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Upgrade to Windows 8 Using a DVD or Flash Drive
Sold on a DVD, the Windows 8 Upgrade can be installed only on a computer that currently runs Windows. For that reason, it's usually easier to simply upgrade online, downloading Windows 8 and letting it install itself over your existing Windows version.
But if you've bought Windows 8 on a DVD, follow these steps to install Windows 8 onto a computer currently running Windows 7, Windows Vista, or Windows XP:
Insert the Windows 8 DVD into your PC and, if needed, double-click its Setup file to start the installation process.
If the Windows 8 installation program doesn't jump onto the screen automatically, click the Start button, choose Computer (or My Computer), and double-click the drive containing your Windows 8 DVD or flash drive.
The Windows 8 installation program rises to the screen, displaying its minimalist opening screen.
If you're feeling altruistic, leave the check mark in the check box labeled I Want to Help Make the Installation of Windows Better. That lets Microsoft collect information about the installation process on your particular computer. Hopefully, Microsoft uses that information to improve their product.
If you feel Microsoft spies on you, which is summed up in the company's cheery 8,000-word Privacy Statement, click to remove the check mark.
Select the Go Online to Install Updates Now (Recommended) option and then click Next.
This step tells Windows 8 to visit Microsoft's website and download the latest updates for your particular computer — drivers, patches, and assorted fixes — to help make your installation run as smoothly as possible.
The program also checks to see whether your computer and its current Windows version meet the upgrade requirements.
Enter your product key and click Next.
The product key usually lives on a little sticker affixed to the disc's packaging. You may have already received one from Microsoft through its website or an e-mail. Click in the Product Key box and type in the entire product key. You can type lowercase letters, and you needn't bother typing those dashes, because Windows enters them for you.
If the Next button remains grayed out, then Windows hasn't accepted your product key. Type it in again, checking carefully. If you still have trouble, call the phone number given to you onscreen.
Read the 12,000-word License Terms, select the I Accept the License Terms check box, and click the Accept button.
At this point, you've read nearly 20,000 words of Microsoft legalese.
Select the information you want to keep from your old Windows version.
Depending on your particular Windows version, you see several options describing what information Windows 8 will keep from your old computer:
Settings: Slightly misleading, this only preserves some settings: your desktop background, Internet favorites, and browsing history. It also saves changes you've made through the Control Panel's Ease of Access area, designed for people with physical challenges.
Personal Files: This saves anything on your desktop, as well as files in your documents, pictures, music, and videos libraries and folders.
Apps: Oddly enough, Windows 8 now uses the term app to describe Start screen apps and desktop programs people have used for decades. When upgrading from Windows 7, Windows 8 lets you save your programs, er, apps. This option won't appear when you upgrade from older Windows versions.
Nothing: Meant for people who've backed up their computers, this saves nothing. As a safety net, it drops your old files into a desktop folder named "windows.old." (Your technical-minded friends will know how to retrieve information stored in there.)
No matter which Windows version you own, choosing the first listed option always preserves as much information as possible from your old computer.
Click Next.
When you click Next, the program checks to see whether you need to perform any additional tasks, perhaps restarting your PC, before moving to the next step.
Click the Install button.
Windows 8 lists your choices made in the previous step. (Click the Change Selection link to revisit those choices if you want to do some double-checking.)
When you click Install, Windows 8 begins installing itself, restarting your PC several times during the process.
As your computer restarts, you may see a message onscreen saying, Press any key to boot from CD or DVD. Don't press any key. Instead, just let Windows 8 run unattended.
Click the preferred background color for your Start screen and then click the Next button.
On the Background Color bar, click the color you want for the background of your Start screen. (You can always change this later from the Start screen's PC Settings screen.)
Click the Use Express Settings button.
Clicking Express Settings tells Windows 8 to turn on its security options, automatically installs drivers for newly plugged-in gadgets, lets your home or office computers share files, lets apps know your name and account photo, and lets Windows know your location, helpful when accessing maps and other location-aware apps.
Or, if you prefer to approve these choices one-by-one, click Customize instead.
Enter your current password, if asked, and click the Next button.
Required when upgrading from password-protected accounts, this lets Windows know that you're not trying to break in.
Sign in with a Microsoft account, if desired, or click Skip to use your existing account as a local account on Windows 8.
To create a Microsoft account now, click Next. To stick with your current account — which you can convert to a Microsoft account later, if you want — click Skip.
Windows finalizes your settings and then leaves you at the Start screen.
For more information about Windows 8, explore Windows 8 For Dummies, available online.


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They do not enter as cleanly, clear chips as well, or stay sharp as long as our HSS bits. These are suitable for the hobbyist, or where occasional use does not justify the higher cost of a HSS bit.
Available in Imperial and metric sizes. Bits have shank sizes of 1/4" for 1/4" to 1/2" bits, 3/8" for 5/8" to 1", 10mm for 10mm to 20mm, and shanked to size for 1/8", 3/16", and all other metric bits.
Length increases from 2-1/2" on the smallest bit to 8" on the largest.
The 7.5mm Brad-Point is no longer available.

subset: commoncrawl


text: Here's a neat little video that conveys many of the concepts of today's web in under five minutes. The soundtrack is particularly grinding but thankfully not required to enjoy an otherwise deeply thoughtful piece. Like Chris says it's also a great way to get someone to grips with the idea of a social web.


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Robot dogs? that kinda stuff?
The game is an action-puzzler. The puzzle comes from rearrange circuits to spread the virus. The action comes from dodging anti-virus drones while doing it. It's one of the few puzzle games out there where you can play co-operatively (with up to 3 friends). But if you tire of working together, there is a battle mode where you can take on your friends to see who is the supreme virus. STORY Dr X brought the world the city of Tomorrow: with robot dogs, and houses that clean themselves. MegaTech promptly fired him as soon as the last chrome brick was laid. But Dr X has one final invention, a little virus named Tom. Help this little gremlin bring the city of Tomorrow back to the Stone Age by causing absolute mayhem throughout the city.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


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Am new to this site - have had a look round and think it will be really helpful. I am currently in the middle of my 2ww of 2nd attempt at IVF (first -ve Jul 2004), test is due 20th Feb. It seems like the longest 2 weeks of my life! Keep getting niggly pains in tummy - not sure if that is a good or a bad thing - mood swings are horrendous, happy one minute crying the next.
Can anyone tell me how they got through their 2ww?!


text:
Job Information
Lennox Counter Sales Associate (St. Laurent) in St Laurent, Canada
Company Profile
Lennox International (LII) is a leading global provider of innovative climate control solutions for heating, ventilation, air conditioning, and refrigeration (HVACR) markets.
Beginning over a century ago, Lennox International has built a strong heritage of Innovation and Responsibility. Our position as an innovation leader continually inspires us to promote more efficient energy use and a healthier environment through our product operations. Our engaged and diverse workforce is committed to providing climate control solutions that provide the most value and comfort for our customers.
We are proud to have instilled a shared sense of responsibility and commitment among our approximately 10,000 employees located throughout North America, South America, Europe, Asia, and Australia.
Job Description
If a career with an organization that rewards performance and provides a stable and supportive environment then Lennox may just be the place for you. Our people are our biggest asset and share a common passion for customer service, which has helped shape us into the industry leader we are today.
Experience in HVAC, working in a warehouse, sales or retail background desired!
Responsibilities include but are not limited to:
Provide a high level of customer service with product expertise and selling skills
Maintains appearance of store
Strong customer service and communication skills
Interested in advancement
Powerful customer presence
Detail oriented
Organizational skills
Enjoys being a part of a team
Successfully complete all assigned training within given timeframe
Perform other duties as assigned
Requires a high school diploma or an equivalent combination of education and experience.
Good oral and written communications skills. Good computer skills required; Microsoft applications. General HVAC knowledge required. Must be able to lift up to 50 lbs.
Requisition # 2019-20750
Category Sales Support
Shift Hours Regular
Lennox International is an Equal Opportunity Employer and supports a diverse, inclusive work environment.
All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, gender identity or expression, transgender status, sexual orientation, national origin, genetics, disability, age, or veteran status.
Applicants with Disabilities
If you are an individual with a disability or a disabled veteran who is unable to use our online tools to search and apply for jobs, you may request a reasonable accommodation by contacting us at firstname.lastname@example.com
E-Verify Participation
For jobs located within the United States, LII participates in the Electronic Employment Verification Program known as E-Verify.
Please visit the E-Verify website for more information on this program.


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NEW YORK, May 14 (UPI) -- U.S. President Barack Obama Monday told ABC's Barbara Walters he supports gay marriage but declined to say he would seek to repeal the Defense of Marriage Act.
Speaking during a recording of the ABC program "The View" for broadcast Tuesday, Obama said he believes same-sex couples should have the right to marry but added "this is something that historically has been determined at the state level."
When pressed, Obama declined to say he would push for the repeal of DOMA, the Clinton-era law defining marriage as the legal union of one man and one woman, saying, "Congress is clearly on notice that I think it's a bad idea."
Obama nonetheless said there is a clear distinction between himself and former Massachusetts Gov. Mitt Romney, the likely Republican presidential nominee.
"This is going to be a big contrast in the campaign because you've got Governor Romney saying we should actually have a constitutional amendment installing the notion that you can't have same-sex marriages," Obama added.
"We don't think the Defense of Marriage Act is constitutional," he said.
Obama publicly declared his support for same-sex marriage last week in an exclusive interview with ABC News after opposing marriage equality for years.


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Atlantis, The Palm offers breathtaking conference, wedding, and party venues. No matter the occasion, we have the perfect venue for it.
For Enquiries
Email us or
+971 4 426 0399
With 14 meeting rooms, three ballrooms and two boardrooms, Atlantis can cater to your every need during your next indoor function.
Click on the tile below to view our venues in 360 VR.
The Atlantis Ballroom can accommodate gala dinners and events for up to 2,000 guests, with 8 metre high ceilings and direct access to the impressive Royal Terrace. Personalised service, meticulous attention to detail and cutting edge creative design are the trademark that we bring to every event. Allow us to create an unforgettable experience for you and your guests.
Take your next meeting or event to a new level. The Spice Ballroom is sure to impress and engage with its bright airy pre-function area, private terrace and flexible space.
Make your next event a total success. The Silk Ballroom is a contemporary facility conveniently located between two spacious ballrooms. This tractable space includes access to a breakout room and the latest audio-visual equipment.
If you are seeking the perfect venue for company workshops or meetings, then the Atlas Boardroom is the ideal setting. It is filled with natural sunlight, a pre-function area for coffee breaks and a private bathroom.
If you are looking for the ideal space for executive meetings, then the Andes Boardroom is the perfect choice. It is filled with natural light, has a private bathroom and has an adjacent breakout ballroom.
Atlantis provides spectacular outdoor venues for all kinds of functions, complimented by superb views overlooking the Dubai Marina skyline.
Host your next event by the serene Zero Entry Pool, in an expansive outdoor space that accommodates up to 2,000 guests. Ideal for larger events, the Zero Entry Pool venue is a superb backdrop for any occasion.
Enjoy a large expanse of beachfront boasting spectacular views of the Dubai Marina skyline from the Atlantis Private Beach. It is the perfect setting for everything from receptions, barbeques to parties and corporate events. It's the ideal spot for any tailor-made affair.
Aquaventure Waterpark encompasses 17 beachfront hectares and is the perfect location for a wide variety of events, from banquet dinners to team-building functions.
The Royal Terrace offers magnificent views of the Dubai Marina skyline, transforming any event into a VIP affair. It is an excellent choice for professional mixers, cocktail parties and receptions.
For those special, once-in-a-lifetime celebrations or events, Atlantis provides the perfect venue and exceptional service.
If you are looking for a truly unique venue for which to host your event then look no further. The Lost Chambers Aquarium has breathtaking underwater views, and is home to 65,000 mesmerising marine animals. This absolutely stunning setting is ideal for small tailor-made events for up to 150 guests.
The Royal Bridge Suite is the ultimate in exclusivity, privacy and luxury with 180 degree views of The Palm Island and the Arabian Sea. The Royal Bridge Suite is ideal for executive meetings, private dinners and cocktail parties. Enjoy service from a dedicated team of butlers and chefs, a dining room which seats 16, a Majlis and two terraces.
The Royal Beach boasts spectacular views of Dubai Marina skyline and is perfect for small private events.
Asateer is the flagship venue for large events at Atlantis. With dazzling and uninterrupted views of Dubai's skyline, this well-appointed venue is a stylish take on the golden era of traditional Arabian hospitality. Asateer accommodates up to 2,500 people and is the perfect location for Ramadan celebrations, weddings, fashion shows, gala dinners and large staged events.
Atlantis has a variety of unique and special wedding packages to suit every couple's requirements. Our experts will ensure every wedding reception is crafted to match each couple's own style.
At Atlantis, our aim is to help you create the most unforgettable team building activities in Dubai.
Atlantis offers a highly specialized in-house team of event planners to accommodate for your function's every need.
Imperial Club is the perfect choice if you are seeking additional luxury and comfort, with additional benefits over USD 800 per day.
Dive into a world of excitement. Aquaventure Waterpark is the number one waterpark in the Middle East and Europe, with over with 17 hectares of fast-flowing thrills, spills, and adrenaline.
One Moment....


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Ecology presentation (nature design, widescreen)
Save the environment one presentation at a time with this ecology-themed educational template in widescreen (16:9) format. Nature photos of the sky, water, and grass remind your audience about the areas to protect. Teachers, you might consider this template for some types of science courses, too.


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Weds 11th - Thurs 12th March 2020, Bristol
Weds 11th - Thurs 12th March 2020, Bristol
Course numbers: 6 people min - 10 people max
Venue address: Engineers' House, The Promenade, Clifton Down, Bristol BS8 3NB
For more information about course venue and location see our Venue page
Times: Day 1, 9.30am - 5pm; Day 2, 9.30 am - 4pm
This 2 day course will help you to learn how to feel more at ease in front of an audience, learn to speak publicly (in a conversational manner rather than performing) and to create a connection with the audience. In many ways, the two day course is the best way of making real progress. I know you might be nervous but time and time again people have said "I wish I had done this course 5 or 10 years ago."
The course really works with beginners as well as people who might have done a day with me before. You have the chance to absorb and practise what you have learnt on the first day and work with it on the following day. It's all about learning the new fundamental skills and re-thinking what we need for public speaking. Beginners is a strange term here as I get some people who have been speaking for a long time but are doing the wrong stuff and still feel grim. So it really means people who haven't learnt the new approach that I teach.
On the course:
- You will learn to feel more comfortable in front of an audience, be able to think on your feet and become more at ease when you speak.
- You will understand what happens currently that gets in the way when we speak. We will talk about audiences and how we misunderstand what is happening in an audience. That's a key thing to understand.
- You will learn how you can change that and then learn about the new skills (including Relational Presence) and mindsets we need to feel more comfortable in front of people.
On the second day we use what we've covered to find our own stories, who we are as speakers (sometimes it's the first time we can call ourselves a public speaker) and to focus more on content - always from a place of presence and inviting connection. A powerful place to learn to be. No previous experience required.
Talk to me if you want to know more and to find out if the course is suitable for you. My phone number is 01225 425300 or email email@example.com


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Is your little princess demanding a pony? Are the kids going on a hunger strike until you buy them their own circus elephant? Well, you and I both know that's never going to happen. However, you might want to pacify their rioting with a much less expensive and smelly alternative, Animal Paradise for the Nintendo DS.
The game is simple. You have to care for a pet by doing many of the things you'd have to do in real life: feed them, walk them, pet them, give them a bath, etc. By doing so, you increase the animal's affection towards you. As their love goes up, you'll earn ridiculously cute photos of the animal and unlock new animals to play with.
There's 18 animals in all and range from a variety of cats and dogs to some more interesting choices like a chicken, squirrel, miniature pig, and Jangalian hamster. Your kids will need to keep up with each animal, which is a great way to introduce them to the responsibilities of owning a pet. The controls are extremely easy with the DS touch screen. If you need to pet a dog for example, you just scratch the screen. They animal will react to whatever you're doing, so it's great positive feedback for the kids. There are also several "mini-games" to break up the action and serves as a nice way of sharpening their puzzle solving skills.
Unfortunately, that's about it. Once you unlock all the animals and photos, the game doesn't offer much more past that point. You can continue maintaining the animal's undying affection towards you, but there's nothing new to satisfy you beyond that.
This is a really good game for young kids and our 6-year-old was over the moon about it. Appropriately, it's recommended for kids 3 and up. The game will be available on September 23rd for just under $20.
Suggested Retail Price: $19.99
Website For More Details: Animal Paradise


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One day this spring, a psychiatrist named Dorothy Lewis got a call from her friend Betty, who works in New York City. Betty had just seen a Broadway play called "Frozen," written by the British playwright Bryony Lavery. "She said, 'Somehow it reminded me of you. You really ought to see it,' " Lewis recalled. Lewis asked Betty what the play was about, and Betty said that one of the characters was a psychiatrist who studied serial killers. "And I told her, 'I need to see that as much as I need to go to the moon.' "
Lewis has studied serial killers for the past twenty-five years. With her collaborator, the neurologist Jonathan Pincus, she has published a great many research papers, showing that serial killers tend to suffer from predictable patterns of psychological, physical, and neurological dysfunction: that they were almost all the victims of harrowing physical and sexual abuse as children, and that almost all of them have suffered some kind of brain injury or mental illness. In 1998, she published a memoir of her life and work entitled "Guilty by Reason of Insanity." She was the last person to visit Ted Bundy before he went to the electric chair. Few people in the world have spent as much time thinking about serial killers as Dorothy Lewis, so when her friend Betty told her that she needed to see "Frozen" it struck her as a busman's holiday.
But the calls kept coming. "Frozen" was winning raves on Broadway, and it had been nominated for a Tony. Whenever someone who knew Dorothy Lewis saw it, they would tell her that she really ought to see it, too. In June, she got a call from a woman at the theatre where "Frozen" was playing. "She said she'd heard that I work in this field, and that I see murderers, and she was wondering if I would do a talk-back after the show," Lewis said. "I had done that once before, and it was a delight, so I said sure. And I said, would you please send me the script, because I wanted to read the play."
The script came, and Lewis sat down to read it. Early in the play, something caught her eye, a phrase: "it was one of those days." One of the murderers Lewis had written about in her book had used that same expression. But she thought it was just a coincidence. "Then, there's a scene of a woman on an airplane, typing away to her friend. Her name is Agnetha Gottmundsdottir. I read that she's writing to her colleague, a neurologist called David Nabkus. And with that I realized that more was going on, and I realized as well why all these people had been telling me to see the play."
Lewis began underlining line after line. She had worked at New York University School of Medicine. The psychiatrist in "Frozen" worked at New York School of Medicine. Lewis and Pincus did a study of brain injuries among fifteen death-row inmates. Gottmundsdottir and Nabkus did a study of brain injuries among fifteen death-row inmates. Once, while Lewis was examining the serial killer Joseph Franklin, he sniffed her, in a grotesque, sexual way. Gottmundsdottir is sniffed by the play's serial killer, Ralph. Once, while Lewis was examining Ted Bundy, she kissed him on the cheek. Gottmundsdottir, in some productions of "Frozen," kisses Ralph. "The whole thing was right there," Lewis went on. "I was sitting at home reading the play, and I realized that it was I. I felt robbed and violated in some peculiar way. It was as if someone had stolen—I don't believe in the soul, but, if there was such a thing, it was as if someone had stolen my essence."
Lewis never did the talk-back. She hired a lawyer. And she came down from New Haven to see "Frozen." "In my book," she said, "I talk about where I rush out of the house with my black carry-on, and I have two black pocketbooks, and the play opens with her"—Agnetha—"with one big black bag and a carry-on, rushing out to do a lecture." Lewis had written about biting her sister on the stomach as a child. Onstage, Agnetha fantasized out loud about attacking a stewardess on an airplane and "biting out her throat." After the play was over, the cast came onstage and took questions from the audience. "Somebody in the audience said, 'Where did Bryony Lavery get the idea for the psychiatrist?' " Lewis recounted. "And one of the cast members, the male lead, said, 'Oh, she said that she read it in an English medical magazine.' " Lewis is a tiny woman, with enormous, childlike eyes, and they were wide open now with the memory. "I wouldn't have cared if she did a play about a shrink who's interested in the frontal lobe and the limbic system. That's out there to do. I see things week after week on television, on 'Law & Order' or 'C.S.I.,' and I see that they are using material that Jonathan and I brought to light. And it's wonderful. That would have been acceptable. But she did more than that. She took things about my own life, and that is the part that made me feel violated."
At the request of her lawyer, Lewis sat down and made up a chart detailing what she felt were the questionable parts of Lavery's play. The chart was fifteen pages long. The first part was devoted to thematic similarities between "Frozen" and Lewis's book "Guilty by Reason of Insanity." The other, more damning section listed twelve instances of almost verbatim similarities—totalling perhaps six hundred and seventy-five words—between passages from "Frozen" and passages from a 1997 magazine profile of Lewis. The profile was called "Damaged." It appeared in the February 24, 1997, issue of The New Yorker. It was written by me.
Words belong to the person who wrote them. There are few simpler ethical notions than this one, particularly as society directs more and more energy and resources toward the creation of intellectual property. In the past thirty years, copyright laws have been strengthened. Courts have become more willing to grant intellectual-property protections. Fighting piracy has become an obsession with Hollywood and the recording industry, and, in the worlds of academia and publishing, plagiarism has gone from being bad literary manners to something much closer to a crime. When, two years ago, Doris Kearns Goodwin was found to have lifted passages from several other historians, she was asked to resign from the board of the Pulitzer Prize committee. And why not? If she had robbed a bank, she would have been fired the next day.
I'd worked on "Damaged" through the fall of 1996. I would visit Dorothy Lewis in her office at Bellevue Hospital, and watch the videotapes of her interviews with serial killers. At one point, I met up with her in Missouri. Lewis was testifying at the trial of Joseph Franklin, who claims responsibility for shooting, among others, the civil-rights leader Vernon Jordan and the pornographer Larry Flynt. In the trial, a videotape was shown of an interview that Franklin once gave to a television station. He was asked whether he felt any remorse. I wrote:
"I can't say that I do," he said. He paused again, then added, "The only thing I'm sorry about is that it's not legal."
"What's not legal?"
Franklin answered as if he'd been asked the time of day: "Killing Jews."
That exchange, almost to the word, was reproduced in "Frozen."
Lewis, the article continued, didn't feel that Franklin was fully responsible for his actions. She viewed him as a victim of neurological dysfunction and childhood physical abuse. "The difference between a crime of evil and a crime of illness," I wrote, "is the difference between a sin and a symptom." That line was in "Frozen," too—not once but twice. I faxed Bryony Lavery a letter:
I am happy to be the source of inspiration for other writers, and had you asked for my permission to quote—even liberally—from my piece, I would have been delighted to oblige. But to lift material, without my approval, is theft.
Almost as soon as I'd sent the letter, though, I began to have second thoughts. The truth was that, although I said I'd been robbed, I didn't feel that way. Nor did I feel particularly angry. One of the first things I had said to a friend after hearing about the echoes of my article in "Frozen" was that this was the only way I was ever going to get to Broadway—and I was only half joking. On some level, I considered Lavery's borrowing to be a compliment. A savvier writer would have changed all those references to Lewis, and rewritten the quotes from me, so that their origin was no longer recognizable. But how would I have been better off if Lavery had disguised the source of her inspiration?
Dorothy Lewis, for her part, was understandably upset. She was considering a lawsuit. And, to increase her odds of success, she asked me to assign her the copyright to my article. I agreed, but then I changed my mind. Lewis had told me that she "wanted her life back." Yet in order to get her life back, it appeared, she first had to acquire it from me. That seemed a little strange.
Then I got a copy of the script for "Frozen." I found it breathtaking. I realize that this isn't supposed to be a relevant consideration. And yet it was: instead of feeling that my words had been taken from me, I felt that they had become part of some grander cause. In late September, the story broke. The Times, the Observer in England, and the Associated Press all ran stories about Lavery's alleged plagiarism, and the articles were picked up by newspapers around the world. Bryony Lavery had seen one of my articles, responded to what she read, and used it as she constructed a work of art. And now her reputation was in tatters. Something about that didn't seem right.
In 1992, the Beastie Boys released a song called "Pass the Mic," which begins with a six-second sample taken from the 1976 composition "Choir," by the jazz flutist James Newton. The sample was an exercise in what is called multiphonics, where the flutist "overblows" into the instrument while simultaneously singing in a falsetto. In the case of "Choir," Newton played a C on the flute, then sang C, D-flat, C—and the distortion of the overblown C, combined with his vocalizing, created a surprisingly complex and haunting sound. In "Pass the Mic," the Beastie Boys repeated the Newton sample more than forty times. The effect was riveting.
In the world of music, copyrighted works fall into two categories—the recorded performance and the composition underlying that performance. If you write a rap song, and want to sample the chorus from Billy Joel's "Piano Man," you first have to get permission from the record label to use the "Piano Man" recording, and then get permission from Billy Joel (or whoever owns his music) to use the underlying composition. In the case of "Pass the Mic," the Beastie Boys got the first kind of permission—the rights to use the recording of "Choir"—but not the second. Newton sued, and he lost—and the reason he lost serves as a useful introduction to how to think about intellectual property.
At issue in the case wasn't the distinctiveness of Newton's performance. The Beastie Boys, everyone agreed, had properly licensed Newton's performance when they paid the copyright recording fee. And there was no question about whether they had copied the underlying music to the sample. At issue was simply whether the Beastie Boys were required to ask for that secondary permission: was the composition underneath those six seconds so distinctive and original that Newton could be said to own it? The court said that it wasn't.
The chief expert witness for the Beastie Boys in the "Choir" case was Lawrence Ferrara, who is a professor of music at New York University, and when I asked him to explain the court's ruling he walked over to the piano in the corner of his office and played those three notes: C, D-flat, C. "That's it!" he shouted. "There ain't nothing else! That's what was used. You know what this is? It's no more than a mordent, a turn. It's been done thousands upon thousands of times. No one can say they own that."
Ferrara then played the most famous four-note sequence in classical music, the opening of Beethoven's Fifth: G, G, G, E-flat. This was unmistakably Beethoven. But was it original? "That's a harder case," Ferrara said. "Actually, though, other composers wrote that. Beethoven himself wrote that in a piano sonata, and you can find figures like that in composers who predate Beethoven. It's one thing if you're talking about da-da-da dummm, da-da-da dummm—those notes, with those durations. But just the four pitches, G, G, G, E-flat? Nobody owns those."
Ferrara once served as an expert witness for Andrew Lloyd Webber, who was being sued by Ray Repp, a composer of Catholic folk music. Repp said that the opening few bars of Lloyd Webber's 1984 "Phantom Song," from "The Phantom of the Opera," bore an overwhelming resemblance to his composition "Till You," written six years earlier, in 1978. As Ferrara told the story, he sat down at the piano again and played the beginning of both songs, one after the other; sure enough, they sounded strikingly similar. "Here's Lloyd Webber," he said, calling out each note as he played it. "Here's Repp. Same sequence. The only difference is that Andrew writes a perfect fourth and Repp writes a sixth."
But Ferrara wasn't quite finished. "I said, let me have everything Andrew Lloyd Webber wrote prior to 1978—'Jesus Christ Superstar,' 'Joseph,' 'Evita.' " He combed through every score, and in "Joseph and the Amazing Technicolor Dreamcoat" he found what he was looking for. "It's the song 'Benjamin Calypso.' " Ferrara started playing it. It was immediately familiar. "It's the first phrase of 'Phantom Song.' It's even using the same notes. But wait—it gets better. Here's 'Close Every Door,' from a 1969 concert performance of 'Joseph.' " Ferrara is a dapper, animated man, with a thin, well-manicured mustache, and thinking about the Lloyd Webber case was almost enough to make him jump up and down. He began to play again. It was the second phrase of "Phantom." "The first half of 'Phantom' is in 'Benjamin Calypso.' The second half is in 'Close Every Door.' They are identical. On the button. In the case of the first theme, in fact, 'Benjamin Calypso' is closer to the first half of the theme at issue than the plaintiff's song. Lloyd Webber writes something in 1984, and he borrows from himself."
In the "Choir" case, the Beastie Boys' copying didn't amount to theft because it was too trivial. In the "Phantom" case, what Lloyd Webber was alleged to have copied didn't amount to theft because the material in question wasn't original to his accuser. Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied. Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction. Or suppose that you invented a cure for breast cancer in your basement lab. Any patent you received would protect your intellectual property for twenty years, but after that anyone could take your invention. You get an initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property is, in fact, enshrined in the Constitution: "Congress shall have the power to promote the Progress of Science and useful Arts, by securing for limited"—note that specification, limited—"Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
So is it true that words belong to the person who wrote them, just as other kinds of property belong to their owners? Actually, no. As the Stanford law professor Lawrence Lessig argues in his new book "Free Culture":
In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then?
The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."
Lessig argues that, when it comes to drawing this line between private interests and public interests in intellectual property, the courts and Congress have, in recent years, swung much too far in the direction of private interests. He writes, for instance, about the fight by some developing countries to get access to inexpensive versions of Western drugs through what is called "parallel importation"—buying drugs from another developing country that has been licensed to produce patented medicines. The move would save countless lives. But it has been opposed by the United States not on the ground that it would cut into the profits of Western pharmaceutical companies (they don't sell that many patented drugs in developing countries anyway) but on the ground that it violates the sanctity of intellectual property. "We as a culture have lost this sense of balance," Lessig writes. "A certain property fundamentalism, having no connection to our tradition, now reigns in this culture."
Even what Lessig decries as intellectual-property extremism, however, acknowledges that intellectual property has its limits. The United States didn't say that developing countries could never get access to cheap versions of American drugs. It said only that they would have to wait until the patents on those drugs expired. The arguments that Lessig has with the hard-core proponents of intellectual property are almost all arguments about where and when the line should be drawn between the right to copy and the right to protection from copying, not whether a line should be drawn.
But plagiarism is different, and that's what's so strange about it. The ethical rules that govern when it's acceptable for one writer to copy another are even more extreme than the most extreme position of the intellectual-property crowd: when it comes to literature, we have somehow decided that copying is never acceptable. Not long ago, the Harvard law professor Laurence Tribe was accused of lifting material from the historian Henry Abraham for his 1985 book, "God Save This Honorable Court." What did the charge amount to? In an exposé that appeared in the conservative publication The Weekly Standard, Joseph Bottum produced a number of examples of close paraphrasing, but his smoking gun was this one borrowed sentence: "Taft publicly pronounced Pitney to be a 'weak member' of the Court to whom he could not assign cases." That's it. Nineteen words.
Not long after I learned about "Frozen," I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played "Angel," by the reggae singer Shaggy, and then "The Joker," by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin's "Whole Lotta Love" and then Muddy Waters's "You Need Love," to show the extent to which Led Zeppelin had mined the blues for inspiration. He played "Twice My Age," by Shabba Ranks and Krystal, and then the saccharine seventies pop standard "Seasons in the Sun," until I could hear the echoes of the second song in the first. He played "Last Christmas," by Wham!, followed by Barry Manilow's "Can't Smile Without You" to explain why Manilow might have been startled when he first heard that song, and then "Joanna," by Kool and the Gang, because, in a different way, "Last Christmas" was an homage to Kool and the Gang as well. "That sound you hear in Nirvana," my friend said at one point, "that soft and then loud, kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain"—Nirvana's lead singer and songwriter—"was such a genius that he managed to make it his own. And 'Smells Like Teen Spirit'?"—here he was referring to perhaps the best-known Nirvana song. "That's Boston's 'More Than a Feeling.' " He began to hum the riff of the Boston hit, and said, "The first time I heard 'Teen Spirit,' I said, 'That guitar lick is from "More Than a Feeling." ' But it was different—it was urgent and brilliant and new."
He played another CD. It was Rod Stewart's "Do Ya Think I'm Sexy," a huge hit from the nineteen-seventies. The chorus has a distinctive, catchy hook—the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on "Taj Mahal," by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a d.j. at various downtown clubs, and at some point he'd become interested in world music. "I caught it back then," he said. A small, sly smile spread across his face. The opening bars of "Taj Mahal" were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from "Do Ya Think I'm Sexy." It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he'd been in Brazil, listened to some local music, and liked what he heard.
My friend had hundreds of these examples. We could have sat in his living room playing at musical genealogy for hours. Did the examples upset him? Of course not, because he knew enough about music to know that these patterns of influence—cribbing, tweaking, transforming—were at the very heart of the creative process. True, copying could go too far. There were times when one artist was simply replicating the work of another, and to let that pass inhibited true creativity. But it was equally dangerous to be overly vigilant in policing creative expression, because if Led Zeppelin hadn't been free to mine the blues for inspiration we wouldn't have got "Whole Lotta Love," and if Kurt Cobain couldn't listen to "More Than a Feeling" and pick out and transform the part he really liked we wouldn't have "Smells Like Teen Spirit"—and, in the evolution of rock, "Smells Like Teen Spirit" was a real step forward from "More Than a Feeling." A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings. Yes, she had copied my work. But no one was asking why she had copied it, or what she had copied, or whether her copying served some larger purpose.
Bryony Lavery came to see me in early October. It was a beautiful Saturday afternoon, and we met at my apartment. She is in her fifties, with short tousled blond hair and pale-blue eyes, and was wearing jeans and a loose green shirt and clogs. There was something rugged and raw about her. In the Times the previous day, the theatre critic Ben Brantley had not been kind to her new play, "Last Easter." This was supposed to be her moment of triumph. "Frozen" had been nominated for a Tony. "Last Easter" had opened Off Broadway. And now? She sat down heavily at my kitchen table. "I've had the absolute gamut of emotions," she said, playing nervously with her hands as she spoke, as if she needed a cigarette. "I think when one's working, one works between absolute confidence and absolute doubt, and I got a huge dollop of each. I was terribly confident that I could write well after 'Frozen,' and then this opened a chasm of doubt." She looked up at me. "I'm terribly sorry," she said.
Lavery began to explain: "What happens when I write is that I find that I'm somehow zoning on a number of things. I find that I've cut things out of newspapers because the story or something in them is interesting to me, and seems to me to have a place onstage. Then it starts coagulating. It's like the soup starts thickening. And then a story, which is also a structure, starts emerging. I'd been reading thrillers like 'The Silence of the Lambs,' about fiendishly clever serial killers. I'd also seen a documentary of the victims of the Yorkshire killers, Myra Hindley and Ian Brady, who were called the Moors Murderers. They spirited away several children. It seemed to me that killing somehow wasn't fiendishly clever. It was the opposite of clever. It was as banal and stupid and destructive as it could be. There are these interviews with the survivors, and what struck me was that they appeared to be frozen in time. And one of them said, 'If that man was out now, I'm a forgiving man but I couldn't forgive him. I'd kill him.' That's in 'Frozen.' I was thinking about that. Then my mother went into hospital for a very simple operation, and the surgeon punctured her womb, and therefore her intestine, and she got peritonitis and died."
When Lavery started talking about her mother, she stopped, and had to collect herself. "She was seventy-four, and what occurred to me is that I utterly forgave him. I thought it was an honest mistake. I'm very sorry it happened to my mother, but it's an honest mistake." Lavery's feelings confused her, though, because she could think of people in her own life whom she had held grudges against for years, for the most trivial of reasons. "In a lot of ways, 'Frozen' was an attempt to understand the nature of forgiveness," she said.
Lavery settled, in the end, on a play with three characters. The first is a serial killer named Ralph, who kidnaps and murders a young girl. The second is the murdered girl's mother, Nancy. The third is a psychiatrist from New York, Agnetha, who goes to England to examine Ralph. In the course of the play, the three lives slowly intersect—and the characters gradually change and become "unfrozen" as they come to terms with the idea of forgiveness. For the character of Ralph, Lavery says that she drew on a book about a serial killer titled "The Murder of Childhood," by Ray Wyre and Tim Tate. For the character of Nancy, she drew on an article written in the Guardian by a woman named Marian Partington, whose sister had been murdered by the serial killers Frederick and Rosemary West. And, for the character of Agnetha, Lavery drew on a reprint of my article that she had read in a British publication. "I wanted a scientist who would understand," Lavery said—a scientist who could explain how it was possible to forgive a man who had killed your daughter, who could explain that a serial killing was not a crime of evil but a crime of illness. "I wanted it to be accurate," she added.
So why didn't she credit me and Lewis? How could she have been so meticulous about accuracy but not about attribution? Lavery didn't have an answer. "I thought it was O.K. to use it," she said with an embarrassed shrug. "It never occurred to me to ask you. I thought it was news."
She was aware of how hopelessly inadequate that sounded, and when she went on to say that my article had been in a big folder of source material that she had used in the writing of the play, and that the folder had got lost during the play's initial run, in Birmingham, she was aware of how inadequate that sounded, too.
But then Lavery began to talk about Marian Partington, her other important inspiration, and her story became more complicated. While she was writing "Frozen," Lavery said, she wrote to Partington to inform her of how much she was relying on Partington's experiences. And when "Frozen" opened in London she and Partington met and talked. In reading through articles on Lavery in the British press, I found this, from the Guardian two years ago, long before the accusations of plagiarism surfaced:
Lavery is aware of the debt she owes to Partington's writing and is eager to acknowledge it.
"I always mention it, because I am aware of the enormous debt that I owe to the generosity of Marian Partington's piece . . . . You have to be hugely careful when writing something like this, because it touches on people's shattered lives and you wouldn't want them to come across it unawares."
Lavery wasn't indifferent to other people's intellectual property, then; she was just indifferent to my intellectual property. That's because, in her eyes, what she took from me was different. It was, as she put it, "news." She copied my description of Dorothy Lewis's collaborator, Jonathan Pincus, conducting a neurological examination. She copied the description of the disruptive neurological effects of prolonged periods of high stress. She copied my transcription of the television interview with Franklin. She reproduced a quote that I had taken from a study of abused children, and she copied a quotation from Lewis on the nature of evil. She didn't copy my musings, or conclusions, or structure. She lifted sentences like "It is the function of the cortex—and, in particular, those parts of the cortex beneath the forehead, known as the frontal lobes—to modify the impulses that surge up from within the brain, to provide judgment, to organize behavior and decision-making, to learn and adhere to rules of everyday life." It is difficult to have pride of authorship in a sentence like that. My guess is that it's a reworked version of something I read in a textbook. Lavery knew that failing to credit Partington would have been wrong. Borrowing the personal story of a woman whose sister was murdered by a serial killer matters because that story has real emotional value to its owner. As Lavery put it, it touches on someone's shattered life. Are boilerplate descriptions of physiological functions in the same league?
It also matters how Lavery chose to use my words. Borrowing crosses the line when it is used for a derivative work. It's one thing if you're writing a history of the Kennedys, like Doris Kearns Goodwin, and borrow, without attribution, from another history of the Kennedys. But Lavery wasn't writing another profile of Dorothy Lewis. She was writing a play about something entirely new—about what would happen if a mother met the man who killed her daughter. And she used my descriptions of Lewis's work and the outline of Lewis's life as a building block in making that confrontation plausible. Isn't that the way creativity is supposed to work? Old words in the service of a new idea aren't the problem. What inhibits creativity is new words in the service of an old idea.
And this is the second problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity. We accept the right of one writer to engage in a full-scale knockoff of another—think how many serial-killer novels have been cloned from "The Silence of the Lambs." Yet, when Kathy Acker incorporated parts of a Harold Robbins sex scene verbatim in a satiric novel, she was denounced as a plagiarist (and threatened with a lawsuit). When I worked at a newspaper, we were routinely dispatched to "match" a story from the Times: to do a new version of someone else's idea. But had we "matched" any of the Times' words—even the most banal of phrases—it could have been a firing offense. The ethics of plagiarism have turned into the narcissism of small differences: because journalism cannot own up to its heavily derivative nature, it must enforce originality on the level of the sentence.
Dorothy Lewis says that one of the things that hurt her most about "Frozen" was that Agnetha turns out to have had an affair with her collaborator, David Nabkus. Lewis feared that people would think she had had an affair with her collaborator, Jonathan Pincus. "That's slander," Lewis told me. "I'm recognizable in that. Enough people have called me and said, 'Dorothy, it's about you,' and if everything up to that point is true, then the affair becomes true in the mind. So that is another reason that I feel violated. If you are going to take the life of somebody, and make them absolutely identifiable, you don't create an affair, and you certainly don't have that as a climax of the play."
It is easy to understand how shocking it must have been for Lewis to sit in the audience and see her "character" admit to that indiscretion. But the truth is that Lavery has every right to create an affair for Agnetha, because Agnetha is not Dorothy Lewis. She is a fictional character, drawn from Lewis's life but endowed with a completely imaginary set of circumstances and actions. In real life, Lewis kissed Ted Bundy on the cheek, and in some versions of "Frozen" Agnetha kisses Ralph. But Lewis kissed Bundy only because he kissed her first, and there's a big difference between responding to a kiss from a killer and initiating one. When we first see Agnetha, she's rushing out of the house and thinking murderous thoughts on the airplane. Dorothy Lewis also charges out of her house and thinks murderous thoughts. But the dramatic function of that scene is to make us think, in that moment, that Agnetha is crazy. And the one inescapable fact about Lewis is that she is not crazy: she has helped get people to rethink their notions of criminality because of her unshakable command of herself and her work. Lewis is upset not just about how Lavery copied her life story, in other words, but about how Lavery changed her life story. She's not merely upset about plagiarism. She's upset about art—about the use of old words in the service of a new idea—and her feelings are perfectly understandable, because the alterations of art can be every bit as unsettling and hurtful as the thievery of plagiarism. It's just that art is not a breach of ethics.
When I read the original reviews of "Frozen," I noticed that time and again critics would use, without attribution, some version of the sentence "The difference between a crime of evil and a crime of illness is the difference between a sin and a symptom." That's my phrase, of course. I wrote it. Lavery borrowed it from me, and now the critics were borrowing it from her. The plagiarist was being plagiarized. In this case, there is no "art" defense: nothing new was being done with that line. And this was not "news." Yet do I really own "sins and symptoms"? There is a quote by Gandhi, it turns out, using the same two words, and I'm sure that if I were to plow through the body of English literature I would find the path littered with crimes of evil and crimes of illness. The central fact about the "Phantom" case is that Ray Repp, if he was borrowing from Andrew Lloyd Webber, certainly didn't realize it, and Andrew Lloyd Webber didn't realize that he was borrowing from himself. Creative property, Lessig reminds us, has many lives—the newspaper arrives at our door, it becomes part of the archive of human knowledge, then it wraps fish. And, by the time ideas pass into their third and fourth lives, we lose track of where they came from, and we lose control of where they are going. The final dishonesty of the plagiarism fundamentalists is to encourage us to pretend that these chains of influence and evolution do not exist, and that a writer's words have a virgin birth and an eternal life. I suppose that I could get upset about what happened to my words. I could also simply acknowledge that I had a good, long ride with that line—and let it go.
"It's been absolutely bloody, really, because it attacks my own notion of my character," Lavery said, sitting at my kitchen table. A bouquet of flowers she had brought were on the counter behind her. "It feels absolutely terrible. I've had to go through the pain for being careless. I'd like to repair what happened, and I don't know how to do that. I just didn't think I was doing the wrong thing . . . and then the article comes out in the New York Times and every continent in the world." There was a long silence. She was heartbroken. But, more than that, she was confused, because she didn't understand how six hundred and seventy-five rather ordinary words could bring the walls tumbling down. "It's been horrible and bloody." She began to cry. "I'm still composting what happened. It will be for a purpose . . . whatever that purpose is." ♦


text:
(AP) — Cardinal Francis George said Pope Benedict XVI's decision to resign at the end of the month shows "great courage."
In a statement Monday, George said the pope has always "placed the will of God for the good of the Church before every other consideration."
George may play a role in electing the next pope since all cardinals under age 80 are allowed to vote in a secret meeting held at the Sistine Chapel.
Bishop R. Daniel Conlon of the Diocese of Joliet said in a statement that the pope's announcement "comes as a surprise to all of us," yet is consistent with the pope's "humble disposition."
The pope announced Monday that he would resign Feb. 28 because he was simply too infirm to carry on — the first pontiff to do so in nearly 600 years. The decision sets the stage for a conclave to elect a new pope before the end of March.
The 85-year-old pope announced his decision in Latin during a meeting of Vatican cardinals Monday morning.
He emphasized that carrying out the duties of being pope — the leader of more than a billion Roman Catholics worldwide — requires "both strength of mind and body."
"After having repeatedly examined my conscience before God, I have come to the certainty that my strengths due to an advanced age are no longer suited to an adequate exercise of the Petrine ministry," he told the cardinals. "I am well aware that this ministry, due to its essential spiritual nature, must be carried out not only by words and deeds but no less with prayer and suffering.
"However, in today's world, subject to so many rapid changes and shaken by questions of deep relevance for the life of faith, in order to govern the barque of St. Peter and proclaim the Gospel, both strength of mind and body are necessary — strengths which in the last few months, has deteriorated in me to the extent that I have had to recognize my incapacity to adequately fulfill the ministry entrusted to me."
The last pope to resign was Pope Gregory XII, who stepped down in 1415 in a deal to end the Great Western Schism among competing papal claimants.
Benedict called his choice "a decision of great importance for the life of the church."
The move sets the stage for the Vatican to hold a conclave to elect a new pope by mid-March, since the traditional mourning time that would follow the death of a pope doesn't have to be observed.
There are several papal contenders in the wings, but no obvious front-runner — the same situation when Benedict was elected pontiff in 2005 after the death of Pope John Paul II.
When Benedict was elected pope at age 78 — already the oldest pope elected in nearly 300 years — he had been already planning to retire as the Vatican's chief orthodoxy watchdog to spend his final years writing in the "peace and quiet" of his native Bavaria.
Contenders to be his successor include Cardinal Angelo Scola, archbishop of Milan, Cardinal Christoph Schoenborn, the archbishop of Vienna, and Cardinal Marc Ouellet, the Canadian head of the Vatican's office for bishops.
Longshots include Cardinal Timothy Dolan of New York. Although Dolan is popular and backs the pope's conservative line, the general thinking is that the Catholic Church doesn't need a pope from a "superpower."
All cardinals under age 80 are allowed to vote in the conclave, the secret meeting held in the Sistine Chapel where cardinals cast ballots to elect a new pope. As per tradition, the ballots are burned after each voting round; black smoke that snakes out of the chimney means no pope has been chosen, while white smoke means a pope has been elected.
Popes are allowed to resign; church law specifies only that the resignation be "freely made and properly manifested."
Only a handful have done so, however and there's good reason why it hasn't become commonplace: Might the existence of two popes — even when one has stepped down — lead to divisions and instability in the church? Might a new resignation precedent lead to pressures on future popes to quit at the slightest hint of infirmity?
Benedict himself raised the possibility of resigning if he were simply too old or sick to continue on in 2010, when he was interviewed for the book "Light of the World."
"If a pope clearly realizes that he is no longer physically, psychologically and spiritually capable of handling the duties of his office, then he has a right, and under some circumstances, also an obligation to resign," Benedict said.
The former Cardinal Joseph Ratzinger had an intimate view as Pope John Paul II, with whom he had worked closely for nearly a quarter-century, suffered through the debilitating end of his papacy.


text:
Thursday, August 4, 2011
Grilled Pizza
I have a new favorite food--Grilled Pizza. It is the best. Now I do love almost any kind of homemade pizza but I think of homemade pizza as a winter food. Who wants to heat up the oven to 500 degrees in August? Grilled pizza is all over blog land right now for good reason. IT IS DELICIOUS!
So after reading up on the subject and talking to Chersten our daughter-in-law who has been making grilled pizza for months because she lives in El Paso we felt confident to try a grilled pizza.
Mel's Kitchen Cafe has a great step by step tutorial that we found helpful.. So, here is a bit of information that could be helpful as you grill pizza.
I think any pizza dough would work. I adapted this recipe from Mel's Kitchen Cafe.
Quick Pizza Dough
3 cups flour
1/2 teaspoon salt
1 cup warm water
1 tablespoon yeast
1 tablespoon olive oil
1 tablespoon honey
2 teaspoons Pampered Chef's Parmesan-Garlic Seasoning
In bowl of mixer stir together flour, salt and seasoning. Mix water, yeast, honey and olive oil together, let sit for a few minutes. Turn mixer on low and slowly add liquid, knead for a few minutes until dough comes together and forms a ball. Pour a little olive oil in a bowl add dough and oil all sides. Cover with plastic wrap and let rest 30-45 minutes while preparing pizza toppings.
My favorite pizza sauce is Quick and Easy Pizza Sauce it originates from Cooks Illustrated. It is a fresh sauce and makes up in minutes.
We used one recipe of dough, one recipe of sauce and 8 ounces of shredded mozzarella cheese. This made enough pizza for 5 adults and 2 little kids--with no leftovers! We also topped our pizza with fresh pineapple, fresh basil, pepperoni, sliced olives, red pepper and red onions. I would also like to add mushrooms, ham and parmigiana-reggiano cheese. I have yet to try fresh mozzarella cheese, but it is on the list! Enjoy grilled pizza--it is a slice of summer!
Linked to Full Plate Thursday
14 comments:
- Amber said...
Mmm! I love grilled pizza! It's the best! I have some dough in the freezer right now, maybe I'll pull it out for a quick lunch..
- August 4, 2011 at 6:50 AM
- ~Amber~ said...
I love grilled pizza. It is my new summer addiction. Try grilled cheese bread too, its amazing!
- August 4, 2011 at 8:25 AM
- Gloria said...
Love your pizza look amazing!! and love your kid is so cute! gloria
- August 4, 2011 at 9:04 AM
- Kayte said...
Call me next time, I will be right over!! Love the toppings you chose!
- August 4, 2011 at 9:32 AM
- Rivki Locker (Ordinary Blogger) said...
Grilled pizza is one of my very favorite foods. Love that you add in the parmesan seasoning.
- August 4, 2011 at 12:22 PM
- Megan@whatmegansmaking said...
I love the idea of grilled pizza! I love pizza any way it's prepared but I've never had it grilled. Yum!
- August 4, 2011 at 5:02 PM
I saw your recipe on my Mom's blog...Full Plate Thursday. It looks yummy but I have some questions. How hot does the grill need to be? Do you put the raw dough directly on the grill or cook in in the oven for a bit first? How long did you leave them on? Thanks!
- August 4, 2011 at 5:42 PM
- Lark (SparkyLarky)@ Lark's Country Heart said...
Looks wonderful! I can not believe I missed Mels recipe! So glad I caught yours!
- August 4, 2011 at 8:12 PM
- Candise said...
Yum! I need a grill...
- August 4, 2011 at 11:21 PM
I can hardly wait! Anything that has the Cindy seal of approval is destined for culinary greatness.
- August 7, 2011 at 12:48 AM
- Miz Helen said...
Hi Cindy,
What a great pizza for the summer when we need to stay cool, just take it to the grill. You have a great blog and I am your newest follower. Thank you so much for sharing with Full Plate Thursday and hope to see you again real soon. Hope you are having a great week!
Miz Helen
- August 8, 2011 at 8:57 AM
- Casey said...
Grilled pizza sounds delicious. Pizza is fun with the choice of toppings.
- August 8, 2011 at 9:00 AM
- Christina @ This Woman Cooks! said...
Hi Cindy! You have a beautiful blog, I love your motto "baking one brownie at a time." So sad you couldn't have an Easy Bake Oven!
I have yet to grill pizza! I have to do that soon before summer is over.
- August 10, 2011 at 7:04 PM
- Bridgett Nicolace-Bird said...
i have never had grilled pizza. genius! sounds like a great idea! new fan here! ~bridgett
- March 24, 2012 at 7:59 AM


text:
- Fonds
- 1972-1977
Fonds consists of manuscript and typescript papers, as well as pre-book manuscript notes, authored by Audrey Cohn.
Cohn-Sandler, Audrey
17 results with digital objects Show results with digital objects
Fonds consists of manuscript and typescript papers, as well as pre-book manuscript notes, authored by Audrey Cohn.
Cohn-Sandler, Audrey
Fonds includes 1 book of essays edited by Monique Schofen.
Tschofen, Monique
Department of Computer Science
The growing use of and interest in computers resulted in the addition of Computer Science to the Mathematics and Physics department in the early 1980s to create the Math, Physics and Computer Science (MPCS) department. In 1985, the program convert...
The fonds consists of one book that Grayson co-authored with her spouse J. Paul Grayson.
Grayson, Linda
This fonds contains a collection of postcards (9 sepia tone, 3 colour) donated to the Archives from the Eastall family.The late Philip Eastall is the father of Archives Assistant, Shirley McKinley. These postcards originally belonged to the parent...
Huu Doan is a professor in the Department of Chemical Engineering at Ryerson University.Fonds consists of articles authored or co-authored by Doan.
Doan, Huu
Rick Csiernik Csiernik earned his BA, BSW, and BSc in Psychology from McMaster University, his MSW from the University of Toronto, his Graduate Diploma in Social Administration from Wilfred Laurier University, and his PhD in Social Work from the U...
Ron M. Goldsmith is a Professor Emeritus in the Department of Geographic Analysis at Ryerson University. Goldsmith earned his BSc from the University of Saskatchewan and his MA from York University, Toronto. He taught at Ryerson from 1971 to 2004....
Goldsmith, Ron
Sean Cleary was a lecturer of Investment Finance in the Department of Business Managment at Ryerson Unviersity from 1994 to 1997. Cleary earned his BA in Economics from Acadia University (1983), his BEd from Saint Francis Xavier University (1984),...
Cleary, Sean
Office of Information Services
This RG contains records related to the Office of Information Services
Miscellaneous Archival Materials
This RG contains a collection of miscellaneous archival materials that had been brought into the archives over the years (and especially in the early days of operations) without being properly documented, appraised for selection, or accessioned. R...
International Women's Year Steering Committee
Terence Arthur Byram (b. September 9, 1935) is a former Professor of Modern World History at Ryerson University. Byram earned his BA in Modern History from the University of Toronto and his MA, also in Modern History, from McMaster University. In ...
Byram, Terry
This fonds contains the following file: F 425.1 - Papers, 1990. Records are under review. Contact the Archives for information on access.
Donna Smith is a Professor in the Ted Rogers School of Retail Management at Ryerson University. Smith holds a Doctor of Business Administration from Henley Business School, University of Reading, UK and a BA and MBA from McGill University. From 20...
Smith, Donna
This fonds contains the following file: F 728.01 - Reviews and critiques, 1997. Records are under review. Contact the Archives for information on access.
Fonds contains a help guide written by John Thorpe for the Centre for Student Development and Counselling.
Thorne, John
Faculty of Engineering, Architecture and Science
Department of Community Relations
In 1986, Information Services was incorporated into the Department of Community Relations. In 1990, the Department of Development and Alumni Affairs was integrated with the Department of Community Relations to form the Department of Development, A...
Suanne Kelman is an author, broadcaster, and Professor Emeritus in the School of Journalism at Ryerson University. Kelman earned her BA and MA in English from the University of Toronto. She is a former arts producer on the CBC radio show Sunday Mo...
Kelman, Suanne
Dennis R. Mock began teaching courses in Geography as a professor in the Social Sciences Department at Ryerson in 1971. By 1974, Mock was a permanent Ryerson Faculty member. From 1979 to 1987, he acted at the Chair of the Department of Geography a...
Mock, Dennis
Sports and Recreation name changed to Athletics and Recreation in May of 2010.
Office of University Advancement


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Imagine yourself sitting around a warm fire. Can you hear the snapping and crackling of the wood? Do you feel the warmth of the fire on your hands and face? Can you hear and see your family and friends talking and laughing as they sit around the fire, toasting marshmallows? That could be your backyard, if you had a fire feature.>> read "Warming Up With a Fire Feature" #Decorating #Hardscaping #Misc
Using natural materials for your landscaping
More and more gardeners and landscapers are heading "back to the land." In addition to self-sufficiency, less pesticide use, growing heirloom vegetable varieties, urban homesteading, hardscaping using natural materials is also becoming more popular. This provides a wealth of natural materials for landscaping and design work.>> read "Natural Hardscaping" #Design #Hardscaping #Natives
Fences can fill a number of needs in the garden: They can enclose a space and define it, they can keep the dogs in or the neighbor's cats out, they often tell the gardener where to stop planting. But they can also become part of the planting and design scheme itself. That is, they can support plants and allow their form to be seen in their best light. Of course, the typical cottage garden picket fence does a great job – but construction is not always easy or cheap. There is an alternative though – a wood and wire fence.>> read "How to Build a Living Fence" #Design #Hardscaping #How to
A little planning ahead can maximize your enjoyment and minimize headaches when dealing with your landscape – the maintenance in particular. A simple concept, yes; but most often overlooked. This particularly applies to the layout and design of your planting beds.
What could be so hard about that? It isn't hard actually. In reality, it is quite easy when given some forethought.
A few years ago, a friend was installing night lighting in a garden for his client who wanted stone features as accents among the plants and around a backyard patio where he entertained family and friends. My friend invited me to accompany him to a garden center specializing in stone products. I was amazed at the choices of stone available – from small natural stone, to flat cut stone, to relatively large boulders. Displays showed examples of stone for terraces, walls, benches, paths and water features.
The possibilities seemed endless, and I began to see stone and rocks in an entirely different way. I began to notice them in fields and woods, along roadsides and in other natural settings. I began to realize that no garden could be complete without stone.
Too much water is a fairly common problem in many flowerbeds in this region, where we may get about 4 inches of rain every month between late fall and early spring. Four inches of rain wouldn't be considered "too much" water during the summer, when plants are actively growing and transpiring. During the cool season, temperatures are low so water loss through evaporation is limited, and plants are not actively growing, which does not take up a lot of water. Without good drainage, you may have a problem with too much water.>> read "Wet Feet" #Hardscaping #Irrigation #Raised Beds
You have probably heard the term "outdoor living." This has been listed as a major landscaping and gardening trend in recent years. But what does it really mean?>> read "Living the Good Life Outdoors" #Hardscaping #Misc
The most admired image of a garden bridge is the one at Giverny in France, immortalized in paintings by Claude Monet and photographed by scores of visitors intent on capturing Monet's vision. Gently arching over a narrow part of the lily pond, this Japanese-style bridge has green railings and an arbor that rises above it, entwined with trailing wisteria vines. Looking across the glistening pond filled with waterlilies, the bridge creates a romantic and dreamy background in harmony with the graceful weeping willows and the green lushness of the garden.
Garden bridges can be both purposeful and enchanting. They not only provide access across a pond, a small stream, a ravine or a swale, but can also create a dramatic focal point. Bridges are a symbol of transition and passage, and are often considered a metaphor for life. Crossing a bridge and looking down into a swiftly flowing stream or still pond opens up vistas into and across the water. It also gives you a new perspective as you view the garden from such a vantage point.
New beginnings are easily born on thresholds. Whether it's in the garden or in life, this point of transition symbolizes a new beginning. For brides, being carried across the threshold of a new home marks the start of a new phase of life. For my own wedding in 1988, my husband and I were married on the banks of the Elizabeth River in Portsmouth, Va., on a dock that served as the threshold of our new life together.
A threshold is where one moves from one space to the next – an arbor, a bridge, a gate, a break in the hedge, a set of dramatic steps leading to a level change or even a pair of columns – made of either shrubs or trees, or hardscape materials. They punctuate a space, alerting visitors they are about to experience a change in scenery.
The hardscape of a landscape provides the "bones" of an overall design. Typical hardscape features are patios, pathways, stairways and various garden structures.
Concrete is often used for paved areas, and the number of options available to homeowners is only limited by one's imagination. The bright white of new concrete is highly reflective and sometimes isn't the first choice of a finish. Given a little bit of time, any concrete will begin to age and the bright-white tones will mute to a tan, earthen color simply through normal weathering.
One of the most common topics of conversation between gardeners is the weather. Rain, heat, cold and drought all present challenges to maintaining a good-looking garden and landscape. Together, these environmental factors are referred to as the "climate" for a particular area or region. Since these areas can be rather large, we can call these environmental factors the macroclimate for a given area. The USDA Hardiness Zone map is a resource we use to determine growing conditions over wide areas and regions.
Within the larger macroclimates are smaller areas that have different or modified conditions. These pockets may be warmer or cooler, or wetter or drier than surrounding areas. These areas are termed "microclimates" and can be influenced by buildings, trees, bodies of water or elevation changes.
It's a forgotten spot, a space we pass through without thought, or where we hide things like trashcans, woodpiles, or composters. And in most of them you truly want to just shut your eyes and run through it as quickly as possible. But why would you want to have any spot in your yard that is ugly or unbeautiful? Use every scrap of soil you have. Even those narrow side yards can be part of the wonderful adventure of your home landscape.>> read "Side by Side" #Advice #Design #Hardscaping
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Peonies..A Mother's Day Gift
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Pamela Crawford
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Enhance your health naturally with herbs from your own garden. Even if you've never gardened before, you can care for yourself and your family using time-tested herbal remedies harvested from your own medicinal herb garden. Master Gardener Dorie Byers offers simple growing instructions for more than 20 versatile medicinal herbs such as garlic, chamomile, and echinacea. You'll also find recipes and tips for using the herbs for first-aid and preventive health care.
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By Rob Glidden
Staff Writer
The nine candidates hoping to be elected to Southington's state delegation discussed the tough economic conditions and political divisions in Connecticut, during a lengthy, and sometimes contentious, forum sponsored by the Chamber of Commerce.
As the result of state redistricting, Southington is now represented by four house seats and one senate seat. The new district lines resulted in a larger portion of Southington as part of the 80th district, which also includes the entire town of Wolcott.
Wolcott Town Councilor and former Fire Chief Chuck Marsella is the Democratic candidate this year. He said towns like Wolcott and Southington were being neglected by the state legislature but still impacted by various state issues, such as unfunded mandates.
"If the state is going to impose a mandate on towns, it should be funded," Marsella said. "Otherwise, we are forced to raise taxes. We just do not have the income for [new mandates] now."
His opponent is Republican Rob Sampson, who was elected to the seat in 2010. During the forum, Sampson was highly critical of Governor Dannel Malloy's budget and blamed excessive interference from the state for Connecticut's struggles with economic growth.
"The state of Connecticut puts undue regulations on every aspect of our business, school and town environments," he said. "It's what's driving our economy away from where we want it to be."
Sampson also challenged the other candidates to pledge to fight the controversial New Britain bus way and the early release program for felons and to never vote for a tax increase under any circumstances. The suggestion incensed some of the other candidates, including Democrat Joe Aresimowicz, who is running unopposed in the 30th district this year but still wanted to speak with voters at the forum. Aresimowicz's district includes portions of Southington and Berlin.
"Political partisanship is what seems to bother most of the people I talk to," Aresimowicz said. "People are upset with political positions being chosen by legislators before the issues even come before them."
Another Democrat, Liz Linehan, also said that relying on strict pledges was not what is needed in the state legislature.
"The bus way is done," she said. "It's time to move on. This 'woulda coulda shoulda' stuff is part of what's wrong with Hartford. We will get nowhere if all we do is grandstand."
Linehan, who lives in Cheshire and works in the marketing industry, said she was motivated "as a mother" to run for office. She is hoping to unseat Republican Al Adinolfi, who currently represents the 103rd district. This district, which represents portions of Cheshire and Wallingford, was recently expanded into Southington.
"What's happening up there doesn't make sense to me," Adinolfi said, referring to the state's budget process. "We're paying taxes on everything, but what are we getting for it? The 'shared sacrifice' didn't happen the way it was supposed to."
State Senator Joe Markley (R-16) acknowledged that the issue of political gridlock was a difficult one, since each representative needs to find a balance between cooperation and staying true to individual principles.
"I don't have any rancor in my outlook, but I am firm in what I believe in," Markley said. "I will not support any tax increase whatsoever. I feel that the only way to get our fiscal house in order is to cut off that spigot or else the spending continues."
His opponent from the Democratic Party, John "Corky" Mazurek, represented the 80th district until losing to Sampson in 2010. He said the two parties needed to make economic growth a priority.
"People are truly frightened about being able to keep their jobs and pay their bills," he said. "We need to do everything we can to promote business and job growth in Connecticut."
For more on the Senate race, see story on page 3.
The 81st district is entirely inside Southington. Town Councilor Cheryl Lounsbury, a Republican and former Town Councilor David Zoni, are competing for this seat. Both candidates emphasized bipartisanship and cooperation. Lounsbury said that voting in more Republican candidates could create a healthy balance at the legislature, even if they were not the majority.
"The Democrats have had a supermajority for over 25 years," she said. "It's human nature to take advantage of that, but we need to get more Republicans into the state house and senate. After that, we have to put ego aside and work to solve problems without caring about who gets the credit."
Zoni said he was known to cross party lines during his time on the council and would apply that same approach to the legislature if elected.
"You never know where a good idea will come from," he said. "The people on the other side are not enemies. I learn from them, they learn from me, and that's how we get legislation accomplished."


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Solpadeine MAX Tablets contains 2 analgesics that target pain in different ways meaning Solpadeine MAX provides fast and effective relief from pain associated with migraines, back pain, dental and sinus pain.
Free shipping
Orders over £35.00
Tracked 48 Royal Mail: Estimated delivery 2 – 5 days.
Tracked 48 NO Signature
Tracked 48 Signature
- Tracked 24 NO Signature
- Tracked 24 Signature
Courier (Under 2 kg)
£6.19 - Next Working Day Delivery (Excluding Saturday Delivery) Orders MUST be placed before 11am on the day to be considered for NDD
Special Delivery Before 1pm (Under 1kg)
£6.99 - (Guaranteed Monday to Friday by Royal Mail)
- Special Delivery Before 9am (Under 500g)
£15.99 - (Guaranteed Monday to Friday by Royal Mail)
Extra Weight Costs - Above 2kg
**On stocked items (excludes fragrances), including Voucher codes offering free shipping.
Tracked 24 can take 1-3 working days from time of dispatch and Tracked 48 delivery can take 2-5 working days from time of dispatch. A recorded service does not speed up the actual delivery time.
Weight restrictions apply. In the event that any heavy or bulky items are ordered, Clear Chemist will contact you and advise you accordingly if you will be subject to any extra delivery charges.
Standard delivery is provided by Royal Mail.
Clear Chemist strives to offer the best delivery service possible but cannot make any guarantees on delivery times as they are contracted out to Royal Mail.


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"Who will go to UN to show 'evidence' this time?"
Paul Joseph Watson
December 6, 2012
Matt Drudge chided President Obama over his increasingly "hysterical" rhetoric regarding the supposed WMD threat posed by Syria in a tweet that harked back to Colin Powell's infamous UN appearance which relied on fabricated evidence to justify the invasion of Iraq.
Obama playing up 'WMD' threat in Syria is bold and hysterical. Who will go to UN to show 'evidence' this time? Maybe one of the Rices…
— MATT DRUDGE (@DRUDGE) December 6, 2012
"Obama playing up 'WMD' threat in Syria is bold and hysterical. Who will go to UN to show 'evidence' this time? Maybe one of the Rices," tweeted the editor of DrudgeReport.com, in the aftermath of the Obama administration's increasing hype over a chemical weapons threat based on little else but hearsay and conjecture.
Drudge's reference to the UN is of course a reminder that contrived threats about Saddam Hussein's non-existent weapons of mass destruction were used to grease the skids for an attack on Iraq that has cost over a trillion dollars and well over 4,000 dead U.S. troops over the last nine and a half years.
In February 2003, Colin Powell went before the U.N. Security Council and claimed that Iraq was hiding weapons of mass destruction and refused to disarm. He dramatically held up a vial of white powder, remarking that the same amount had shut down the U.S. Senate in 2001.
Most of the claims Powell made during the speech, including the infamous 'Niger yellowcake' issue, were fabricated and based on the testimony of an intelligence asset named Rafid Ahmed Alwan al-Janabi or "Curveball" – an Iraqi defector who later admitted that he had completely manufactured lies about Saddam having mobile bioweapons trucks and clandestine factories.
Powell later admitted that he was "misled" before the UN speech and said that he regretted the incident.
Syria's President Bashar Al-Assad has repeatedly asserted that Syria will not use its chemical weapons arsenal to target rebel fighters, never mind the civilian population. To do so would be an act of geopolitical suicide given that Obama and Hillary Clinton have made it clear this is a "red line" that will mandate US military intervention.
The sudden deluge of hysteria suggesting, "The Syrian military is prepared to use chemical weapons against its own people and is awaiting final orders from President Bashar Assad," is based entirely on dubious claims by anonymous "US officials".
Indeed, the only evidence that suggests chemical weapons may be in preparation for use in Syria comes from a video which apparently shows US-backed Syrian rebels testing chemical weapons on rabbits in a lab while bragging about how they will deploy them to kill pro-Assad Allawites.
Fabricated lies about weapons of mass destruction were cited as the primary reason for invading Iraq, a justification that was proven to be completely fraudulent. It's astounding that the US military-industrial complex and the establishment media are once again resorting to the same infantile propaganda in an attempt to grease the skids for military intervention in Syria, which just like Iraq has been planned well in advance.
Paul Joseph Watson is the editor and writer for Infowars.com and Prison Planet.com. He is the author of Order Out Of Chaos. Watson is also a host for Infowars Nightly News.


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Jim Stafford & Moe Bandy
Get a taste of Branson, Mo., when critically acclaimed comedian Jim Stafford joins forces with renowned entertainer Moe Bandy for a heartwarming evening of country music and homespun humor in their Grand Tour coming to the Julie Rogers Theatre on Friday, Jan. 24, at 7:30 p.m.
Stafford, who has headlined his own theatre in Branson since 1990, creates hilarious antics from everyday life and satirizes the obvious with his music and comedy.
His song "Spiders and Snakes" reached No. 3 on the Billboard country charts in 1974.
Bandy is your original "good ol' boy" coming from a background of bull riding and steel working before making it big in country music. His songs range from bluegrass to classic country, and his show includes a touch of his famous comedy routines as well. Bandy has a successful solo career and reached success as a duo with Joe Stampley. Jim and Moe's Grand Tour is a good old-fashioned musical comedy and variety show with a little vaudeville thrown in.
Tickets are $45, $35 or $25 and can be purchased at the Beaumont Civic Center box office or any Ticketmaster outlet. The Julie Rogers Theatre is located at 765 Pearl in downtown Beaumont.


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Items where Author is "Al-Ohali, M.A."
Group by: Item Type | No Grouping
Jump to: Article
Number of items: 2.
Ahmed, M. and Al-Ohali, M.A. and Garwan, M.A. and Al-Soufi, K. and Narasimhan, S. (1999) Analysis of water trees in underground HV cables using the KFUPMmicro-PIXE facility. Dielectrics and Electrical Insulation, IEEE Transactions on [see also Electrical Insulation, IEEE Transactions on], 6.
Al-Hamouz, Z. and Al-Soufi, K. and Ahmed, M. and Al-Ohali, M.A. and Garwan, M. (2002) Water trees diagnostic of extruded underground cables: a case study in Saudi Arabia eastern province. Transmission and Distribution Conference and Exhibition 2002: Asia Pacific. IEEE/PES, 2.


text: Medium: Age 12-14 Customer Reviews Delivery Next Day Delivery by Tue 24th September: £7.99 * Collection from Warehouse by Tue 24th September: FREE * 1-2 Day Delivery by Wed 25th September: £4.99 * 2-3 Day Delivery by Thu 26th September: £3.99 * No Quibble - 14 Day returns policy from receipt of goods International Delivery Information Click here * Dates and prices based on delivery to Mainland UK Q & A Have a question about this product? Why not get in touch by completing the boxes below. Name * Email * Subject *Please select...StockSizeMaterialDelivery Date Question * Ask us now!


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GlossaryThere are 3 terms starting with this letter.
- Vers Libre (see Free-Verse)
- Villanelle
- Voice
Jump to navigation
Word order, and the way in which it works with grammatical structures.
From time to time a poet is in residence at the Poetry Archive, talking about poetry with anyone who wants to join in the conversation.
Comic Verse
I'm troubled, as you can tell by my introduction, about comic verse. Comic verse gets bad press because rigid notions of comedy foreground throwaway poems. Surely the best comedy is when the poem surprises us into laughter rather than setting up t... >


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simpology needed a new logo design and created a contest on 99designs.
A winner was selected from 87 designs submitted by 31 freelance designers.
We want to create a really cool fun ducky logo! It must be to the same quality and style as ezanga frog logo.
Desired Color Scheme:
Duck colors
Desired Style:
Must be like ezanga
Accepted File Formats:
Layered Formats (.psd or .tiff)
The brand is Ducky.
We love the ezanga frog logo in both forms.
We would like to create a similar look but with a Duck.
Here are some duck images... (You must be able to bring it to life and make it fun)
Here are the ezanga pages... (This is what we like very much and would like a ducky the same)
Please do not just draw a rubber duck as in these examples from google images. It needs alot more fun and character!
Find out how a design contest works or learn more about our logo design services.


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New Zealand has developed a code of practice to help regulate the rapidly-growing Cloud Computing industry, making it one of the first countries to do so.
The New Zealand Computer Society (NZCS), a professional body of IT Professionals, released the Cloud Computing Code of Practice at a summit in Auckland yesterday.
CloudCode, as is has been called, aims to improve the standard of services offered by Kiwi cloud providers, setting out a framework of voluntary, self-regulated standards.
The idea for a code came out of last year's inaugural NetHui conference.
A number of providers called for something to be put in place to strengthen consumer faith in the industry, said NZCS CloudCode Coordinator Joy Cottle.
"With cloud being something very hard to define, it meant there were providers offering services that fell short of acceptable practice."
Cottle said consumer confidence in the industry could be undermined by providers offering a lack of acceptable data security or back-up procedures.
Cloud computing is the term given to on-demand, internet-based services where individuals and businesses can store their data.
Other than Britain, New Zealand is the only country to develop such a code and a handful of Asia-Pacific countries have now contacted the NZCS about following suit, Cottle said.
The new code puts New Zealand on "the front foot", said Rod Drury, chief executive of online accounting software company Xero.
"We're getting more traction in New Zealand with cloud computing and we thought this would be a way to show some international initiative."
The reason New Zealand has emerged as a forerunner is down to the fact that developing a code is extremely difficult, especially in bigger countries, Drury said.
"In a small country like ours it's more possible because the industry is tighter."
Drury expects a strong take-up from Kiwi cloud providers and said the code's voluntary sign-up will not matter.
"I think the market works anyway and if consumers see companies following this code, they'll be more likely to choose those companies."
Cottle said it is unclear whether the code will ever become compulsory, but for now the NZCS and industry wanted it voluntary.
"We took the approach of trying to ease this into the market, rather than making it compulsory and having people turn their tails up.
"This means we can iron out the details in case it becomes compulsory in the future."
NZCS is considering establishing a register and accreditation process for cloud providers wishing to comply with the code, starting in August.
CloudCode took about eight months to develop and was contributed to by than 250 individuals and companies.
Its development was funded by industry players such as NZCS, Gen-i, Equinox, OneNet, Webdrive and Xero.


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