at the aid station this time with water, I just pulled to the side of the road and ate it because I knew I needed nutrients. I felt okay for about a mile and then threw up in the bushes. Classic. Sign of fail number seven. The bun comments continued throughout the race though, which was entertaining and annoying at the same time.
This was a new thing for me, I've never thrown up while running ever before, even in high school. I passed out once in my junior year in front of the football team after doing a tempo run, but never threw up. So let's make that a PR for doing something new in a race.I took that picture right after. I realized when I got sick at the halfway point that I wouldn't be able to hold onto the pace I was running, and I got upset at myself. I wanted to do well in this race and thought I had it in me. I cried a little bit and then just told myself that I was still going to be a maniac and that I just had to finish, that was all that mattered. I couldn't quit no matter what.
So mile 14 I threw up, and my pace slowed down drastically. I was in front of the 4:00 pace group, almost up with the 3:50's and then like a heard of elephants the 4:00's were upon me and just engulfed me with basically no mercy. I also realized I don't run well in a pacer type environment. Holy cow, those people have no remorse. I tried to move to the side, and stay out of the way but man, talk about being kicked while your down. I finally pulled off to the side and let them go instead of feeling like I was in the middle of a pack of cheetahs hunting their prey. Sign of fail number eight. It was then when the struggle really began. Since I had made one bathroom stop and already thrown up, I didn't have much left in me, meaning I was worn out and still had a ways to go.
The pace group kept getting farther and father and my legs were so cold they felt like chicken drumsticks just taken out of the freezer. They felt like they were frozen and I was chipping away the ice each step I took. Not exactly what I thought would be happening this race that's for sure. Finally I got to Mile 17.8, I had to go to the bathroom again. There were porta-potties so I just ran in there for a little bit. Took this gem of a pic.
There was a lot of blue scenery on this course for me. :( After I went to the bathroom I was feeling a little bit better so I continue the slogging journey to the finish. I walked for about two minutes and threw up again? Wonderful. Great. Though my stomach was feeling better, my legs were just dead. There were quite a few hills on the course, and around mile 10 my legs were shot, I could feel all the pain I felt from Malibu coming back into them so the last few miles were brutal. I kept jogging along, slow and steady and just tried to tell myself that the more I ran the faster I would be over and I could put on my Uggs and stop running and warm up. Then I saw a firetruck and got excited. This was at mile 19.5, I guess my stomach got too excited because as soon as I crested the small little hill to it, I found myself throwing up in the bushes yet again. Right in front of the fire truck. I could tell they felt really bad for me, because two of them came over to me and asked me if I was okay or if I needed help. I said, "No, I'm okay." They asked me if I was going to keep going. "Yup, I guess so." They were like, "Uh, okay. Well your hair looks really cute!" Thanks guys. Sign of WIN number 1!!! That made me laugh and almost cry a little bit more. So the journey continued. Right after I threw up I saw a yellow jersey in front of me. It was a maniac jersey and I started to cry. I was so close. All that for that stupid yellow jersey. It was happy tears and tears of this is completely the stupidest thing I've ever done.
Mile 20 came and I really wanted to find Tara. I was scared she had passed me while I was waiting for a porta potty but she had texted me at 19.5 right after I threw up that she was sick too! So that gave me hope that perhaps I could run with a friend to the finish, or I would have seriously walked the last 6.2 miles. I was waiting for Tara when I took this picture. I was so excited because she said she was right behind me and I was happy that I would get to run with her.
So, I found her after calling her and waving her down and we both pushed each other for the last 6.2. My legs were so shot, they were not functioning well and every step hurt in a new spot. I hadn't been that sore running a marathon ever before in my life. We ran and I told her I was so hungry. She gave me some of her gummy bears and we walked the water stops, I tried to drink a lot of water, since I had lost a lot. My legs were aching with every step but I just kept listening to my music and trying to convince myself that each step was one step closer to the finish. My body wasn't made to do this, that's for sure. We saw my friend, and funniest blogger EVER, Ron pass us by and that gave us a boost of energy, we ran with him for a bit and leap frogged back and forth with him. My legs literally didn't want to move. I was so cold and so sad and tired. I just wanted to stop. Then at mile 24, Tara and I saw a giant pickle and got SO excited. We love pickles and we started yelling, "Mr. Pickle! Mr. Pickle!" like complete freaks. Some then corrected us and told us his name was Mr. Dill. So then we started screaming that we loved him. Weird things happen to your mind at this distance.
Finally it was over, I remember starting to sprint at mile 25.5 and just thinking, I want this to be OVER WITH. I was so freaking cold. I was so tired. My legs were not moving well, but what's done is done and I finished the race. I remember sprinting around the corner and then my calf cramped and I was like AHHHHHHHHHH! It was embarrassing but I kept going over the mat. Finally! I finished in 4:22:32 with the average pace of 10:02. Immediatly after the race we took some sweet pictures with Ron, Tara and I.
I text that picture to a friend and all he could say was, 'your face looks SO cold.' Which is completely true. I was freezing pretty much the second I crossed the finish line. My teeth were chattering within five minutes. It happened, and though it wasn't the best time, it wasn't the worst time. Part of me wonders what I would have done if I didn't get sick. I can't change that though and sadly, I will never be drinking another course drink unless it's Cytomax or Nuun. Handheld water bottles here I come.
I did learn some stuff during this race though.
1. Fireman are very nice, and like my buns. :)
2. Net downhill does not mean a downhill course. It means you must run uphill to get more downhills.
3. A 'fast course' may not be a 'fast course' for you
4. I don't fare well in the cold at all, I mean, AT ALL.
5. People running by with FROST on their hats scares me
6. I am very loved and lucky to have all the support and encouragement in my life from my friends. <3
I took Monday off work and basically napped and moaned around in pain. I was in more pain than I ever was from any marathon. My knee felt like Tonya Harding took a beating to it, like it was legitimately bruised, and my quads are just trashed. I'm going to really stretch and relax this week and however long I want to. I am going to work on a schedule for races next year and I'm excited to work on getting a little bit faster in shorter distances. I haven't completely given up on the marathon though. There will be more, you evil, evil thing. I'll come back, don't you worry, but for now, I need a break. Three in three months is two too many. I finally flew home back to cold southern California Tuesday night and was greeted with tea and a new pink scarf. It was a good way to start forgetting about this race. I am excited to start strength training again a little bit more and I am even considering swimming! I need to get a pink swim cap first though.


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NASHVILLE -- But he was pierced for our transgressions, he was crushed for our iniquities; the punishment that brought us peace was upon him, and by his wounds we are healed.
-- Isaiah 53:5
In the summer of 1984, an unknown Christian rock band from southern California burst onto the music scene. With a penchant for throwing pocket New Testaments into the audience and wearing yellow and black spandex outfits, Stryper was more of a spectacle than a concert experience. With album titles like Soldiers Under Command and To Hell with the Devil, the band became MTV favorites, even landing between the pages of Time and Newsweek.
Stryper went on to sell eight million albums in ten years before disbanding in 1992. Reforming in 2004, the band released a new album this week called Murder by Pride, 25 years to the day after the release of their debut, The Yellow and Black Attack. To celebrate this milestone the band will kick off a 25th Anniversary tour in September.
CBN.com program director Chris Carpenter recently sat down with lead guitarist Oz Fox to discuss what fans can expect from the 25th Anniversary tour, the new album, and what it means to truly put God on the throne of your life.
This is a big year for Stryper. It is the 25th anniversary of The Yellow and Black Attack, you are releasing a new album called Murder by Pride, then you will be out touring in the fall. How did all of this come together for you?
We spent a lot of time on hiatus because Michael's (lead singer Michael Sweet) wife had cancer. She just passed away in March. Everything Michael had gone through with his wife kind of changed his heart in a lot of ways. He felt like this would be a good opportunity for us to bring the old bass player out (Tim Gaines) because in 2004 Timmy left the band. He was replaced by a bass player named Tracey Ferrie who has played with a ton of people like Rebecca St. James and White Cross. For whatever reason Timmy left. We knew he wasn't happy. We had a meeting one time about it. As time went on Timmy began to feel like there were some things he wished he had done differently. We all kind of knew that and concluded that things are the way they are. Michael decided that after all the stuff he had been through with his wife he was thinking it would be great to get out on the road and see if Timmy would be willing to come out again. He wanted to see if he would be a part of something, since it is the 25th anniversary of our first album being released. In lieu of that, Mike would like to see the first half of our shows on the fall tour be all of our newer songs with our new bass player and then the last half of the show we will have Tim come out and play our older material.
I have heard from some pretty reliable sources that you will be wearing the original yellow and black spandex costumes you wore during the 1980s. What was the inspiration for those costumes in the first place?
We really didn't know what was going to happen with it. Yellow and black stripes was kind of an eye catcher and it definitely had something to it. Nobody else was doing it. So, when we became a Christian band it kind of stuck with us and we thought it would be great. It would be like caution colors, warning people about the end times. We also wanted to warn people about living their life in the world without knowing Jesus. We were trying to symbolize a warning to people. So, there was a lot of stuff like that where we would start coming up with ideas. With the Bible verse Isaiah 53:5 we connected the name of the band. It just went hand in hand. One thing led to another. Even though we were probably very naïve at the time and were still maturing in our faith, we were very young Christians at the time, God still used us. God saw our hearts and began to do some things. He began to stir the hearts of the young people that were either in the rock clubs experiencing all of this dark imagery with sex, drugs, and rock and roll pounded into their faces. A lot of them really didn't like it. It's obvious that they didn't because they latched onto us like we were special and golden. We became their band.
Murder by Pride is your first album release since 2005's Reborn. Based on the very strong visual imagery on your album cover what is the concept for this record?
Obviously, pride can take you down real hard. The album cover is a picture of a guy who looks like he is crippled by his pride. That is basically what it boils down to – kind of getting yourself to realize that if you have pride and you are self-centered you are not following what Jesus Christ said. Jesus said to be a servant. Think of others before yourself. Come on, Jesus washed Judas Iscariot's feet even though He knew what was going to happen. That is the kind of love you need to have for people. Everybody has a chance to change until the day they die. Look at the thief on the Cross. He turned to Christ and said, 'Remember me Jesus,' at the last minute. And Jesus told him he would be in paradise. He didn't have to get off the cross and go do something. His pride was gone at that point. Everything that he cut loose in his life he finally realized who God was. Murder by Pride, or specifically pride, is a problem for most people, even Christians. Hopefully, we will get the message to let go of that.
What do you think are a couple of the standout tracks on the new album, tracks that you really like and identify with.
The title track, "Murder by Pride", is definitely one of them. It is the one that will really kick over most people that are Stryper fans because it just has that big, rock, Stryper sound that everyone is looking for. That is certainly a prominent song. Another song that is a sort of anthem is called "I Believe". It starts off very low key and builds into a very bold sound and then comes back down in the dynamics. It has the feel of an anthem – "I Believe in Jesus". It is just a really powerful sounding song. There is a really cool song called "Run in You" that is a lot more mellow. It is almost along the lines of an Eagles tune. I'm real proud of that song. It is a good one. All around, there are quite a few rockers in there that will please Stryper fans but I also think there are a handful of ballads and pop sounding songs that will cross over.
What has God been teaching you lately?
I always preach this to everybody but I have learned to put God on the throne of my life and let Him put everything in my life in order. The times that I have put myself on the throne I just mess things up. I'm tired of that. When I finally let go of everything and just said, 'Lord, it's in your hands. I can't control this world and I can't control circumstances but I can obey you. I can trust you, trust your Word, and trust your promises.' When I started saying that to the Lord and just giving it up to Him all of a sudden amazing blessings came into my life. I went through a divorce in 2005 and 2006. I was married for 20 years and had three kids. My kids are older now but that was a very rough period in my life. I was really passionate about being married and wanted to be a Godly husband but I realized that I can't control what somebody's heart is thinking or doing. I pray for my ex-wife and I really hope she will understand what it truly means to trust God and give her heart completely to Him. When God is not on the throne of your life you can certainly make decisions based upon what you think is right. Even in the times that you have struggles, if you are obeying God, living in the Spirit, and trusting Him for everything He gets you through it. He all the sudden comes to life right in front of you. You just sit there watching how your enemies have no weapon against you. I love that. Now, I totally live by faith. I let everything go and just say, 'Lord, it's in your hands.' Then, all of a sudden, doors start opening. I am amazed. And these are doors that are better than I could ever imagine. I recently got married to Annie Lobert. She is just a miracle in my life. Her ministry has blessed my life big time. I am really, really excited about being part of what she does and it is also going to be great having her as my better half. Oh man, she is such a special lady. She is a beautiful girl with a beautiful heart. I am just so blessed by her testimony.
Final question, when people listen to the new album, Murder by Pride, when they come to see you on tour this fall, what do you want people to take away from that experience?
Ultimately, my hope and prayer is that people will see Jesus and if they don't know Him, that they will want to know Him and want to have a true relationship with Him. However that is going to happen, whether it is through the music, the lyrics, by what is being said onstage, or by us meeting one on one with people, I would like people to meet Jesus. Whatever it takes.
To Purchase Murder By Pride
Tell Me What You Think
A caring friend will be there to pray with you in your time of need.
Murder by Pride (2009)
The group's unprecedented 1986 album To Hell with the Devil went platinum and was named one of the "100 Greatest Albums in Christian Music" by CCM Magazine.
Stryper Announces 50-City 25th Anniversary Tour
Kevin Max and Stryper Band Together for Charity
Annie Lobert: High Class Call Girl Finds a Higher Calling


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Courtesy of USA Today
Several of the American most successful companies have large numbers of low-paid employees. These people work in retail stores and call centers or clean hotel rooms. These are the companies that owe employees a raise.
While CEOs of companies with the strongest financial results are usually paid hundreds of millions of dollars, rank-and-file employees at these corporations are often less fortunate. Only a small number of the best performing companies give raises or bonuses to most employees that are tied to earnings. Why shouldn't these companies spread the wealth?
Several of the American most successful companies have large numbers of low-paid employees. These people work in retail stores and call centers or clean hotel rooms. Some do not make a great deal more than the minimum wage.
However, their work is critical to the daily success of their companies. Despite their modest pay, they are often the face of their corporations. The senior management at companies like McDonald's and AT&T do not deal with customers — the clerks and restaurant staffs do.
Comcast's account executives who sell cable subscriptions do not make a great deal of money. Nevertheless, people who work at some parts of the company's NBC division are paid handsomely.Not all the divisions of these companies pay their employees poorly. Many of the people who work at Walt Disney's theme parks have modest salaries. However, employees at the company's ESPN and movie studio divisions generally do better.
Does a public company have an obligation to reward all of its employees if its earnings are particularly strong? No. But there is a strong case to be made that these workers deserve higher compensation when earnings improvements are so extraordinary that they give shareholders and management great returns.
Based on data provided by Capital IQ research firm of Standard & Poor's 500 companies, 24/7 Wall St. determined which corporations had high net income, high net profit margins, and major one-year growth in net income. I
Companies considered had to be in a customer-facing industry and have a large number of low-wage workers. We excluded banks because the data we used to measure profitability is inadequate for judging that industry's performance. Employment data by company are from finance.yahoo.com. CEO pay is from filings submitted by public companies with the Securities and Exchange Commission. Figures on compensation are from Glassdoor.com, which tracks self-reported data.
These are the companies that owe employees a raise.
1. Comcast:
• 1-yr. stock price change: 44.5%, 5-yr. stock price change: 93.6%
• Employees: 129,000, CEO compensation: $29.1 million
Comcast (CMCSA) is the largest cable company in the U.S. In fiscal 2012, Comcast's net income was $6.2 billion, a nearly 50% increase from the previous year. In the past 12 months, the company's stock rose by roughly 44%. In what many consider to be a smart move, the company diversified its operations by buying control of NBCUniversal two years ago. Earlier this year, it paid GE $16.7 billion for the remaining 49% ownership position. NBCUniversal operates the cable and broadcast television business, and the studio businesses dominated by Universal Pictures. Comcast customer care and direct sales jobs often pay modestly. The average salary for a Customer Account Executive at Comcast was just $13.39 an hour, according to Glassdoor.
2.Walt Disney:
• 1-yr. stock price change: 50.9%, 5-yr. stock price change: 93.5%
• Employees: 166,000, CEO compensation: $40.2 million
Walt Disney (DIS) founded the company in 1923 as The Disney Brothers Studio. The company has since expanded to include Walt Disney studios, Disney consumer products, a network television business, which includes ABC and a majority interest in ESPN and and the company's interactive division. Disney is widely regarded for its employee customer training. The company even has an operation called the Disney Institute, which trains management and workers from other companies. According to the company, BusinessWeek's Best Internships survey ranked Disney #11 on internship opportunities for undergraduates. Disney reported revenue of $42.3 billion in the most recent fiscal year, up 3% from the prior year, and net income was $5.7 billion, up 18%. The improvements were mostly driven by success from its parks and resorts division, which started with the founding of Disneyland in 1955 and employs a number of low-paid workers, including the the theme parks cast members.
3. McDonald's:
• 1-yr. stock price change: 6.9%, 5-yr. stock price change: 68.2%
• Employees: 440,000, CEO compensation: $13.8 million
The fast-food industry, lead by McDonald's (MCD), fared better than nearly any other industry during the economic downturn. Yet the situation for most of the fast-food giant's employees hasn't improved. The company is still paying its front-line workers minimum wage or very close to it. According to Glassdoor, the average pay of a cashier was a mere $7.69 an hour. Yet with payroll one of the company's major expenses, investors are concerned about a possible minimum wage increase. The day after President Barack Obama announced a plan to raise the minimum wage to $9 an hour, McDonald's share price tumbled. On the other hand, the low wages could be hurting company's morale. Recently, company executives notified franchisees that more than anything, customers complained about "rude and unprofessional employees." Still, McDonald's hasn't announced any plans to pass some of its billions of dollars in profits to employees. Instead, in late 2012, the company said it would return $5.5 billion to shareholders by the end of the year through both an increased dividend and share repurchases. The company has raised its dividend every year since 1976.
• 1-yr. stock price change: 13.5%, 5-yr. stock price change: -7.1%
• Employees: 241,800, CEO compensation: $22.2 million
AT&T (T) had a net profit of $7.3 billion in 2012 on revenue of $127.4 billion. This is an improvement from the $3.9 billion profit on revenue of $126.7 billion in 2011. The company's CEO, Randall Stephenson, received more than $20 million per year between 2010 and 2010. In late November, the company stated that it would continue to phase-out its land-line telephone service by spending $14 billion over the next three years to extend its broadband-based service to 75% of its land-line customers. This will likely result in more job cuts in the land-line business, which has already suffered from reduction in headcount in recent years. But these reductions have, in the opinions of many, hurt customer service. According to Glassdoor, the customer service representatives and retail associates are getting the worst pay, with some making as a low as $10 an hour.
5. Yum! Brands:
• 1-yr. stock price change: -4%, 5-yr. stock price change: 68.7%
• Employees: 523,000, CEO compensation: $14.2 million
Yum! Brands (YUM), which includes fast food chains KFC, Pizza Hut and Taco Bell, is another company that is well known for paying a large portion of its workers either minimum wage or just slightly over that. For example, a crew member at Taco Bell makes an average of just $7.76 an hour, according to Glassdoor. Meanwhile, the company's chairman and CEO, David Novak, received more than $14 million in 2010 and 2012, as well as more than $20 million in 2011. Though restaurant workers at Yum! Brands chains are not unionized, they have gone on strike in recent months, seeking higher pay. Meanwhile, Yum!'s stock price has soared almost 70% in the past five years as both revenue and earnings have increased solidly in recent years.
6. DirecTV:
• 1-yr. stock price change: 15.3%, 5-yr. stock price change: 123.9%
• Employees: 27,200, CEO compensation: $18 million
DirecTV (DTV) has performed very well in recent years, providing handsome rewards to shareholders. In the past five years, the company's stock price has risen nearly 124%, compared to a roughly 15% increase in the S&P 500 during that time. Like the other companies on this list, DirectTV's CEO is paid very well, taking home more than $18 million in 2012. But like other cable providers, its call-center workers and technicians are generally paid relatively low wages. According to the American Customer Service Index, DirecTV provided slightly better customer service than many of its competitors. However, DirecTV's reputation took a hit last year when it lost the rights to broadcast certain cable channels because of a dispute with Viacom over licensing fees. The blackout ended within weeks when an agreement between the two companies was reached.
7. Public Storage:
• 1-yr. stock price change: 18.6%, 5-yr. stock price change: 80.9%
• Employees: 5,000, CEO compensation: $15.3 million
Public Storage (PSA) operates more than 142 million square feet of rentable self-storage space across the world. The business has been exceptionally profitable in recent years, with a net profit margin of 50%, third-highest of any company on the S&P 500. The company reported a net profit of more than $939 million on revenue of more than $1.8 billion in 2012. Public storage has also provided stellar returns to investors over the last five years, at nearly 81% versus 16% for the S&P 500. But the company's 5,000 employees have not been as lucky as its investors and managers — including CEO Ronald Havner, Jr., who took home over $15 million last year. A large number of the company's currently open positions in retail sales pay roughly $9 to $10 dollars an hour .
8. Time Warner Cable:
• 1-yr. stock price change: 22%, 5-yr. stock price change: 8.8%
• Employees: 50,250, CEO compensation: $17.3 million
In the past year, the stock price of Time Warner Cable (TWC) has risen by roughly 22%, better than the 18% rise in the S&P 500 during that time. The CEO has been compensated quite well during the same time, receiving more than $17 million in 2010 and 2012, and more than $16 million in 2011. But customer service positions and field technicians tend to receive average wages of between $12 to $15 an hour. The company does have its shortcomings. Unlike DirecTV and AT&T, Time Warner Cable actually scored worse on the American Customer Satisfaction Index.


text: helloif you look at the datasheet of the tmp36, you can observe that it is very sensitive to electrostatic fields other device. and requires a electrical stability. So I think the bateries is not the best solution. to have less interference with other equipment, you can add a ceramic capacitor 0.1 uf in parallel and add a resistor of 750 owm on the analog pin tmp36good luck!Emmanuelle


text:
The day Texas Tech became bowl eligible - Oct. 20, earlier than nearly anyone expected - Tommy Tuberville happily but quickly steered the conversation in other directions.
Tech had just eked out a 56-53 triple-overtime win at TCU and, while Tuberville acknowledged 2012 wouldn't end the way 2011 did - with no bowl game - he vowed his team wasn't going to stop there.
The Red Raiders had five weeks left, plenty of time to accrue several more skins.
. Tech dropped four of its last five - lopsided losses at Kansas State and Oklahoma State, close calls against Texas and Baylor - and even winning a bowl game might not change the tone of the last month.
The Red Raiders intend to try.
"I think we'll bounce back pretty smoothly," middle linebacker Will Smith said after the 52-45 overtime setback Saturday against Baylor. "It was a tough loss. It hurts just like the one last week, but we've got to get over it and get on to the next game and try to finish the season out strong."
The Red Raiders, though better on defense, weren't as good as they thought around midseason they were going to be. Sometimes the offense failed to generate points to match its yardage. Or, like Saturday, when the yards and points were there, so were too many turnovers.
And injuries, the bane of Tuberville's first two years at Tech, set again in the second half of this season.
Six games without tight end Jace Amaro and four without fullback Omar Ontiveros made the offense more one-dimensional. Losing Amaro and wide receivers Javon Bell, Bradley Marquez and Alex Torres hurt the passing game. At times, Seth Doege seemed to look almost exclusively for Eric Ward and Darrin Moore.
The games didn't get any easier either. Tech beat the defending Big East champions and the defending Mountain West champions, but the rest of the Big 12 was a bear.
"We played hard," Tuberville said. "We'd like to have a couple of these games back. Some of the teams we played were on a roll by the time we played them, but we held our own with most of them. We gave ourselves a chance in most. A couple of them we didn't. But we played a lot of good teams in a row."
More than once in the last month, I saw a Tech player choke up talking about a tough loss. I never got the sense they were giving in when they weren't getting the job done. In that regard, they were better this season than last season.
"I feel like all the losses we took this year, the tough losses, we never got down," said Moore, who has 13 touchdown catches. "We came back the next day ready to work. We never held our heads low. We came back and we got right back at it."
After a 7-5 regular season, the Red Raiders have a few weeks left to maintain their resolve. The best thing that could happen for Tech would be to snare an invitation to the Holiday Bowl, which remains possible and would be the game in which the Red Raiders would face the best opponent.
No. 16 Oregon State, which will be 9-3 once it disposes of non-conference opponent Nicholls State this weekend, is going to be available to the Holiday Bowl. So will at least one other ranked Pac-12 team, maybe No. 17 UCLA, which is 9-3.
Either would give the Red Raiders a legitimate opponent to keep them motivated in December. And a legitimate team to beat.
Otherwise, it's shaping up as a long offseason. If it isn't already.
To comment on this story:
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text:
Hello, I have been having problems with my client because isn't able to send all the data (or that's what I think). The scenario is the next:
- 2 pc on the same LAN (both windows XP)
- 1 server (my own server, not a professional server ) on the pc #1. That server can get a param from the header (like HTTP params) 'ECHO<crlf>' that internally means 'Return the same message you receive': if the recv header have a 'Content-Length: 0<crlf>' then sends a 'Hello from server'; else sends the content message.
- 1 client (also my own client, less professional than the server) on pc #1. That client sends an HTTP header like
Ok, I run the server on pc#1 and the client on pc#1, the client send all the data, the server recv it all and resend 'test'. It works well.Code:POST / HTTP/1.0<crlf> Connection: Close<crlf> User-Agent: DemoClient/1.0<crlf> Host:123.456.789.0<crlf> Accept: */*<crlf> ECHO<crlf> Content-Length: 4<crlf> <crlf> test<crlf>
After that, from pc #2 I run the internet browser, connect to my server index page, download the client program from pc#1 (so may I think that the server doesn't have any problem, or any important problem, because I can browse through the server's index page, several links, several formats and there's no problem). Right, now I have the client on pc#2, I run it, send all the data but on the server only arrive since the '<crlf><crlf>', the message 'test' remains I-don't-know-where, the server returns nothing, and whil terminating the conexion I get some unexpected last bytes, exactly 4 bytes, and if I printf them are the message content sended by the client.
Why does it happens when working from different pc but not when I'm work on the same? The server should work well because I can recv the data from forms of webpages settedup with method POST.
The header request from browsers MSIE and NSN when they submit a form in method POST, haven't notably differences with the header on my client. That are a sample of the header that a MSIE browser sends to my server to submit a form in POST method:
I can't see notably differences between msie request and mine, but on the server I can get all the data (from both pc), but when I send the same request though my client the content message is left (only when the client sends the request from a different pc than the one where server is running).Code:POST /DIRSERVER/response.txt HTTP/1.1<crlf> Accept: image/gif, (more types)<crlf> Referer: http://123.456.789.0/<crlf> Accept-Language: es<crlf> Content-Type: application/x-www-form-urlencoded<crlf> Accept-Encoding: gzip, deflate<crlf> User-Agent: Mozilla/4.0 (compatible; MSIE 5.5...)<crlf> Host: 123.456.789.0<crlf> Content-Length: 37<crlf> Connection: Keep-Alive<crlf> Cache-Control: no-cache<crlf> <crlf> field0=text0&field1=text1&butsub=Send<crlf>
To send the data from the client I copy the header into a buffer and send it in one time. On the client I have a big buffer to recv the data also in one time (I suppose that form the moment that won't be the problem, if not my server wouldn't be able to get the profesional browsers request).
Have someone had or have seen a problem like that?
Thank's in advance
P.S. Ok, year-end so have a good new year


text:
Respected PROGRAMMERS,
when a synchronized block is used for synchronization on an object instance, then threads compete to get into object's implicit monitor. And once, any particular thread enters into the monitor, any other thread has to wait for entering into it.
// some code here
// no function call
must not enforce taking any particular type of object.
Thus any object type can be used here because every object has its implicit monitor.
Kindly reply me is it true?


text:
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text:
Lineage Eternal Preview System Overview and Highlights Lineage Eternal News
NCSoft Korea just published three new trailers and a lot of new information about Lineage Eternal. I took the time to translate most of the game features two different highlights, useful for those that just want to skim through the new updates. Be one of the first to learn more about the game below.
- Data: 02.03.2016
- Comments: 1


text:
What happens to the money when two friends decide to go to the movies?
A lot depends on whether a movie is a box-office hit or a loser, whether it stars Dustin Hoffman or an unknown, whether it cost $1 million or $31 million. But for almost all movies, the money starts down a well-worn path. And by following the $10 paid for a pair of tickets to "The Fly," a slick horror film starring Jeff Goldblum and directed by David Cronenberg, which was a solid box-office success last summer, one learns much of interest about how the movie business works, including these little-known facts:
* Almost no movies make a profit from being played only in American theaters. Profits, if any, come later.
* The distributor of a movie – the studio that releases a film to theaters – usually ends up with less than 50 percent of the money paid for tickets.
* Who, if anyone, makes money depends on the relative strength of the theater chain, the studio, the star and the director. How the Money Is Divided
Let's start with the $10 bill that two teen-agers exchanged for tickets to "The Fly," a film distributed by 20th Century-Fox, at the Eastgate Theater in a suburb of Indianapolis last summer. In its third week at the theater, $5 of the $10 the teen-agers paid went to the theater and $5 went to Fox.
The manner in which income is distributed changes from week to week. During the first two weeks, generally, the theater owner's expenses – the cost of labor, the electricity to run the popcorn machine, taxes, mortgage, depreciation, new carpets – are deducted from the box-office receipts, then the distributing studio gets 90 percent of the remainder and the theater keeps 10 percent. However large the expenses, the distributor is guaranteed at least 70 percent of the box-office receipts.
At a 400- to 500-seat theater near a middle-sized city, like the Eastgate, expenses typically run $3,500 to $4,000 a week. By contrast, at an even smaller theater in Manhattan, the expenses will run about $10,000 a week.
The ticket money that is returned to the distributor is called film rental. The percentage returned drops each week a movie plays, and the average major-studio movie ends up earning about 45 percent of the box-office gross in film rentals. Since smaller studios have less clout with theater owners, their movies will earn less than 40 percent of the box-office gross.
There are always exceptions. Universal earned 60 percent on the top-grossing picture of all time, "E. T.," because it was so successful week after week. But Universal also earned 60 percent on last summer's "Howard the Duck," an eagerly awaited film that collapsed at the box office after Universal had obtained high advances and guarantees.
"The Fly" was a box-office success. It was also surprisingly well-liked by many critics, with several suggesting in reviews that Mr. Goldblum deserved an Academy Award nomination. The movie cost $10.7 million and brought Fox $17.5 million in film rentals at theaters in the United States and Canada. But those figures do not mean that "The Fly" is already profitable because of costs beyond those of making the movie. Only one movie out of 20 turns a profit through North American theatrical distribution alone. It does mean that "The Fly" will be very profitable once it has earned revenues from video cassettes, cable television, independent television stations and theaters abroad. Distribution Fee for Studios
The reason few movies become profitable during their first theatrical run is that every studio takes a distribution fee – usually 30 percent -from every dollar a movie earns.
In its third week at the Eastgate Theater, "The Fly" sold $5,683 worth of tickets. Of that $5,683, Fox got 50 percent or $2,841.50 in film rentals and charged the movie's account $852.45 to distribute it. In other words, of the $5 Fox kept from that $10 ticket sale, $1.50 went for distribution. To run a major-studio distribution operation, with a dozen booking offices and several dozen salesmen costs $15 million to $20 million a year.
After a movie is charged its distribution fee each week, the next money pays for prints and advertising. Money is not applied to the costs of making a film until the prints and initial advertising expenses have been paid for.
In recent years, movies have tended to open in 800 to 2,000 theaters, requiring that many prints – at $1,200 for an ordinary print and up to $10,000 for a better-quality 70-millimeter print. Then the studio spends $2 million to $6 million for publicity, advertising and promotion of a film through its first two weeks.
By the third week, the prints and advertising expenses on "The Fly" totaled slightly under $6 million. The movie had earned film rentals of $12.6 million. After Fox charged its 30 percent distribution fee of $3.78 million and recouped $6.02 million for prints and advertising, there was roughly $2.8 million left to start paying off the actual cost of making "The Fly."
It is hard to be precise, since much of the cost of the prints and advertising for "The Fly" was recouped by the end of the second week, but at least $1 from those two tickets went toward the major expense of opening the movie. Complex Contracts a Factor .
Up to this point, the routine is much the same for all movies. Whether a movie stars Jane Fonda or no one you've ever heard of, the out-of-pocket costs of distributing it are paid first. After that, however, the complex contracts of stars and major directors make the fate of the money diverge widely from picture to picture.
Steven Spielberg and George Lucas demanded such good terms from Paramount for "Raiders of the Lost Ark" that the studio turned the project down twice before gambling on it. If the movie had not been a major box-office success, Paramount would have lost millions.
Some stars can command 10 percent of the gross film rentals after fees, prints and advertising and before the actual cost of making the movie has been paid off. Some actors, writers and directors get a percentage of the profits. It usually takes a long time to see those profits since there are distribution fees and advertising expenses every week. Marketing "Out of Africa" cost Universal $20 million. Paramount's marketing costs for "Crocodile Dundee" are at $12 million and climbing.
Of course, any studio is delighted to have a blockbuster like "Dundee" or "Ghostbusters," which earned $128 million in domestic film rentals. In its sixth week in a theater in Northern California, Columbia's "Ghostbusters" sold $32,000 worth of tickets. The contract between Columbia and the theater gave the studio 90 percent of box-office gross after expenses or 50 percent of box-office revenues, whichever was higher. Because the movie did so well, Columbia got 73 percent of the box office. To open "Ghostbusters," Columbia had spent $2.25 million on prints, $1 million preparing promotional materials and $7 million on advertising and such incidental marketing costs as a $150,000 premiere benefit for a hospital and hotel bills for press junkets. Above and Below the Line
The costs of making a movie are divided into "above the line" and "below the line." On "The Fly," the above-the-line or creative costs of the story, producer, director and actors came to $3.5 million. The below-the-line costs of production and post-production included $135,000 for special effects, $645,000 for set construction and $180,000 for the camera crew and cinematographer. Transportation -taking actors to and from the set and sending a truck for plywood or a six pack of soft drinks – added $250,000. As might be expected for a film in which a scientist gets his chromosomes mixed up with those of a fly, the biggest expense was $1.6 million for makeup and hairdressing.
Profit-participation contracts are a closely guarded secret, but it is likely that the cost of making "The Fly" had to be paid before any profit participants earned money. Thus, the last $2.50 from that $10 bill started that process.
Although financed by 20th Century-Fox, "The Fly" was made by Mel Brooks's Brooksfilm and only became a Fox movie after it was completed. Often, in this kind of deal, the studio and the film maker split any profits 50-50. The financial arrangements here were also a little more complex because "The Fly" was directed by a Canadian, Mr. Cronenberg, and made in Canada, which qualified it for certain Canadian tax credits.
So, of the $10 plunked down on one sultry night last August, $5 went into the coffers of the Eastgate Theater, and $1.50 paid Fox's distribution fee. About $1 was applied to prints and advertising. And the remaining $2.50 began the task of paying for Mr. Goldblum, the laboratory in which he met his fate and his horrifying metamorphosis into a hairy insect.
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