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Yesterday, I blogged about our Food Awareness Thanksgiving potluck, which was held last Saturday. But I didn't show you my contribution. That's because I wanted to save the picture for a review post tonight.
This Chickpea & Kale Stew was the first dish I tried from One-Dish Vegan, the new cookbook by vegan maven Robin Robertson.
It's a simple dish with big flavor — chickpeas, kale, peppers, onions, tomatoes, and potatoes. It's all slow-simmered with cumin, coriander, oregano, and cayenne. It went over so well at the potluck that I had no leftovers! I should eat really more meals like this —just beans and veggies and a starch. This time of year, as I prepare for the holiday time of massive meals and sugar galore, I start dreaming of all the healthy stuff (like this dish) that I'll eat to cleanse my system when the holidays are over.
One-Dish Vegan would be just the book to use to reset your system. It's not designed as a cleanse book or anything, but every dish in this book is made with whole foods (mostly beans, a little tofu and tempeh, and hardly any fake meat). Don't get me wrong — I LOVE fake meat and dairy-free cheese. But sometimes, we need a break from that stuff.
All the dishes in this book are complete meals in one bowl or plate, hence the book's name. There are chilis, stews, casseroles, soups, and even salads with all your food groups (most of the salads contains grains as well as veggies).
I have a few recipes bookmarked for those days when I can focus on healthy foods again — Brown Rice with White Beans, Shiitakes, and Spinach, Garlic Lover's Chili (it has 8 cloves!), Japanese-Style Coconut Rice Bowl (sweet potato, kidney beans, zucchini, coconut milk, and rice), and Artichoke Spaghetti Pie.
But those things will have to wait at least until we get Thanksgiving out of the way. I just baked a Tofurky and a big pot of gravy to take to work tomorrow for the annual company Thanksgiving potluck!


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Season 4 • Episode 10
The competition heats up as the teams start to feel the pressure, and undefeated Hypershock looks to take down the reigning champ, Bite Force.
84 min
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Hargett (or Harget), Frederick
ca. 1742–January 1810
Frederick Hargett (or Harget), Revolutionary War captain, planter, and lawmaker, was probably born in the area that became Pitt County. The second son of Frederick Hargett, he had only one sibling, Peter Hargett, who married Ann Isler and died in Jones County in October 1797. The Hargetts were descendants of the Palatine colony which settled in New Bern in 1710. Hargett probably attended the school in Rocky Run (now Reed Branch) established by John Martin Franck in 1713. While growing up on a plantation, Hargett learned many trades such as joiner and blacksmith. Sometime before 1769, he moved to Craven County. As a planter in Craven and later Jones counties, he owned vast tracts of land and many slaves.
On 28 Nov. 1776, Hargett was commissioned captain in the Eighth Regiment of the North Carolina Militia. He had previously served as captain of a Craven County militia company in the expedition to Moore's Creek Bridge. His company also marched to the defense of Wilmington in March 1776.
After the Revolution, Hargett was a prominent planter in Jones County, and rose to the rank of brigadier general of the militia of his division. He served in the General Assembly for fifteen years. Elected to the House of Commons in 1779, he became a member of the House Committee of Claims and served many military petitions for land grants. In 1784, Hargett began his ten-year service in the state senate. There he fought corruption of local officials, officiated on the Council of State, and served many petitions of soldiers of the Continental line. He was a member, and eventually became chairman, of the committees of Claims, Propositions and Grievances, and Privileges and Elections. Hargett attended the state constitutional conventions of 1788 and 1789, at which he was an active Anti-Federalist. He was also one of nine commissioners appointed to select the exact site and lay out the capital city of Raleigh.
Noted for his concern about public education in the state, Hargett was named as one of the original trustees of The University of North Carolina. He headed the trustees' committee in choosing New Hope Chapel (now Chapel Hill) as the site of the university. Hargett was active as a trustee for many years. He also donated land for a public school in Onslow County.
The local activities of the Jones County planter were numerous. During his lifetime, he served as registrar, justice of the peace, chairman of the county court, and town commissioner of Trenton.
Hargett married Penelope Miller, the sister of Daniel Miller, a Continental soldier. She was the great-grand-daughter of Jacob and Catherine Miller, Palatine colonists. The Hargetts had five sons and three daughters: Frederick, Jr., William, John, Abner, and Daniel (named for Daniel Miller), Philipine Brook, Susannah Westbrook, and Betsy Bryan.
Moses Amis, Historical Raleigh (1913).
John L. Cheney, Jr., ed., North Carolina Government, 1585–1974 (1975).
Walter Clark, ed., State Records of North Carolina, vols. 11–13, 17–25 (1895–1906).
R. D. W. Connor, A Documentary History of the University of North Carolina, vol. 1 (1953).
Zoe Hargett Gwynn, Abstracts of the Records of Jones County, 1779–1868 (1963).
Ernest Haywood Collection (Southern Historical Collection, University of North Carolina Library, Chapel Hill).
Sybil Hyatt, comp., "Hargett-Thompson, Onslow County, North Carolina" (typescript, North Carolina Collection, University of North Carolina Library, Chapel Hill).
Hugh Talmage Lefler and Albert Ray Newsome, North Carolina: The History of a Southern State (1973).
New Bern Herald, 29 Jan. 1810.
North Carolina Secretary of State, North Carolina Troops in the Continental Line (1884?).
Fred A. Olds, Abstracts of North Carolina Wills, 1760–1800 (1925).
William C. Pool, "An Economic Interpretation of the Ratification of the Federal Constitution in North Carolina," North Carolina Historical Review 27 (1950).
Treasurer and Comptroller's Papers (North Carolina State Archives, Raleigh).
Additional Resources:
Letter to Frederick Hargett to Richard Caswell. Hargett, Frederick, ca. 1742-1810. August 02, 1777. Volume 11, Page 554, Documenting the American South, UNC Libraries: https://docsouth.unc.edu/csr/index.html/document/csr11-0451
Letter from Frederick Hargett to Richard Caswell. Hargett, Frederick, ca. 1742-1810, August 1787. Volume 19, Page 1001, Documenting the American South, UNC Libraries: https://docsouth.unc.edu/csr/index.html/document/csr19-0090
1 January 1988 | Robinson, Catherine L.
This was my grandfather not
This was my grandfather not sure how many greats it is but my father is named Alfred Abner Hargett jr. and we had a aunt that was a genealogist and trace our heritage all the way back to leaving Germany sailing out of Amsterdam and arriving in American.History is awesome and this is a accurate write up.
My 6th great grandfather was
My 6th great grandfather was Johann Heinrich Herget (later changing his name to John Henry Hargett, Sr.). He, too, left Amsterdam. He arrived in Philadelphia on Oct 2, on a ship named Jacob. He was also a Palatine Christian.
I wonder if he and Fredrick were brothers or cousins?
That is my great great great
That is my great great great great grandfather. My mother is a Hargett. How exactly are you related?
My Kin. My father was a
My Kin. My father was a bombarder Raido operator navigator on the 5 B29 Super Fortresses in his rotation from Tinian and Sipan, and Okinowa Islands.
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Mediatrace: A Better Traceroute that Does the Walking for You
The classic traceroute tool has become an essential tool for network engineers. Traceroute is able to discover layer-3 nodes (routers) along the path towards a destination. This information provides operators with visibility about the path towards a destination.
However, there are limitations to traceroute such as issues with traceroute following the right path (as it's IP source address might be different), no layer-2 (switches and bridges) discovery and really only a single piece of information is returned (IP address of the router).
With mediatrace, which shares the IP header of the flow you would like to trace, you can have much better path congruency—and confidence in the discovery. The mediatrace will also not only discover the routers (as with traceroute), but also switches that are only doing layer 2 forwarding.
Mediatrace does not need to be enabled on every hop. If it is not enabled on node, the mediatrace packet will simply be forwarded through that part of the network. This is exactly what would happen in the case of your traditional MPLS-VPN network.
Now for the best part! Mediatrace can dynamically engage the performance monitor feature we talked about a few weeks ago. This allows a dynamic surgical monitoring policy to be applied for the flow we are tracing that results in hop by hop performance measurements such as loss and jitter. As is the case with all mediatrace runs, the information is brought back into a single report where it can be quickly analyzed.
Despite the name, mediatrace is not only for voice/video flows. It is able to trace any IP flow, and is even able to engage performance monitor to gather hop by hop TCP stats.
Mediatrace is a new tool that cisco released in IOS 15.1(3)T for the ISR platforms as part of the medianet program. Over the course of 2011, this feature will proliferate across cisco's enterprise line of routers and switches.
Mediatrace Configuration Guide
In an effort to keep conversations fresh, Cisco Blogs closes comments after 60 days. Please visit the Cisco Blogs hub page for the latest content.


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Breathing is key.
Breathing is key.
During a training exercise at a demolitions range aboard Camp Lejeune on Wednesday morning, Marines of 8th Engineer Support Battalion demonstrated how to breach obstacles such as doors and walls. The group also learned about field-expedient charges, such as handmade shape charges, claymores and Bangalore charges designed to eliminate armored targets, concertina wire obstacles and personnel.
The training consisted of building the charges, determining a safe stand-off distance through complex mathematical equations and detonating the explosives, all of which had a one-minute fuse.
Given the close proximity Marines sometimes have to the explosives, they all must remember to leave their mouth open and breathe out when the explosive detonates or they run the risk of having the wind knocked out of them, according to Marine Cpl. Brian Fagan, an assistant squad leader with 8th ESB.
When something explodes, it sends out ripples of energy, Fagan explained. Marines can feel the compressed air around them called �overpressure.� By exhaling during the explosion, Marines offset the overpressure while also preventing air from entering their lungs.
For Marine Cpl. Cory Penney, a logistics clerk with 8th ESB, the demolitions range was a first.
Penney was nervous while handling the explosives and even flinched at times while cutting and tying knots in the materials � a normal reaction, he said, for Marines due to the destructive nature of the material.
�Today was the first time I got to see explosives in action,� Penney said. �Anybody inside of anything you use an explosive on isn�t going to feel good after it goes off. The surprise factor this brings and the effects of the explosive are remarkable.�
Prior to Penney �popping smoke� on the explosives he was able to watch other Marines detonate their explosives, which, along with guidance on the range, he said made him feel at ease.
Marines who will handle explosives as part of their specialty are taught in their entry level school on how to properly handle, measure and calculate how much distance should be kept between them and a detonating explosive to ensure their safety, which is also known as stand off.
Building explosives is a very precise sequence of events, Fagan said, adding that if you use too much or if your math is off you can cause bodily injury to friendly forces or cause excess structural damage making it unsafe to enter at the breach point.
The math is calculated by determining how many grains of explosive will be used in the charge. The number of grains then dictates how much stand off a Marine must have between him and the blast. Each standard charge will have a consistent grain count and has a set stand off making it easy for Marines to remember how far away to stand for each type of charge.
�Since today�s battlefield is mostly urban in Iraq and Afghanistan, a lot of times insurgents will hide out in a building making it hard to get to them behind locked doors and such,� Fagan said. �You have to have a way to get through that door or wall, and explosives offer that opportunity.�
In Afghanistan, Fagan said that field-expedient charges such as shape charges are not commonly used due to the style of fighting the Taliban uses against coalition forces. Part of being a Marine, he said, is being prepared for any situation that may arise, which is the main reason they practice unconventional demolitions �so that they are proficient and don�t accidentally kill themselves or the Marines around them.
�You can pretty much breach anything with explosives � it�s one of the most versatile weapons we have,� said Marine Cpl. Brett Lowery, a combat engineer with 8th ESB. �In traditional warfare we can breach anything from concertina wire to roofs. The only limit is your own imagination.
�Explosives can�t be stopped.�
The biggest added benefit to using explosives, according to Lowery, is the �shock and awe� effect it has on the enemy. Kicking in a door isn�t nearly as violent or fun, he said, and explosives have more possibility of scaring, wounding or killing the enemy than a traditional entry.
�By the time (the enemy) recovers from the explosion you�re already in the building capitalizing on the situation,� he said. �Explosives are nothing to play around with ... and when used in the right hands by a proficient Marine, they will result in mission accomplishment with lowered risk.�
Contact Daily News Military Reporter Thomas Brennan at 910-219-8453 or email@example.com. Follow him on Twitter @ thomasjbrennan.


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S.R. Crown Hall
Commission brief: The groundwork for S.R. Crown Hall was set when Mies van der Rohe devised his master plan for the new IIT campus in 1941, which included a site for the "Architecture and Applied Arts Building." The new home of the architecture department, of which Mies was director at the time, was the last of 19 buildings to be constructed by the renowned architect at IIT. The official commission for the "Department of Architecture and Institute of Design" building came from the Buildings and Grounds Committee in February 1950.
Design brief: Mies experimented with several schemes for Crown Hall before settling on the final design for a clear-span structure. In the first dated drawings from May 24, 1952, the building elevation was similar to that of his earlier campus buildings of brick, steel, and glass. The building footprint conformed to the 24-foot grid that dictated the layout of his campus master plan. The design called for a ground floor, basement, and mezzanine to house the building functions. The structural design consisted of a simple steel post and beam system, though unlike Mies' other IIT buildings, the perimeter columns were not fully expressed on the brick and glass façade. The early concept for Crown Hall shared many similarities with Mies' un-built design for the IIT Library and Administration Building. However the extent to which Mies contributed to the original scheme is unknown since its purpose was mainly for fundraising. Several variations of the early design existed, in which modifications were made to the exterior glazing and outward expression of the structure. Mies also conducted numerous space planning studies for the Department of Architecture and Institute of Design.
In the next dated drawings from November 10, 1952, the building broke away from Mies' campus plan and earlier IIT buildings. The building footprint abandoned the regular campus grid and adopted a 10-foot module. The cladding materials excluded brick and instead used just steel and glass. Perhaps most notably, the roof girders and exterior columns for the clear-span structure were introduced into the design. Mies had previously experimented with the use of exterior truss supports and uninterrupted spaces in his designs for the Cantor Drive-In, IIT's Student Union Building, and the Manheim Theatre Competition. Though the three projects were never built, they undoubtedly contributed to the final scheme for Crown Hall. Several versions of the structural design showed between 4 and 6 exterior trusses, however Mies eventually settled on 4 solid steel girders to support the building. The reasons for using girders rather than trusses were likely both aesthetic and practical, as trusses were unnecessary to support the span and would have been more difficult and expensive to fabricate.
Mies presented his drawings and a model to the Buildings Committee on November 25, 1952, where his design was declared "of such an extreme nature…a most advanced design." As proposed, the new design exceeded the $500,00 budget, causing the project to be delayed until the following spring. The project resumed with two alternate floor plans in the next dated drawings from June 1, 1953. Mies completed several layouts for the building, in which he experimented with the number of window modules and overall footprint, possibly to fulfill his design process or to reduce the cost of the project. The plan for the main hall was essentially fixed by then end of June 1953, however the arrangement of the basement spaces was not set until sometime that fall. Fundraising for Crown Hall continued through the following year, though little changes were made to the building during that time. A $250,000 donation by the Crown family in the name of Sol R. Crown provided the source for the name of the building. On June 11, 1954 Mies was directed to precede with the design drawings, and on September 2, 1954 the Buildings Committee approved them.
Building/construction: Following their approval, Mies' design drawings were sent to PACE Associates, an associate architecture firm responsible for completing the construction documents and overseeing construction. The construction drawings were distributed to several contractors in November 1954. Twelve bids were submitted, with the award going to Dahl-Stedman Company. Separate contracts were commissioned for work on the mechanical and electrical systems. Groundbreaking ceremonies for Crown Hall were held on December 2, 1954, and construction began soon after. David Haid served as the project architect for Mies' office, with PACE Associates overseeing daily construction activities. Assembly of the steel structure began in the spring and continued into the summer. A basement fire on March 25, 1955 caused significant damage and delayed construction by several weeks. By July 1955 the steel structure was in place and ready for glazing. Mies continued to rearrange the interior spaces in the main hall throughout the construction process. The final arrangement for the partitions was set by August 1955. Other changes during construction included the installation of sprinklers in the main hall, which was required once the city learned that the space was intended for educational purposes and not simply exhibition space. Though construction was not yet complete, most of the building was occupied by November 1955. The official dedication of Crown Hall took place on April 30, 1956 in a ceremony featuring speeches by architect Eero Saarinen, industrial designer Henry Dreyfuss, and city planning consultant Walter H. Blucher. Speaking on the greatness of Crown Hall, Saarinen declared: "It is fitting that in this city architecture should be taught in the proudest building of this campus. It is time that architectural education came out of the dingy attics of the past into this serene temple of the present."
Crown Hall is one of 19 modern buildings designed by Mies van der Rohe for the Illinois Institute of Technology. As the last project to be completed for Mies master plan, Crown Hall departs from his earlier campus buildings in its proportion, structure, and materials.
Exterior: The building is arranged on a 10-foot module, unlike Mies' other IIT buildings that derive their scale from a 24-foot grid. The steel and glass hall measures 120 feet by 220 feet and is divided lengthwise into three 60-foot bays with a 20-foot overhang on each end. It is supported by an advanced structural system of four 6-foot deep exposed girders and perimeter columns, from which the roof is essentially suspended. All steel is painted black, and all joints are field welded to provide a near seamless appearance. Centered atop the roof is a 6-foot tall penthouse. The exterior walls are clad entirely in glass, with vertical steel I-beams spaced at 10-foot intervals supporting the expansive panels. The glazing is divided into three horizontal sections by steel mullions. The upper layer is transparent and runs from the top of the wall down to a height of nearly 8 feet above the main floor. The middle layer is translucent, except in the center bay, and is further divided into two vertical sections. Below the translucent lights are 8-inch high louvered vents that provide ventilation to the main hall. The lower layer of glazing runs from ground level to the main floor and supplies natural light to the basement. Crown Hall rests on a flat lawn planted with trees and ivy. The main entrance is on the south side of the building. Travertine stairs and a platform that seem to float above the ground serve as the approach for two pairs of Ellison stainless steel doors. Only thin metal handrails, a later addition, provide a sense of grounding. A secondary entrance on the north elevation mirrors that on the south, with two sets of cast concrete steps and a travertine landing leading to a second pair of Ellison doors. Two exterior entrances are also provided for the basement level on the north side.
Interior: The building comprises two floors, with the main hall raised 4 feet above grade to allow for clerestory windows in the basement. Due to the nature of the building's structure, the main hall becomes a column-less universal space, perhaps the greatest ever designed by Mies. There are no formal divisions of space in the 18-foot tall room. Rather areas are sectioned off with freestanding wood partitions that only rise to about 8 feet, allowing for an uninterrupted overall view of the hall. Only two vertical chases extend all the way from floor to ceiling. A 1-foot wide soffit surrounds the perimeter of the ceiling, making it appear as though it is detached from the walls and floating above the space. The white acoustic ceiling tile is a sharp contrast to the black terrazzo floor. Thin metal handrails distinguish the two cast terrazzo staircases that penetrate the floor and lead to the lower level. Though less architecturally significant to the overall composition of the building, the basement provides space for service facilities and other operations that require more formalized division. Rooms are arranged around a main stair hall and two corridors, which share the same terrazzo floor as the upper level. The walls are almost entirely concrete block, and the concrete slab of the floor above serves as the ceiling in most areas.
This building is a part of the Illinois Institute of Technology campus.
Visual relations: Crown Hall was one of 19 buildings designed by Mies van der Rohe for his master plan for the IIT campus. Among his other buildings were Perlstein Hall (1945-1946), Alumni Memorial Hall (1945-1946), Wishnick Hall (1945-1946), and Siegal Hall (1945-46, 1956-1957). Completed situation: Crown Hall was intentionally situated within the IIT campus on an open lawn, visually isolated from its surroundings by sidewalks on all sides. Alfred Caldwell designed the landscaping around the building, which included Honey Locust trees and Boston ivy.
Original situation or character of site: The site for Crown Hall was created as part of a 120 acre campus master plan for IIT, following the merger of the Lewis and Armour Institutes in 1940. The campus was located on the site of the former Armour Institute and incorporated several of its older buildings into the design, including Machinery Hall (1901).
Present context: In 1996, architect and Mies' grandson Dirk Logan created a new master plan for IIT that proposed restoring the main components of Mies' plan and constructing several new buildings on the campus. The McCormick Tribune Campus Center, a dramatic addition to the campus design by renowned architect Rem Koolhaas, was opened in 2003. The State Street Village residence hall, a state-of-the-art student living environment by architect Helmut Jahn, was completed in the same year. Crown Hall and Wishnick Hall, another of Mies' designs, were pinpointed for restoration as part of the campus revitalization. With two phases of renovation complete at Crown Hall, a third stage is planned to reduce the overall energy use of the building. An automated building management system will be installed to control all of the engineered systems. Automated blinds will be added to take advantage of opportunities for natural light, and the original heating system beneath the floor will be retrofitted to provide cooling as well.
The clear-span, steel and glass construction of Crown Hall epitomized the Modernist values of structural clarity, material innovation, and adaptable space. The ingenious use of rooftop girders supported by perimeter columns represented the "first large-scale realization of Mies' concept for a…universal space building."5 Crown Hall admitted to its complete reliance on its structural system by placing the structural elements at the center of its design and leaving them entirely exposed. The glass curtain wall eliminated any question about how the building was supported. It allowed the building to be honestly understood from both inside and out and promoted Mies' philosophy of "almost nothing."
The plan for Crown Hall offered a radical alternative to traditional school building design, much like Mies' teaching theories advanced the field of architectural education in the United States. As director of the IIT Department of Architecture, Mies completely transformed the curriculum of the program, incorporating into it both his own personal philosophy and the ideals transferred to him during his time at the Bauhaus. At Crown Hall, Mies' collaborative teaching methods were transformed into a physical reality. Specifically in the main hall, he created cooperative environment in which students and faculty were encouraged to interact openly with one another. The glass-walled, column-less space sought to further the architectural pursuits of its inhabitants by allowing for the free flow of light, air, conversation, and creativity.
As conceived, Crown Hall carefully combined function and appearance into one harmonious composition. The clarity and rationality of the design hinged on an honest expression of structure, unobstructed through the use of exterior glazing. Its delicate proportion, rhythm, and visual purity were expressed both inside and out, using only the most basic elements, minimalist materials, and simplest details. Mies himself described the building as "the clearest structure we have done, the best to express our philosophy." Crown Hall demonstrated that steel and glass could be combined to create a sophisticated design that remained visually and functionally true to its purpose and structure. From its conception, Crown Hall was recognized as an exemplary model of the International Style and the Modernist Movement. It received great praise from individuals, architects, and several of the most notable journals of the time. A 1956 article in Architectural Forum expressed the magnitude of Crown Hall, declaring "the structural clarity of IIT's newest building is unlikely ever to be surpassed in steel." Its combination of structure, materials, and adaptable space advanced the possibilities of Modernist values in steel and glass construction, thereby meriting continued attention by current architectural practice.
Crown Hall was part of a series of studies in steel, glass, and clear-span spaces by Mies. Beginning in the mid-1940s, he played with the ideas of universal space and exterior structure in his designs for the Cantor Drive-In, IIT's Student Union Building, and the Manheim Theatre Competition, though none were ever constructed. At Farnsworth House (1947-1951), Mies was able to transform these notions into a physical reality. The rural house consisted of one room, interrupted by only a service core, with glass walls that nearly eliminated the barrier between interior and exterior. It should be noted that other architects of the time were adopting similar ideas, such as Philip Johnson with his Glass House (1949). At Crown Hall, Mies adapted the same fundamental principles to a much larger scale, setting a precedent for spatial and structural possibilities. His later work at the Federal Center Post Office in Chicago (1959-1974) and the National Gallery in Berlin (1962-1968) pulled inspiration from Crown Hall.
Graham Resource Center, S.R. Crown Hall, 3360 South State Street, Chicago, IL 60616
IIT Archive, Paul V. Galvin Library 35 West 33rd Street, Chicago, IL 60616
IIT Facilities Department Machinery Hall, 100 West 33rd Street, Chicago, IL 6061
Chicago Historical Society 1601 North Clark Street, Chicago, IL 60614
The Ryerson and Burnham Libraries, Art Institute of Chicago, 111 South Michigan Avenue, Chicago, IL 60603
The Museum of Modern Art 11 West 53rd Street, New York, NY 10019
The Canadian Center for Architecture 1920, rue Baile, Montreal, Quebec, Canada H3H 2S6
The following list of publications is an expansion of the bibliography obtained from the Historic Structures Report conducted by McClier Preservation Group in 2000.
Spaeth, David A. Ludwig Mies van der Rohe: An Annotated Bibliography and Chronology. New York: Garland Publishing, Inc., 1979.
Vance, Mary. Ludwig Mies van der Rohe: Selected Journal Articles Published 1970-1986. Monticello, IL: Vance Bibliographies, 1987.
Books and catalogues
Achilles, Rolf and Charlotte Myhrum. Guide to the Campus of the Illinois Institute of Technology. Chicago: IIT, 1986.
Bach, Ira J., ed. Chicago's Famous Buildings. Chicago: University of Chicago Press, 1980.
Banham, Reyner. Age of the Masters: A Personal View of Modern Architecture. New York:Harper & Row, Publishers, 1975.
Berger, Miles L. They Built Chicago: Entrepreneurs Who Shaped a Great City's Architecture. Chicago: Bonus Books, Inc., 1992
Better Buildings, Better Industrial Design and Better Cities: How Illinois Institute of Technology
Proposes to Help Up-Date the Physical Patterns of Our Time. Chicago: IIT, 1954.
Blake, Peter. The Master Builders. New York: Alfred A. Knopf, 1960.
Blaser, Werner. Mies van der Rohe. Berlin: Birkhauser Verlag Basel, 1997.
Blaser, Werner. Mies van der Rohe: Continuing the Chicago School of Architecture. Stuttgart: Birkhauser Verlag Basel, 1981.
Blaser, Werner. Mies van der Rohe: Crown Hall. Basel; Boston: Birkha?user, 2001.
Blaser, Werner. Mies van der Rohe: IIT Campus, Illinois Institute of Technology, Chicago. Basel; Boston: Birkha?user, 2002.
Blaser, Werner. Mies van der Rohe: Less is More. Zurich: Waser, 1986.
Blaser, Werner. Mies van der Rohe: The Art of Structure. New York: Watson-Guptill Publications, 1993.
Blaser, Werner. West Meets East – Mies van der Rohe. Berlin: Birkhauser Verlag Basel, 1996.
Carter, Peter. "Mies van der Rohe." In The Rationalists: Theory and Design in the Modern Movement. ed. by Denis Sharp, New York: Architectural Book Publishing Company,1979, 59-71.
Carter, Peter. Mies van der Rohe at Work. London: Pall Mall Press, 1974; reprint, London: Phaidon Press Limited, 1999.
Cohen, Jean Louis. Mies van der Rohe. London: E & FN Spon, 1996.
Condit, Carl W. Chicago 1930-70: Building, Planning, and Urban Technology. Chicago: University of Chicago Press, 1974.
Converging Visions: The Making of a University. Chicago: IIT Press, 1991.
De Sola-Morales, Ignasi. Differences: Topographies of Contemporary Architecture. Cambridge: MIT Press, 1997.Dedication Ceremonies: S.R. Crown Hall, Dedicated to the Advancement of Architecture, Design, and City and Regional Planning. Chicago: IIT, 1956. Domer, Dennis, ed. Alfred Caldwell: The Life and Work of a Prairie School Landscape Architect. Baltimore: Johns Hopkins University Press, 1997. Drexler, Arthur. Ludwig Mies van der Rohe. New York: George Braziller, Inc., 1960. Glaeser, Ludwig. Global Architecture: Mies van der Rohe. ed. Yukio Futagawa, Tokyo: A.D.A. Edita, n.d. Harrington, Kevin. "Order, Space, Proportion – Mies's Curriculum at IIT." In Mies van der Rohe: Architect as Educator. ed. Rolf Achilles, Kevin Harrington and Charlotte Myhrum, Chicago: University of Chicago Press, 1986. Heald, Henry. "Mies van der Rohe at I.I.T." In Four Great Makers of Modern Architecture. New York: Da Capo Press, 1970. Hilberseimer, Ludwig. Contemporary Architecture: Its Roots and Trends. Chicago: Paul Theobald and Company, 1964. Hilberseimer, Ludwig. Mies van der Rohe. Chicago: Paul Theobald and Company, 1956.
Holt, Glen E. and Dominic A. Pacyga. Chicago: A Historical Guide to the Neighborhoods. Chicago: Chicago Historical Society, 1979. Illinois Institute of Technology: Its Purpose and Its History. Chicago: IIT, 1970. Illinois Institute of Technology: Main Campus Guide. Chicago: IIT, 1996. Johnson, Philip C. Mies van der Rohe. New York: Museum of Modern Art, 1978. Macauley, Irene. The Heritage of Illinois Institute of Technology. Chicago: IIT, 1978.
Mertins, Detlef, ed. The Presence of Mies. Princeton, NJ: Princeton Architectural Press, 1994. Mies van der Rohe. Library of Contemporary Architects, New York: Simon and Schuster, 1970. Mies van der Rohe, European Works. New York: St. Martin's Press, 1996. Neumeyer, Fritz. The Artless Word: Mies van der Rohe on the Building Art. trans. Mark Jarzombek, Cambridge, MA: MIT Press, 1991. Pommer, Richard, David Spaeth and Kevin Harrington. In the Shadow of Mies: Ludwig Hilberseimer Architect, Educator, and Urban Planner.Chicago: Art Institute of Chicago (in association with Rizzoli International Publications), 1988. Scully, Vincent. American Architecture and Urbanism. New York: Henry Holt and Company, 1988. Shulze, Franz. Illinois Institute of Technology: the Campus Guide, an Architectural Tour. New York: Princeton Architectural Press, 2005. Schulze, Franz. Mies van der Rohe: A Critical Biography. Chicago: University of Chicago Press, 1985. Schulze, Franz. Mies van der Rohe: Interior Spaces. Chicago: The Arts Club of Chicago, 1982. Schulze, Franz, ed. The Mies van der Rohe Archive. New York: Garland Publishing, Inc. 1992. Sinkevitch, Alice, ed. AIA Guide to Chicago. New York: Harcourt Brace & Company, 1993. Spaeth, David. Mies van der Rohe. New York: Rizzoli International Publications, Inc., 1985.Speyer, James A. Mies van der Rohe. Chicago: Art Institute of Chicago, 1968.Technology Center Today and Tomorrow. A Building and Expansion Program to Transform Today's Outgrown Campus of Illinois Institute of Technology into a Modern Center of Technological Education and Research. Chicago: IIT., n.d. Newman, M.W. "Mies van der Rohe." In Three Centuries of Notable American Architects. ed. Joseph J. Thorndike, New York: American Heritage Publishing Co., 1981. Zukowsky, John. Mies Reconsidered: His Career, Legacy, and Disciples. Chicago: Art Institute of Chicago in association with Rizzoli International Publications, Inc., 1986. Encyclopedias Lampugnani, Vittorio M., ed. The Thames and Hudson Encyclopedia of 20th Century Architecture. Thames and Hudson, 1989. "Mies van der Rohe."
Journals and magazines
Becker, Lynn. "Crown Jewel: IIT's Mies Centerpiece is Restored." Metropolis. vol. 25, no.4 (2005): 116-117.
Biemiller, Lawrence. "On Campus with 20 Mies Buildings, One Masterpiece." Chronicle of Higher Education (1986).
Bluestone, Daniel. "Chicago's Mecca Flat Blues." Journal of the Society of Architectural Historians vol. 57 no. 4 (December 1998): 382-403.
Domer, Dennis. "Alfred Caldwell." Catalyst vol. 8 no. 2 (1998): 8.
Furlong, William Barry. "The Expanding World of IIT." Chicago (Winter 1967): 56-63. "IIT Dedicates Crown Hall, New Design Building by Mies."
Architectural Forum no. 104 (June 1956): 17,21.
"Gilbert, Douglas. Á Universal Space with Worldwide Appeal: Mies van der Rohe's Crown Hall." Historic Illinois. vol. 24, no. 4 (2001): 3-9.
Hart, Sara. "The Perils of Restoring 'Less is More'." Architectural Record. vol. 194, no. 1 (2006): 149.
"Illinois Tech Re-plans 16 City Blocks." Architectural Forum no. 85 (September 1946): 102-3.
Keegan, Edward. "A Twenty-First-Century Mies." Architecture. vol. 94, no. 9 (2005): 25-28.
Kuh, Katharine. "Mies Van Der Rohe: Modern Classicist." SR (23 January 1965): 22-23, 61.
Lambert, Phyllis. "Mies's Student Union." ANY Magazine no. 24 (1999): 52-53.
"Less than 50 Years Old, IIT's Crown Hall Among 15 Sites Named National Historic Landmarks." Architectural Record. vol. 189, no. 10 (2001):
"Mies' Enormous Room." Architectural Forum no. 105 (August 1956): 104-111.
"Mies Hangs a Roof." Architectural Forum no. 101 (July 1954): 48.
"Mies van der Rohe." Architectural Record (August 1956): 134-139.
Nelson, George. "Buildings to Come." Architectural Forum no. 76 (February 1942): 14.
Rowe, Colin. "Neoclassicism & Modern Architecture: Part II." Oppositions 1: A Journal for Ideas And Criticism in Architecture (September 1973): 14-26.
Bey, Lee. "Alfred Caldwell, Landscape 'Genius.'" Chicago Sun Times, 9 July 1998: 60.
Bey, Lee. "Crown Jewel: Van der Rohe Building May Get Landmark Status." Chicago Sun Times, 2 October 1996: 4.
Bey, Lee. "IIT Project Puts New Face on 'Inner City.'" Chicago Sun Times, 10 February 1998.
Bey, Lee. "The FBI's File on Mies van der Rohe." Chicago Sun-Times, 19 April 1999: 14.
"Crown Family Pledges $1 Million to Support College of Architecture, Planning, and Design."
IIT Alumni News, vol. III no. 4 Spring 1985.
Heald, H.T. "President Heald Announces Gift From Mrs. J. Ogden Armour at Banquet Honoring Mies Van Der Rohe." Armour Engineer and Alumnus, vol. 4 no. 2 December 1938.
Jawny, George. "S.R. Crown Receives A.C." Technology News, 21 April 1986: 1.
Kamin, Blair. "Crown Hall Dazzles in Mies Simplicity." Chicago Tribune, 21 Aug 2005.
Thomas, Jerry. "Landmark Status Closer for Mies Building at IIT." Chicago Tribune, 27 April 1997: 8.
Van Der Rohe, Ludwig Mies. "Mies Van Der Rohe's Address, Delivered at Banquet Held in his Honor." Armour Engineer and Alumnus, vol. 4 no. 2 December 1938.
Reports and studies
Commission on Chicago Landmarks. "S.R. Crown Hall, Illinois Institute of Technology, 3360 S. State St.," ed. Timothy Barton, October 1996.
Fujikawa Johnson & Associates, Inc., et. al., "S.R. Crown Restoration Study – 97," May 1998.
Harboe, T. Gunny. "S.R Crown Hall Historic Structure Report." McClier Preservation Group, 2000.
Illinois Roof Consulting Association, Inc. "Roof Rehabilitation at Crown Hall, Illinois Institute of Technology, Chicago, Illinois," 13 August 1998.
Michael Van Valkenburgh Associates, Inc. in association with Peter Lindsay Schaudt Landscape Architecture, Inc. "IIT in the Landscape: 1999
Illinois Institute of Technology West Campus Landscape Master Plan. After Mies and Caldwell: A Report to the Mies Committee," 1999.
kidmore, Owings, and Merrill. "IIT Campus Master Plan," n.d.
Skidmore, Owings & Merrill. "Illinois Institute of Technology Crown Hall Renovation Feasibility Study," February 1974.
Thomas, Eric. "S.R. Crown Hall." National Register of Historic Places Registration Form. National Park Service, October 2000.
"Crown Hall Restoration Awarded Project of the Year." Mies Society. (http://mies.iit.edu/news/">http://mies.iit.edu/news/)
"Crown Hall." City of Chicago Department of Planning and Development, Landmarks Division. (http://www.ci.chi.il.us/Landmarks/C/CrownHall.html"
"Main Campus Master Plan: Crown Hall." Illinois Institute of Technology. (http://masterplan.iit.edu/crown.html)
"Mies at IIT." Illinois Institute of Technology College of Architecture. (http://www.iit.edu/colleges/arch/)


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The State of Music Online: Ten Years After Napster
At the ripe old age of ten, the current incarnation of the Napster music service scarcely resembles its former bawdy self. If the original Napster was a loud, raucous garage band made up of drunken college students, the present offering is what happens when the band sobers up, signs to a major label, and starts house hunting.
Long gone are the days of free-flowing music from the vine of central servers. Today's Napster requires a grown-up kind of commitment: a credit card and a monthly subscription. It also faces stiff competition; while Napster morphed from its lawless larval stage to a dues-paying music service, consumers in search of free content have had their pick of surviving peer-to-peer applications and torrent sites that more than make up for the loss of the original rogue site.
The current economic climate makes music an even tougher sell. In today's economy, how do you compete with free? While it may seem counterintuitive, some experts see consumers' insatiable appetite for free content as an opportunity rather than a cause for concern. Chris Anderson, author of The Long Tail and Editor-in-Chief at Wired ignited a fiery debate among the technology and entertainment community recently when he published an article touting free content as the key to earning income in the digital age. His article, titled, "Free! Why $0.00 Is The Future Of Business," argues that when digital content approaches zero marginal cost to distribute, the more you give away for free, the more you can sell to the small segment of consumers who are willing to pay for premium content.1
For today's Napster, that means that along with the unlimited streaming capability that a monthly $5.00 subscription fee buys, the listener also scores five "free" digital downloads with no strings attached. For some artists, Anderson's scenario translates into giving away the entire album for free in hopes that fans will pay for concert tickets or limited access to live streaming video from the road. What's clear at this point in the evolution of the music business is that there is no clear business model. In the internet age, selling recorded music has become as much of an art as making the music itself.
While the music industry has been on the front lines of the battle to convert freeloaders into paying customers, their efforts have been watched closely by other digitized industries—newspapers, book publishing and Hollywood among them—who are hoping to staunch their own bleeding before it's too late. And if the music market is any indication of how consumer expectations will evolve elsewhere, the demands for free content will extend far beyond the mere cost of the product.
In the decade since Napster's launch, digital music consumers have demonstrated their interest in five kinds of "free" selling points:
- Cost (zero or approaching zero),
- Portability (to any device),
- Mobility (wireless access to music),
- Choice (access to any song ever recorded) and
- Remixability (freedom to remix and mashup music)
All of this makes for a tall order, but if history is any guide, music consumers usually get what they want.
Free music makes the network wealthy
As researchers look back on the first decade of the 21st Century, many will no doubt point to the formative impact of file-sharing and peer-to-peer exchange of music on the internet. Distributed networks of socially-driven music sharing helped lay the foundation for mainstream engagement with participatory media applications. Napster and other peer-to-peer services "schooled" users in the social practice of downloading, uploading, and sharing digital content, which, in turn, has contributed to increased demand for broadband, greater processing power, and mobile media devices.
Internet scholar Lawrence Lessig has even gone so far as to argue that music was the most important catalyst to early adoption of the internet. As he notes in Free Culture, "The appeal of file-sharing music was the crack cocaine of the Internet's growth. It drove demand for access to the Internet more powerfully than any other single application." 23
Media analysts now broadly use the term, "Napsterization" to refer to a massive shift in a given industry where networked consumers armed with technology and high-speed connectivity disrupt traditional institutions, hierarchies and distribution systems. And in many cases, those consumers have come to expect that a digitized version of a product—such as news, movies or television shows—should be available online for free.
Yet, the current reach of this Napsterization effect extends far beyond the media industry; patients are sharing peer-to-peer expertise on coping with medical conditions and are engaged in efforts to gain free access to vaulted personal health records, citizens are networking to increase oversight of politicians and are demanding unfettered access to government data. Even online daters—one of the few segments of the internet universe willing to pay at the gates of the walled garden—are circumventing the paid services and connecting directly via free social networking sites.
Partying like it's 1999—until the subpoenas come in
Music critic Sasha Frere-Jones has referred to the plight of the music industry as the "canary in the economic coal mine," citing it as "a small example of the enormous financial buckling that is now global."24 If the music business was the canary, then the MP3 was its carbon monoxide, choking an industry that had built its empire on the clean, regulated air of analog music products. First, music went digital. Then the MP3 compression format shrunk those big music files into transportable size. After that, there was little hope of record companies making it out of the mine without some serious lung damage.
Napster arrived at a time when tightly controlled access to new music was still the norm. While online radio stations were starting to flourish, music lovers were becoming disillusioned with the homogenizing effects of terrestrial radio consolidation that was enabled by the 1996 Telecommunications Act. Their frustrations were made clear when the Federal Communications Commission reviewed these rules in 2003 and opened them up for public comment. The FCC received more than 15,000 letters, emails and other documents. This was one of the largest responses in FCC history, with most writing in to oppose further media consolidation.25 Before Napster, internet users had limited access to digital music through legitimate channels. After Napster's software allowed fans to share their entire catalog of music files online, the music ecology radically changed.
The revolutionary file-sharing application created by college student Shawn Fanning officially launched in June of 1999. By November, the file-sharing network had grown so popular that it had attracted the first of many peer-to-peer-focused lawsuits from the RIAA. And by the time the Pew Internet Project fielded its initial survey on music file-sharing in July 2000, nearly one in four adult internet users said they had downloaded music files, and most of them (54%) had used the Napster network to do so.26
The musical bacchanalia that consumers experienced at the height of Napster's popularity prompted many industry observers to declare record labels obsolete long before sales figures had shown any serious decline. A New York Times article that ran during the summer of 2000 described the scenarios put forth by industry experts:
In the none-too-distant future, techno-visionaries declare, musicians will not need record labels. Instead, they will market and sell recordings directly to fans over the Internet. Even the labels that manage to hang on to their artists will find their sales eviscerated by piracy. With free music available on the Web via Napster and other song-trading services, only fools will pay for songs.27
Yet, in 2009, there are plenty of fools among us, and the record labels are still hanging on to their broken strings. Granted, consumers aren't spending as much on music as they used to. Record sales for the music industry continue to decline; the latest reports from Nielsen indicated that total album sales, including albums sold digitally, fell to 428.4 million units, down
8.5% 14% from 500.5 million in 2007.28
And while digital album sales actually increased 32% during the same period—to a record 65.8 million units—they were still dwarfed by the 362.6 million physical units sold. Pew Internet Project data echoes these findings; the market for digital music is still in its infancy, and those who do continue to buy music still overwhelmingly choose CDs. According to our 2008 "Internet and Consumer Choice" report, just 13% of music buyers say their most recent music purchase was a digital download.29
At the same time, unauthorized file-sharing venues are still firmly rooted in the online music world. In a recent Pew Internet Project survey, 15% of online adults admitted to downloading or sharing files using peer-to-peer or BitTorrent.30 Globally, estimates from file-sharing research firm Big Champagne place the P2P universe at more than 200 million computers with at least one peer-to-peer application installed, and operators of the popular Pirate Bay torrent tracker have identified more than 25 million "peers" who have used their site alone to exchange files.31
And among that 13% of music consumers who do pay for downloads, there's no doubt that the eight-year-old iTunes service continues to dominate the market. Yet, as robust as the iTunes catalog may be, there are still surprising holes in the store's offerings. Popular artists such as AC/DC still do not have licensing deals with Apple, and many older albums from independent artists like Silver Sun have never made it to iTunes' digital shelves. Music fans in search of these recordings are still more likely to find them on peer-to-peer networks, torrent trackers, and eBay.
And then the suits dropped their suits…
Until recently, every frustrated fan who turned to unauthorized sources to acquire and share music faced the prospect of a lawsuit from the Recording Industry Association of America (RIAA). The industry's legal battle against individual file sharers spanned roughly five years, targeting more than 35,000 alleged file sharers in the U.S.32 However, at the end of that costly campaign, the challenge of plugging the P2P hole proved to be insurmountable, and critics largely viewed the litigation as ineffective.33 In the latest issue of the New York Law Journal, intellectual property expert Alan J. Hartnick offers one such negative assessment of the legal campaign, stating: "The lawsuits had little effect, as unlawful downloading continues."34 Also lost down the P2P hole was the reputation of the industry, now widely seen as one that sues its own customers and is out of step with current technology. "The record companies have created this situation themselves," said Simon Wright, CEO of Virgin Entertainment Group in a 2007 Rolling Stone article.35 More recently, a Boston Globe editorial echoed the popular sentiment that the industry missed their chance to harness the internet for music distribution with Napster:
Sharing music without permission is a violation of copyright, as the industry contends, but digital technology makes downloading music off the Internet inevitable. The industry missed an opportunity to turn informal file-sharing into a profit center when it failed to buy Napster, the first of the popular downloading services, when it had a chance in 2000.36
But for all of Napster's influence, it's easy to forget that the demographics of music buyers actually started to shift before Napster's launch. An eerily prescient article that ran in Billboard in April of 1999 reported that the record industry had seen a puzzling drop in music-buying by young listeners during the previous year. The biggest decrease was noted among the college-aged set (20- to 24-year-olds), who bought only about half as many recordings as their older brothers and sisters did in the decade prior.37 Hillary Rosen, head of the RIAA at the time, described the changes they had observed in the market:
Rosen says that the industry is facing an aging record-buying audience and must further stimulate younger listeners to own prerecorded music. "All of the surveys show that across the demographic, music is incredibly important," she says. "What we're finding is that the disconnect occurs between the importance of music in people's lives and their need to own it. We clearly have a task as an industry to re-energize the desire to own music among young people."
That the labels would eventually attempt to re-energize young people's desire to own music through lawsuits was predicted and warned against nearly three years before the campaign began. In May of 2000, Steve Sutherland, editor of nme.com and moderator at the NetSounds conference, predicted that high profile legal cases against individuals were inevitable, but foolhardy: "Let them sue an individual, I'm sure they will. It will backfire though. There will be such an outcry if an individual were prosecuted…."38
The industry met the outcries from music-sharing fans by arguing the morality of its case: Taking CDs from a record store was wrong, why should taking digital music online be any different? However, when artists spoke on the industry's behalf, they didn't always present a unified message that sharing music in any context without permission was wrong. While Metallica became the iconic anti-file-sharing band, there were many other artists who weren't so quick to decry the networks and the openness of the MP3 format.
As early as January 19, 1999, musical icons like David Bowie were singing the praises of the MP3 and the potential for fans to remix his music easily:
A few days ago a kid downloaded one of my songs from my Web site. He re-recorded it at home, changing the bits that he didn't like and then put up his version on his own site. The new version is written his way, with changes to the melodies and some of the lyrics and it is available as an MP3. It is unbelievable. If he can do that, imagine what can happen in the future.39
Of course, many music downloaders were more interested in simply acquiring music for free than they were remixing and sharing what might be considered transformative creations with the world. But even the "freeloaders" were not always shunned by the artists whose work was being shared. The rock band Wilco famously was one of the first acts to benefit tremendously from the promotional power of peer-to-peer. After being dropped by their label in 2001, the band decided to release their album, "Yankee Hotel Foxtrot," for free online. The resulting swarm of listening and sharing by fans ultimately convinced the label to offer the CD version of the album for sale in 2002. And while the band's previous recording, "Summerteeth" had sold just 20,000 copies, "Yankee Hotel Foxtrot" quickly surpassed the 500,000 mark. Shortly after, Jeff Tweedy, the lead singer of Wilco, began speaking out in support of file-sharing, expressing little patience for the Metallicas of the world: In a 2005 New York Times article, he suggested that downloading was an act of rightful "civil disobedience" and was quoted as saying, "To me, the only people who are complaining are people who are so rich they never deserve to be paid again."40
Artists' varied views on the impact of file sharing were also documented in Pew Internet's "Artists, Musicians and the Internet" report from 2004.41 While most artists we interviewed believed that unauthorized online file sharing was wrong, few felt the industry was in peril because of the networks. When asked about the threat peer-to-peer file-sharing posed to creative industries at the time, two-thirds of artists said the activity posed only a minor threat or no threat at all to them. Further, there were some major divisions among them about what constituted appropriate copying and sharing of digital files. Yet, among those who were both successful and struggling, the artists and musicians we surveyed were more likely to say that the internet had made it possible for them to make more money from their art than they were to say it had made it harder to protect their work from piracy or unlawful use.
And now, while it's hard to argue at present that the industry as a whole didn't suffer some serious losses due to Napster and its progeny, it's also hard to ignore those artists who have benefited from the shift in distribution and promotion that has emerged post-Napster. Megaband Radiohead launched one of the bolder experiments to date, self-releasing its "In Rainbows" album on October 10, 2007 for download from their website under a "pay what you can" model. So far, the album has sold over three million digital and physical copies—more than each of their previous two albums. Similarly, the band, Nine Inch Nails, self-released their, "Ghosts I-IV" album in March of 2008 in a variety of formats online. In addition to free files which the artists directly uploaded to file-sharing networks themselves, the band offered a $5 digital version and premium packages (including various limited-edition physical merchandise) that generated $1.6 million in just over a week's time.42 And although the entire album was available for free through a Creative Commons license, it eventually became the bestselling MP3 album at Amazon for all of 2008.43
Done Restricting Music: The end of DRM and the future of music online
The success of the Radiohead and Nine Inch Nails experiments would be the prologue to an industry-wide loosening of the ties around digital distribution. Shortly after the RIAA had announced the end to its litigation against individual file sharers at the end of 2008, iTunes halted the sale of music bundled with "digital rights management" protection.
Digital rights management (DRM) has been defined by the Federal Trade Commission as "technologies typically used by hardware manufacturers, publishers, and copyright holders to attempt to control how consumers access and use media and entertainment content."44 DRM has made its way into everything from cell phones to in-flight entertainment systems. Many consumers have encountered the restrictions firsthand when trying to make copies of purchased music or transfer songs to mobile devices.
Apple's iTunes music service pioneered the widespread use of DRM that came bundled with the purchase of individual digital music files online. Among the various restrictions embedded in the files were limits on the number of computers that could play the songs and the kinds of software and portable devices that could be used to listen to the music. These restrictions and assurances that the files would not be widely redistributed online were necessary for Apple to acquire the licensing they needed from the record labels to sell the music in the first place. However, after years of negotiations, the labels agreed to drop those protections in exchange for the right to variable pricing on iTunes. And now that iTunes and many other legitimate digital music offerings are DRM-free, the labels have effectively set a new industry standard in freedom and flexibility for consumers.
This belated embrace of the infinitely shareable music file comes only after lots of clumsy dancing with DRM. For every new copy protection scheme that has emerged, there have been hundreds, if not thousands, of hackers waiting in the wings to expose the technology's flaws and share their discoveries with the world. One of the most famous hacks in music DRM history involved nothing more than the use of a Magic Marker to disable the copy protection built into CDs.45 And while DRM-protected music undoubtedly became more sophisticated over the years, it remained a tough sell to consumers when unauthorized copies of songs unfettered by DRM were so widely available for free.
In the Pew Internet Project's third Future of the Internet survey, experts were asked to ruminate about the future of copyright protection. Many responses referenced the limitations of the technology and the ways consumer resistance to DRM would influence the market. Sociologist and author Howard Rheingold noted that "both iTunes and Amazon are stripping DRM from downloadable music because that is what music customers demand." Likewise, Geoff Arnold, senior principal and software development engineer for Amazon.com offered that consumers armed with increasingly powerful technology would likely retain the upper hand in the DRM arms race: "Every individual will have access to sufficient computing power to simulate every relevant content consumption use-case, and DRM won't be able to keep up."
So, without DRM, will anyone pay for recorded music in the future? When Pew Internet surveys show that 75% of teen music downloaders ages 12-17 agree that "file-sharing is so easy to do, it's unrealistic to expect people not to do it," one wonders if a generation weaned on free music will ever consider music worth paying for.46
Yet, for all the major changes in the industry's tactics, the relaxed attitude only goes so far. Through digital fingerprinting and other tracking technologies, the record labels are monitoring copyrighted content as closely as ever and are counting on two major new strategies to help them: First, is a landmark partnership with internet service providers to monitor file sharing activity and potentially cut off service to the worst offenders. Second, is a series of partnerships with universities that would incorporate music subscription fees (predicted to be less than five dollars per student) into student tuition bills.47 If successful, a similar ISP-based fee could be implemented for the general public.
The subscription model has been tossed around for more than a decade, with proponents arguing that music—and any kind of copyrighted content—gains more value as it is widely distributed.48 Blanket fees assure that artists are paid for their work, and consumers have the freedom to listen to music on any device and in any location they choose. And as music consumption becomes increasingly mobile, the labels have begun to experiment with all-you-can-eat music download plans like Nokia's "Comes With Music" plan which is bundled with the purchase of a cell phone. At the same time, free streaming music services continue to fill an important and growing niche; Pandora and imeem have recently unveiled iPhone apps that allow users to access their accounts and listen to music on the go.
Looking ahead, as users' engagement with cloud computing activities becomes more pervasive and seamless, there may come a time when the difference between downloading and streaming music files becomes moot. At the moment, Pew Internet Project data shows that 69% of online Americans have already taken advantage of some form of cloud computing such as using webmail services, storing data online, or using other applications whose functionality is located on the web.49 As more and more internet users acquire smart phones and high-speed wireless connectivity improves, music consumers get ever closer to the "celestial jukebox" dream of any song at any time that started during the days of Napster. For now, quality and reliability are still an issue, but the march of technology will quickly stomp out that minor hurdle. Ultimately, whether you're storing a library of music files on your home computer or streaming songs through your iPhone, it all becomes the same: instant access to the music you want.
- Lawrence Lessig, Free Culture: The Nature and Future of Creativity, Penguin Books, 2005 (p. 296). ↩
- Sasha Frere-Jones, "Pay Scale," The New Yorker, March 23, 2009. Available at: http://www.newyorker.com/arts/critics/notebook/2009/03/23/090323gonb_GOAT_notebook_frerejones ↩
- See "Despite Consumer Objections, FCC Likely to Hasten Radio Industry Consolidation," Denver Post, March 23, 2003. ↩
- Amanda Lenhart and Susannah Fox, "Downloading Free Music," Pew Internet & American Life Project, September 28, 2000. Available at: https://www.pewinternet.org/Reports/2000/Downloading-Free-Music.aspx ↩
- Alex Berenson and Matt Richtel, "Despite Digital Upstarts, Big Labels Still Rule the Music Industry," The New York Times, June 25, 2000. ↩
John Gerome, "Album Sales Plunge, Digital Downloads Up," The Associated Press, December 31, 2008. Available at: http://www.msnbc.msn.com/id/28463074/Ben Sisario, "Music Sales Fell in 2008, but Climbed on the Web," The New York Times, December 31, 2008. Available at: http://www.nytimes.com/2009/01/01/arts/music/01indu.html?_r=1 The AP article which was originally referenced here included an error in the reporting of music industry sales figures. The article referenced a decline of 8.5% in total album sales, however, the new reference points to the correct rate of decline (14%). ↩
- John Horrigan, "The Internet and Consumer Choice," Pew Internet & American Life Project, May 18, 2008. Available at: https://www.pewinternet.org/Reports/2008/The-Internet-and-Consumer-Choice.aspx ↩
- Pew Internet Project Tracking Survey, May 2008. ↩
- Mike Harvey, "Internet pirates walk the plank over free downloads; Four in court over filesharing site with 25 million users Sweden," The Times, February 16, 2009. ↩
- Michael Geist, "The music industry's digital reversal," The Toronto Star, January 12, 2009. Available at: http://www.thestar.com/sciencetech/article/569203 ↩
- Sarah McBride and Ethan Smith, "Music Industry to Abandon Mass Suits," The Wall Street Journal, December 19, 2008. Available at: http://online.wsj.com/article/SB122966038836021137.html ↩
- Alan J. Hartnick, "Has the Recording Industry Really Abandoned Unlawful Downloaders?" New York Law Journal, April 9, 2009. ↩
- Brian Hiatt and Evan Serpick, "The Record Industry's Decline," Rolling Stone, June 28, 2007. Available at: http://www.rollingstone.com/news/story/15137581/the_record_industrys_decline/print ↩
- "Stop lawsuits, not music," The Boston Globe, Globe Editorial, February 1, 2009. Available at: http://www.boston.com/bostonglobe/editorial_opinion/editorials/articles/2009/02/01/stop_lawsuits_not_music/ ↩
- Bill Holland, "Demo Shifts Seen In '98 RIAA Survey," Billboard, April 3, 1999. ↩
- Richard Barry, "Jail term for MP3 pirates predicted," May 16, 2000. Available at: http://news.zdnet.co.uk/emergingtech/0,1000000183,2078982,00.htm ↩
- Janelle Brown, "Ch-ch-ch-ch-changes: Bowie Loves MP3," Salon.com, January 19, 1999. Available at: http://archive.salon.com/21st/log/1999/01/18log.html ↩
- David Carr, "Exploring the Right to Share, Mix and Burn," The New York Times, April 9, 2005. Available at: http://www.nytimes.com/2005/04/09/arts/music/09nypl.html ↩
- Mary Madden, "Artists, Musicians and the Internet," The Pew Internet & American Life Project, December 5, 2004. Available at: https://www.pewinternet.org/Reports/2004/Artists-Musicians-and-the-Internet.aspx ↩
- Greg Kot, "What Grammy can learn from Radiohead, Lil Wayne and Paul McCartney: Awards show, music industry in need of a makeover," The Chicago Tribune, February 1, 2009. ↩
- See post at Chris Anderson's blog, "The best selling MP3 album of the year was free," Available at: http://www.longtail.com/the_long_tail/2009/01/the-best-sellin.html ↩
- See DRM definition included in workshop description on FTC website: http://www.ftc.gov/bcp/workshops/drm/index.shtml ↩
- "CD Crack: Magic Marker Indeed," Available at: http://www.wired.com/science/discoveries/news/2002/05/52665 ↩
- Lenhart, Amanda and Mary Madden, "Teen Content Creators and Consumers," The Pew Internet & American Life Project, November 2, 2005, Available at: https://www.pewinternet.org/wp-content/uploads/sites/9/media/Files/Reports/2005/PIP_Teens_Content_Creation.pdf.pdf ↩
- Eliot Van Buskirk, "Three Major Record Labels Join the 'Choruss,'" Wired Epicenter. December 8, 2008. Available at: http://blog.wired.com/business/2008/12/warner-music-gr.html ↩
- Jennifer Sullivan, "MP3: A Flash in the Pan," Wired, April 19, 1999. Available at: http://www.wired.com/culture/lifestyle/news/1999/04/19189 ↩
- John Horrigan, "Use of Cloud Computing Applications and Services," The Pew Internet & American Life Project, September 12, 2008. Available at: https://www.pewinternet.org/Reports/2008/Use-of-Cloud-Computing-Applications-and-Services.aspx ↩


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Obama Commutes Sentences of 8 Jailed on Cocaine Charges
The Eight Spent More Than 15 Years Each in Prison for Crack-Cocaine-Related Charges
WASHINGTON—President Barack Obama on Thursday commuted the sentences of eight people who have been imprisoned more than 15 years on crack-cocaine charges, a move in line with his administration's attempts to ease some of the harsher drug-sentencing decisions of the past two decades.
One of the men to be freed was Clarence Aaron, who was 23 in 1993 when was sentenced to a life term for drug dealing. His lawyer, Margaret Love, said he cried when he was summoned to the prison warden's office Thursday morning andwas told over...


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The second annual Bike The Limits ride is rapidly approaching and we have a test ride this sunday from 11:30 to 2:30 which will be going over part of the route. This is an excellent oppertunity to train for the ride.
Please note the route being tested is 45 miles and has some hills so be prepared to ride.
for more details and to get the route please go here


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Sunday September 15, 2019; 03:45 am EDT
You'll have to decide who or what is Beyond Therapy in this Bay Theatre Company performance
Beyond Therapy — which opened for a Valentine's Day revival at The Bay Theatre Company — is about love, sex and self-awareness in modern society. Specifically in New York in 1981, where everyone is messed up.
This absurd, R-rated farce features many hilarious moments at the expense of the mental health industry and the gay community. But its premise is too forced and tedious for this mainstream mom. Call me square, but I just don't get it. By way of comparison, Rex Reed, the ubiquitous and flamboyant theater critic, called Beyond Therapy "one of the funniest plays I have ever seen."
The story revolves around a couple of 30-something professionals who meet through personal ads. Bruce (Graham Pilato) is a divorced bisexual whose desperate desire for children drives him to histrionics in pursuit of a bride who will support his unconventional lifestyle.
Prudence (Mundy Spears), by contrast, is an old-fashioned girl in search of Prince Charming. She's beautiful, sweet and accomplished, albeit naïve and placating.
Their first date is disastrous, so they retreat to their therapists, tweak their personal ads — and meet again for a prolonged and tortuous courtship that defies any test of reasonableness as they try to build a relationship on their shared fondness for the ballad "Someone to Watch Over Me."
There comes a point when awkwardness stops being funny and is just awkward. I reached that point midway through Act I.
Thank God then for the collage of dysfunctional personalities surrounding Bruce and Prudence. Chief among them are the homophobic and inept charlatans whose incendiary slurs and incompetence keep the action entertaining. Prudence's analyst, Stuart (Nigel Reed), is a predatory and abusive macho man with whom she has had a disappointing fling.
Bruce's shrink, Charlotte (Janet Luby), is a flighty over-hugger who can't remember the common vocabulary of the English language, let alone her patients' names and problems. Adding to the hilarity are Bruce's jealous live-in lover Bob (Peter Boyer) and the attractive waiter Andrew (Alex Vaughn), whom Bob and Prudence end up pursuing out of desperation.
The supporting cast are the true stars.
With his provocative posing and tempestuous narcissism, Reed personifies the shallow pick-up artist.
Bay Theatre Company artistic director Luby is exquisite as the loopy, New Age goddess of self-expression who says the most outrageous things with a straight face. Her improvisation skills saved opening night when a botched scene change threatened to sabotage the plot.
Boyer is a master of facial expressions and mannerisms: petulant, bitchy, insecure, manipulative. He is brilliant in the Act I finale when his juvenile attention grab ruins Bruce's dinner with Prudence. She tells them that they, "are making a big, overdramatic mess of everything, and I don't want to watch it anymore."
Sadly, that about sums up how I was feeling. The sustained craziness has a Key Stone Cops quality to it that made me want to surrender.
The biggest problem with this play is plausibility, which perhaps translates to Spears' acting. She's far too radiant. There is nothing in her persona to show that Prudence hates herself enough to engage in a relationship with either of these two losers, Bruce or Stuart.
Technically, the show is a gem of a time capsule, from the Top 40 soundtrack to the fashion highs and lows, poking fun at social trends and timeless human foibles alike. Bruce's office is decorated with architectural phallic symbols, just as Charlotte's is plastered with children's drawings and a Snoopy doll that channels her inner frustrations.
Frustration left me asking just who or what is Beyond Therapy in this show. Is it our confused protagonists, their therapists, or perhaps society at large? At a certain point, I stopped caring.
Beyond Therapy by Christopher Durang. Director: Richard Pilcher. Set: Ken Sheats and Joann Gidos. Lights: Steven and Preston Strawn. Costumes: Beth Terranova.
Playing thru March 20, 8pm Th-Sa, 3pm Su @ Bay Theatre Company, 275 West St. Annapolis. $30 with discounts; rsvp 410-268-1333.
This is why you shouldn't send a "mainstream mom" to review adult theatre. At least she had the guts to admit she "didn't get it." This play is obviously too sophisticated for this reviewer. (She didn't even get some of the facts of the story correct; and the photo caption is not correct.) I saw the show last saturday night and it was great. The audience was laughing itself silly. The Bay Theatre is the only professional theatre in this area. The talent is first rate and so is this production. If you are over 16, go see this play. You'll love it. "Mainstream moms"...you might want to stay home and spend the evening with your toddler and some Barney VHS tapes. That might be more your speed. Leave theatre to the adults who "get it."


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The featured artist for October at Thompson Garden Gallery, 83 Palmer St., Tryon, is Greenville resident and former T.C. Roberson High School science teacher Ann Blackwood.
The featured artist for October at Thompson Garden Gallery, 83 Palmer St., Tryon, is Greenville resident and former T.C. Roberson High School science teacher Ann Blackwood.
Blackwood began creating gourd art after she saw a hand-carved nativity scene on a gourd in her dentist's office. She bought a pack of seeds and planted them. After retiring and becoming a full-time caretaker for her mother, she took up the hobby for entertainment.
Gourds are natural objects and have been used since ancient times as bowls and storage containers. Gourds can be purchased that are more than a hundred years old — yet they are still useful as well as objects of beauty.
Techniques vary and mastering them can be tricky — especially since gourd surfaces are so hard and curve in every direction. Of course, larger gourds cost more and require more dyes, which are very expensive.
"I prefer to make gourds into useful items such as bowls or boxes with lids," Blackwood says. "One of my very favorite gourds is a bowl that shows an ocean scene with a cut-out turtle as its lid. I like animal and Native American designs the best."
Gourd art requires numerous cleaning and drying stages.
The gallery hours are 11 a.m. to 4 p.m. Tuesday through Saturday. The gourds will display through October. Call 828-859-3185 for more information.
The Opportunity House at 1411 Asheville Highway in Hendersonville is offering an eight-week stained glass class beginning Tuesday from 1 to 4 p.m. The class runs through Nov. 19.
The class focuses on creating stained glass pieces with the copper foil method, designed for beginners and intermediates.
Students will learn how to cut and fit glass, foil and solder and finish their own or suggested projects.
The cost for this class is $70 for members and $85 for nonmembers. A single membership is $40 for a year.
Call 828-692-0575 for more information.
Noted local painter and art teacher James Scott Morrison will present a program on watercolor painting at 1 p.m. Thursday at the Transylvania Art Guild meeting at the Transylvania Recreation Center, off Ecusta Road behind the Pisgah Forest Elementary School in Brevard.
Morrison, essentially a self-taught artist and former Air Force pilot, started painting after he left the military and was selling airplanes for McDonnell Douglas Aircraft Co. In that position, it was helpful when dealing with foreign countries to have presentation material as visible as possible, so nothing would be lost in translation.
Morrison began sketching his presentations and working with the company art department. He also did artwork on his own time and developed to the point where he was being accepted for competitions.
He decided in 1990 to take early retirement, with his wife's blessing, and became a full-time artist. He is a signature member of the National Watercolor Society and an artist member of the American Society of Aviation Artists.
The meeting is open to everyone. Call 828-885-2573 for more information.
Auditions for Neil Simon's play "Rumors" are being held at 6:30 p.m. Monday and Tuesday at Tryon Little Theater's Workshop, 516 S. Trade St.
"Rumors" opened on Broadway in 1988 and ran for 535 performances.
In the play, four couples are gathering for their friends' 10th wedding anniversary celebration, but things don't go quite as planned. Someone's missing, a car is damaged, something's dropped in the toilet, someone wants to call the police.
There are 10 roles for adult men and women of varying ages. Anyone interested in performing can pick up a copy of the script from The Book Shelf at 94 N. Trade St., Tryon.
Performance dates are Nov. 14-17 and Nov. 21-24. The play is directed by Debbie Craig-Archer.
Call 828-859-2466 for more information.
The Brevard College Art Department will host an opening reception at 5:30 p.m. Friday for the Alumni Art Exhibition in Spiers Gallery in the Sims Art Center.
The 2013 Brevard College Alumni Art Exhibition features the works of 21 artists who graduated from the college from 1978 to 2011.
"The BC Art Alumni Show celebrates the continuing success of our graduates in the fine arts," says Dr. Anne Chapin, coordinator of the college's art major.
"Like today's students, each exhibiting artist once lived at BC and practiced their craft in the studios of Sims Art Building.
"Today, they show their new works in painting, sculpture, photography, and other media. Together, they offer all of us inspiration and show us what can happen when one lives a truly creative life."
The reception and exhibit are free. Gallery hours are 8 a.m. to 3 p.m. weekdays when the college is in session.
The exhibit will display until Nov. 1.
Call Diane Pomphrey at 828-884-8188 for more information.
The discovery of Abraham Lincoln in a rare photo at the scene of the Gettysburg Address has put Christopher Oakley, UNC Asheville assistant professor of new media, in the national spotlight as the 150th anniversary of Lincoln's famed oratory approaches.
Smithsonian magazine and USA Today both featured Oakley in articles published recently.
Smithsonian asserts that Oakley's discovery "looks to be the most significant, if not the most provocative Lincoln photographic find of the last 60 years."
Controversy exists because just six years ago, USA Today featured claims that a different man in the same photo is Lincoln. Oakley, an animation professional and self-described Lincoln nut, used a combination of historical records, other photos and portraits, high-tech new media tools and software, computer science and physics to convince many leading Civil War photography scholars that his man is Lincoln.
Oakley's discovery grew out of the "Virtual Lincoln Project," a multi-year effort he has led with UNC Asheville new media students to produce a 3-D re-creation of Lincoln delivering the Gettysburg address.
Efforts to portray every detail of the cemetery setting and crowd of dignitaries led to close examination of the rare 1863 photos — only six taken at the cemetery that day are known to exist.
Visit www.unca.edu/features/finding-real-
lincoln for more information.
The fifth annual "Color Fest: Art and Taste of Appalachia" festival kicks off at 10 a.m. Saturday in downtown Dillsboro.
Among the featured artists are Jane McClure of nearby Sylva, who captures the essence of the mountains with paintings of barns, cabins, waterfalls and rustic scenes, and Susan Phillips of Hiawassee, Ga., a detail artist who paints mostly landscapes. Phillips' works were recently honored by the Southern Appalachian Art Guild.
Other artists include Nanci Leigh of Franklin, designer of intricate gemstone jewelry, and David Ammons of Tuckasegee, an expert chair caner who has mastered many forms of weaving over a 30-year career.
Local musicians and street entertainers add music to the festivities, while restaurants and shops are open.
The festival will open with the presentation of a Dillsboro mural "On Hallowed Ground," painted by Doreyl Ammons Cain. The mural depicts the 1882 founding of Dillsboro. Chief Michel Hicks of the Eastern Band of the Cherokee Indians will be on hand to unveil the mural, while Cain will share her mural story.
Festival hours are 10 a.m. to 4 p.m. Call 800-
962-1911 or visit www.mountainlovers.com for more information.
Kevin Ayesh, head of the music department at Blue Ridge Community College, will join the Blue Ridge Orchestra and the UNCA Reuter Center Singers for a performance featuring Rachmaninoff's Piano Concerto No. 2 and Beethoven's Choral Fantasy at 7:30 p.m. Saturday in the Blue Ridge Conference Hall, Blue Ridge Community College, Flat Rock.
Tickets are $15 for adults and $5 for students. Friends of the orchestra can purchase tickets for $10. Tickets are available at the door or at www.
Call Milt Crotts, music director, at 828-251-6530 or e-mail info@blueridge orchestra.org for more information.
Tryon Fine Arts Center at 34 Melrose Ave. is offering events ranging from music to original prose this fall in the Peterson Amphitheater on Melrose Avenue.
Free programs are set for 3 p.m. today, Oct. 6 and Oct. 20. They are:
- Today: Bob Child will share his knowledge and mastery of Native American flute through a mixture of performance and prerecorded flute music.
- Oct. 6: Tryon Writers Group will read pieces of prose and poetry. Mature Content. 3 pm. FREE
- Oct. 20: Tryon Fine Arts Center's high school thespians will perform their touring production of "A Thousand Cranes."
The amphitheater also will host Jim Peterman Quartet, and blues singer Wanda Johnson will perform a hot mix at 7 p.m. Oct. 10. Admission is $10 for adults, $5 for students.
Call 828-859-8322 or visit www.tryonarts.org for more information.
The 41st National Storytelling Festival will take place from 10 a.m. to 10 p.m. Friday and 10 a.m. to 4:30 p.m. Saturday in downtown Jonesborough, Tenn.
Nearly two dozen world-class tellers have been tapped to perform. From old-time balladeers to modern humorists, the diverse range of performers will share personal stories, ancient legends, folk tales, fairy stories and more.
Other activities include the festival's second annual Story Slam and the Exchange Place, which showcases up-and-coming talent.
Tickets can be purchased online at www.storytellingcenter.net or call 800-952-8392, Ext. 221, for more information.


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Silhouette Hands Vermont Wedding
We worked with Vermont couple Dana and Katie to design and letterpress print their wedding invitations. They had a custom silhouette using their own hands to make a heart shape produced by Le Papier Studios. We used this motif throughout the invitation stationery. The soft cotton paper and bright blue silhouettes are contrasted with a simple recycled brown bag envelope and typewriter style navy typography - just the right balance of a raw yet refined style. The invites are printed in a square format with 2 inks on Crane Lettra, 100% cotton stock. All the cards were letterpress printed together on a 13 x 13 press sheet for cost effective production. Dana and Katie are excited to be on the cusp of history, celebrating just after Vermont legalizes gay marriage on September 1st. Congrats!


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Self-verified patient of Dr. Mano D Swartz - Posted on October 31st, 2017
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We now have posted for comment Trademark Manual of Examining Procedure (TMEP) Chapter 800 - Application Requirements. As a reminder, the IdeaScale® website at http://uspto-tmep.ideascale.com/ is available for submitting comments and suggestions.
If you have not used the IdeaScale® website previously, you must choose the "Register Now" option, which will ask you to provide your email address, solve a basic math problem (for spam bot prevention), and agree to the terms of service. Shortly after you complete the registration page, you will receive an email verifying your account and allowing you to create a password. Once you have created a password, you will be able to access the website.
On the website, you will see a menu on the left side of the screen showing the heading "Chapter 800 - Application Requirements." Click on the plus symbol(s) next to the heading(s) to expand the menu and display the various sections of the chapter. To submit a new comment on a particular section, click on the section, which opens a new page, and then on the "Submit New Idea" button above the menu.