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Why Mets Can Win This Year (Seriously)
PORT ST. LUCIE, Fla.—The Mets won 74 games last year, their splashiest off-season move involved trading the reigning Cy Young winner for prospects and they play in perhaps baseball's strongest division. This doesn't look like an organization that expects to seriously compete in 2013.
But while the focus remains primarily on the future—as it probably should at this point—that doesn't mean the Mets can afford to completely sacrifice the present.
Manager Terry Collins enters spring training without a contract for 2014, meaning his future could hinge on whether the team improves. The Mets will eventually try to again establish themselves as buyers on the free-agent market, and star players don't often choose fourth-place teams. Oh, and then there's that little issue of actually trying to fill the seats at Citi Field 81 times.
In other words, this season matters.
"There's huge upside to what's possible in the next couple years, but we don't look at it that way," starting pitcher Matt Harvey said. "I look at what's going on now and how we can win now."
With that in mind, here are three reasons that—despite everything—the Mets may actually be better than they were before.
Let's get this out of the way: The Mets will miss R.A. Dickey. No team can lose a 20-game winner and move forward as if nothing happened. You can't simply replace that sort of production. But if a few things break right—namely everybody stays healthy—the Mets could cobble together one of the stronger rotations in the division.
Ace Johan Santana remains the biggest question mark. After a hot start in 2012, his body broke down and his season ended in August. That said, general manager Sandy Alderson said the Mets expect Santana to go through a typical, limitation-free spring training and start on opening day.
Without much fanfare, the Mets added Shaun Marcum, an underrated right-hander with a career earned-run average of 3.76. Marcum made just 21 starts last year, but if he stays off the disabled list, the expansive Citi Field outfield should suit his style.
"The way I'm feeling right now, there's no doubt in my mind I'm going to go out and make all my starts and be healthy," Marcum said.
The Mets also expect to let Harvey go through a full season. He compiled a 2.73 ERA in 10 starts last season before being shut down to preserve his arm. Harvey may not be Dickey—but that doesn't mean he won't try.
"I saw what R.A. did last year," Harvey said. "Being the best is 20 wins-plus and going 200-plus innings and staying healthy. That's what I strive for."
And don't forget: prospect Zack Wheeler isn't far away and is likely to see time in the majors before the end of the year.
More than anything else, the Mets suffered last season because of their bullpen. Their relief pitchers compiled an ERA of 4.65, which ranked 29th in baseball. Closer Frank Francisco put up a 5.53 ERA by himself. Blowing late leads became the norm. Alderson admitted recently that the Mets are "not terribly comfortable" with Francisco as the closer in 2013.
But without spending much money, the Mets made a few shrewd moves and restocked their bullpen with veteran arms. They added Scott Atchison, who put up a 1.58 ERA in 42 games for the Boston Red Sox. They brought in 40-year-old LaTroy Hawkins, who despite his age remains a dependable option. They also signed right-hander Brandon Lyon, who has experience as a closer and could challenge Francisco for the ninth-inning role.
The Mets should be able to hold a few more leads this season, which should lead to a few more wins.
"The bullpen can't be worse," Alderson said, "and has room to be better."
The first half of Ike Davis's 2012 season was a nightmare. He contracted valley fever before the season, leading to a brutal slump: He hit .203 through June, forcing the Mets to consider sending him to the minors. That came after Davis suffered a significant ankle injury, ending what had been shaping up to be an All-Star 2011 season in May.
"I couldn't practice really that much in the spring [of 2012], just because I was so tired," Davis said.
But things improved, reminding everybody of Davis's talent. He hit .264 from Aug. 1 onward, and finished with an impressive 32 home runs and 90 RBIs.
Even more encouraging, there's reason to believe that Davis's slow start last year was partially the result of a bit of bad luck. Davis hit just .246 on balls put in play—an unusually low figure that should naturally improve in 2013. Davis's batting average on balls in play (an advanced statistic known as BABIP) ranked second-lowest in baseball last season.
With a healthy and productive Davis, the Mets could have a legitimate clean-up hitter to bat behind David Wright. That alone will help a lineup that struggled to score at times last season.
"It's been a totally different thing," Davis said. "I'm definitely stronger now than I was last year, which was nice."


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Definition of stir-fry in English:
verb[with object]
Fry (meat, fish, or vegetables) rapidly over a high heat while stirring briskly: (as adjective stir-fried) stir-fried beef
More example sentences
- The first impression was the sesame seed flavour and hints of ginger that came through in the beautiful sauce in which the BBQ vegetables were stir-fried.
- Fish featured strongly on the specials menu and the halibut was superb - a solid steak of meaty white fish, served with crisp stir-fried vegetables.
- Also try the drizzle with fresh raw oysters, steamed or pan-fried fish or tossed through quickly stir-fried vegetables, or chunks of hot, roasted pumpkin and kumara or root vegetables.
A dish cooked by stir-frying: make the stir-fry just before you want to eat
More example sentences
- The choice was considerable: salads, soups and stir-fries alongside curries and seafood dishes.
- Noodle dishes, appetizers, curries, stir-fries, the lime-spiked salads or 'yums' - I've had good luck with all of them.
- Part of the Sheraton Grand Hotel, with great views of the castle, there's a buffet at lunchtime, with plenty of good salads and dips or the chef will cook a stir-fry to order.
For editors and proofreaders
Line breaks: stir-fry
Definition of stir-fry in:
What do you find interesting about this word or phrase?
Comments that don't adhere to our Community Guidelines may be moderated or removed.
= trending

subset: commoncrawl


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What are the precautions one should take when running in wintertime (-2 to -10 Celsius, 28 to 14 F)? I want to know in terms of clothing: what is the most appropriate? Should I end a run close to home so I do not catch a cold due to heavy sweating? Is there a list of what to avoid and what to follow when running in winter?
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When running outside in the winter/cold weather you should keep couple of things in mind.
1) Firstly cold weather is really bad for your joints. If you expose them for a prolonged periods of time to cold they will eventually start hurting you. With that said make sure you put some warm clothes on yourself. You must consider the fact that there might be wind outside and as you run you are going to sweat. If there's wind and you are sweaty, the wind is going to literally pierce through your body. So look for a wind-proof jacket, usually any skiing jacket will do the to work. And make sure you don't overdo the clothing so you don't sweat more than it is needed or you will feel at discomfort. Don't forget wearing a hat, you lose most heat going off from your head.
2) When you run you inhale the air deeper. And cold air is really bad for your lungs and overally for your respiratory system. That's why what you can do is wrap a scarf around your face so that it will keep the area warmer and just warm the air more as you inhale it.
3) The surface where you run might be icy so look for shoes that are going to handle slippery surfaces. Also they must keep you feet warm and be at least slightly comfortable(for winter running shoes).
Finishing your run close to your place is a very good idea indeed. Make sure you take a warm shower/bath right after you are done with your run so you can stsabilise the temperature of your body. I hope this helps, if I think of anything else I will add it up.
Besides the excellent advice in the other responses, I would like to add some points:
First, only run when it is cold if you really have to, for example, Sunday January 13th, in Stockholm it was -9 Celcius (C) (16 Fahrenheit (F)) (-15 C considering the wind chill factor). A warmer Sunday, you would see lots of people running at the popular city parks Djurgården and Gärdet. That day, you hardly saw anyone. So even when you have a large population used to cold weather & snow & ice , most of them avoid intense outdoor exercise in the cold. The key reasons are that it is difficult to breathe (even if you are used to cold air) and the risks of falling. As a guideline, youth cross country skiers are not allowed to compete under -15 C (5 F), primarily because of the breathing and frostbite risks. Outdoors ice hockey games are cancelled if the temperature is below, -18 C (0 F). In both of these contexts, the participants are used to cold weather and in excellent shape.
Screen shot from Wolfram Alpha 2013-01-13
So if you really want to run, here are some additional things to consider:
The cause for a common cold are viruses, not temperature. It is a misconception that the cold is caused by cold weather, it definitely puts more stress on a human body and makes it more vulnerable to already present viruses, but if you are healthy you shouldn't have to worry that much. (see Wikipedia: Common Cold)
My last run was one of 30 minutes at 0°C at night when it was raining. I wore shorts, a t-shirt and had a headscarf around my arm that I later put on my head. I always wear my biking gloves when running, they leave the fingertips free but I tend to freeze on my knuckles. And they are a blessing when I blow my nose.
Watch for ice. If you encounter slippery surfaces slow down, be careful, there is no need trying to break your records and end up in the hospital.


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BOSQUEVILLE (January 10, 2013)-David William Sirbasku, 48, was released from the McLennan County Jail Wednesday afternoon after he posted a $10,000 bond on two separate drug charges.
Sirbasku was arrested Wednesday morning and charged with two counts of possession of a controlled substance after a raid on an upscale home just outside of Waco where a 28-year-old woman was found dead in a bathtub Saturday.
The woman, whom authorities identified Wednesday as Lauren Darby, evidently suffered a drug overdose and drowned at the home at 8465 North Rock Creek Rd.
Authorities weren't sure where Darby was from, but online driver's license records show she had an Austin address.
Authorities weren't sure where Darby was from, but online driver's license records show she had an Austin address.
Online records show she had a string of mostly misdemeanor convictions in several Texas counties including McLennan where she was sentenced in March 2011 to 120 days in jail after pleading guilty to Class A misdemeanor assault.
Authorities say they were told she simply showed up at the home.
Nearly a dozen officers including Sheriff Parnell McNamara and Chief Deputy Matt Cawthon and Department of Public Safety troopers raided the home at around 9 a.m. Wednesday.
They recovered crystal methamphetamine and heroin, along with drug paraphernalia.
Sirbasku is the son of late Waco businessman Jim Sirbasku, the CEO of Profiles International, who died in February 2010, authorities confirmed Wednesday afternoon.
Sirbasku co-founded the company in 1991 after working at Success Motivation International.
He also owned Arabians Ltd., an Egyptian-Arabian horse farm adjacent to the house that authorities raided Wednesday morning.


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Mopar Door ReplacementWritten on June 23, 2010 Why Fix A Rusty Door When You Can Get A New One?
If there is one thing that car guys can agree on, it's that they hate to repair rust. It doesn't matter how diligent you are to try and eliminate it from your car, it will always seem to find its way back. The problem is, our cars are upwards of 30-years old, and they do have rust. So how does a guy make sure that it (rust that is) doesn't come back? The answer is simple, use all-new sheet metal. Although not impossible having a completely "new" body delivered to your door does alleviate the rust issue, but other problems come into play. But luckily, a lot of new panels-and even complete car sections are starting to hit the market.
This is a good thing for guys building cars, us included. When we started working on our Superbee, we found that the doors were not only rusty, but they were doors from a Plymouth. That may not sound like much of a problem, but Plymouth doors have the interior door locks in a different location than Dodge doors. So it was decided that we needed another door, but where would w find a door that didn't need some kind of body work? We found that Roseville Chrysler/Jeep in Roseville, Michigan, just happens to carry a lot of brand new sheet metal parts for Mopar muscle cars. Not only that, their claim to fame is that they can be your one-stop shop for all you're A-, B-, and E-Body needs. Lucky for us, they happen to have the door we needed in stock, and we were able to continue working on the Bee. Although it's new, how does it look and fit?
If good quality metal is not available, or you just don't want to repair rust, having this alternative available is a great option. There are a few minor variances with the new metal as opposed to the original stuff, but whether or not those variances will be noticeable to the average onlooker, depends on if you point them out. If you don't have the opportunity to place the doors side-by-side, you would not notice much of a difference.
Overall, we're glad we were able to get a new door, and thanks to the folks at Roseville Chrysler/Jeep, our rebuild can continue, and so can yours.
More Photos From This Article View Slideshow
These side-by-side shots show the interior side of the door. Immediately, you'll notice the absence of the........remote mirror hole. This is good if your car doesn't have remote mirrors. If it does, simply drill the hole.....The welding and the grind marks are not quite the way the factory did it. It can be easily fixed, and it's not rust.When looking at the trailing edge of the doors, the only thing that looks out of place on the new metal is the absence of rustWhen it came to the window opening, we did find another small discrepancy. Our factory door opening is 7/8 inch.........The new door has an opening of 1 inch. It's only an 1/8-inch difference, but we thought we would show you.
Finally, the top, leading edge of the door will also need a little massage, nothing disastrous, but again, we just wanted to let you know.


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Main Content
Order as many items as you like with our $4.99 flat rate shipping.
This item ships within one business day.
Order as many items as you like with our $4.99 flat rate shipping.
Need it faster?
Make sure your holiday season has plenty of White Sox spirit with this adorable Chicago sock monkey ornament. This knit ornament features an embroidered White Sox graphic on the front and a cute Santa hat with a pom on top. It's also got a ribbon loop attached at the top, so it's perfect for hanging on your holiday tree.
- 100% Acrylic body
- 100% Polyester hat
- Quality embroidery
- Officially licensed
- Surface washable
- Imported
- Knit sock monkey ornament
- Measures approximately 5" tall (not including hanging ribbon)
- Imported
- Brand: Forever Collectibles
Sox Customers also liked:
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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30% off used movies, games, CDs, & books
coupon code: ITSALIVE
1 Day Sale + Free standard shipping
Code ITSALIVE good for 30% off used books, CDs, movies, and games, good only for Sunday 9/23
Code THEDOCTOR good for buy 1 used get 1 used 50% off (extended until 9/29)
12 Comments add a comment
Free shipping is huge on go hastings, because they normally $2.28 per item for movies and games, it makes this definitely worthwhile. Got 3 games that I had been waiting to be dirt cheap. Found them cheaper with this than anywhere else on the web. Many thanks!
@bstring87: It's been $0.96 for shipping for music and movies for quite some time. But regardless, free shipping is a HUGE deal.
You do need to do your research here though, not everything is worth getting. Just do a quick price compare with Amazon before you check out.
If anyone is wondering how fast the shipping is, they ship either media mail or first class mail, depending on the location. Keep in mind everything is subject to cancellation because they do not have an online inventory (they just pull from shelves).
I picked up 6 things.
The 30% off code only works for one item. I had two in cart and had to remove one to get 30% off the whole order and free shipping. Then the code won't work again if trying to make separate orders.
@tremmor: Not true. I used it on two separate orders for a total of 6 items.
I would make sure the items in your cart are used. Previously viewed is not the same thing as used.
@hackman2007: Seems true for me, after your post I tried to order the 2nd item again and verified that it's "used" not "previously viewed" and even though it let's me apply the coupon and says it's been applied, it doesn't take anything off and still charges shipping. Maybe you can tell me what I'm doing wrong... I tried to order item #008888526308 which is showing in stock used @ $14.81. I'd like to order it too but, but even when I tried again in an incognito window in Chrome the 30% code didn't actually take anything off.
@tremmor: That is weird. I know their website went down earlier today, but it's not taking 30% off anything for me anymore either.
I'm thinking the deal is dead, even though they said it was all day today. That sucks.
@hackman2007: Hmmm... I've only tried to order 2 items, but when I made the 1st order which had both items in it initially, the coupon only worked on the first item and it was still charging me shipping until I removed the 2nd item. So even when the coupon code was working, it wasn't working for that item apparently. If other items are also not working with the code then there may be larger issues. :(
the deal definitely works for multiple items and is still live, I just purchased 6 dvds, 5 of which were discounted and only one shipping charge for the entire order.
OK, so on the linked page it says "on qualifying used products" then there's a link lower to "see all qualifying titles" so the deal is it's not good on ANY used title, but only those they've chosen to make eligible for the coupon. The one it worked on for me, Kinect Sports, Season 2, is on their list, the other one was not, even though both were USED Xbox 360 games.
I hate when they list things that are out of stock... I got really excited that I could get Game of Thrones but they don't even have it...
@c45513: at least the bluray
I just went there (5:45am Eastern time) and there are huge red letters which say "This USED promotion has expired." Deal is dead.


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The 'main()' method in Java is referred to the thread that is running, whenever a Java program runs. It calls the main thread because it is the first thread that starts running when a program begins. Other threads can be spawned from this main thread. The main thread must be the last thread in the program to end. When the main thread stops, the program stops running.
Main thread is created automatically, but it can be controlled by the program by using a Thread object. The Thread object will hold the reference of the main thread with the help of currentThread() method of the Thread class.
Listing shows how main thread can be controlled by a program:
Code: Java
class MainThread
public static void main(String args [] )
Thread t = Thread.currentThread ( );
System.out.println ("Current Thread : " + t);
System.out.println ("Name : " + t.getName ( ) );
System.out.println (" ");
t.setName ("New Thread");
System.out.println ("After changing name");
System.out.println ("Current Thread : " + t);
System.out.println ("Name : " + t.getName ( ) );
System.out.println (" ");
System.out.println ("This thread prints first 10 numbers");
for (int i=1; i<=10;i++)
System.out.print(" ");
catch (InterruptedException e)
Current Thread : Thread[main,5,main] Name : main After changing name Current Thread : Thread[New Thread,5,main] Name : New Thread This thread prints first 10 numbers 1 2 3 4 5 6 7 8 9 10
The name of the thread is changed with the help of setName() method. The thread and thread name is then again printed. Then the thread performs the operation of printing first 10 numbers. When you run the program you will that the system wait for sometime after printing each number. This is caused by the statement Thread.sleep (1000). The sleep() method can also used in another way in which it accepts two arguments. The first argument represents the amount of milliseconds and the second argument represents the amount of nanoseconds. Effectively, the thread will sleep for specified milliseconds + nanoseconds. Its (sleep() method's) prototype is as follows:
Code: Java
static void sleep(long milliseconds, int nanoseconds)


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Special instructions
UA Scholars receive award letters during the beginning of their senior year and must apply for admission (as a new student) by May 1 to reserve their award. Scholarships must start within 12 months of high school graduation. Your application fee will be waived when you select the UA Scholars application type when applying through UAOnline.
About the UA Scholars program
The UA Scholars Program encourages Alaska's high school graduates to get their advanced education in Alaska.
The UA Scholars Award is an $12,000 scholarship which can cover eligible expenses such as undergraduate tuition, fees, room, board, books, supplies and other educational costs associated with going to a UA school.
- Students eligible for the award are designated by their high school if they are in the top 10 percent of their junior class at the end of their junior year.
- The award is disbursed in the amount of $1,500 per semester for a total of eight semesters over a five year period.
- Scholars are required to maintain full-time enrollment status (minimum of 12 credits) and maintain a minimum cumulative GPA of 2.5.
Contact Amy Bristor with questions about the UA Scholars program
Application instructions
New students (undergraduate and graduate)
New students: Students who have never attended the University of Alaska.
- Review your admission requirements
- Go to the UAOnline home page
- Select Apply for Admission or Check on Status of Application
- Select First-time User Account Creation (at bottom of page)
You will be asked to create an ID and PIN before continuing to the application form. Please make note of this ID and PIN for future use.
- Choose a campus
- Click on your application type:
- U.S. Assoc./Cert 1 and 2 year:
U.S. citizens or permanent residents who wish to pursue an associate degree or certificate program
- U.S. Bachelor - 4 year:
U.S. citizens or permanent residents who wish to pursue a bachelor's degree
- U.S. Graduate - Master/Phd:
U.S. citizens or permanent residents who wish to pursue a master's degree, doctorate or graduate licensure
- UA Scholars:
students who have been designated as UA Scholars by their high school
- International Bachelor - 4 year:
students who are, or will be, in the U.S. on a visa and who wish to pursue a bachelor's program
- International Grad - Master/PhD:
students who are, or will be, in the U.S. on a visa and who wish to pursue a master's degree, doctorate or graduate licensure program
- U.S. Assoc./Cert 1 and 2 year:
- Click continue to complete the online application and pay the application fee. (A credit card is required.)
- Submit all of the required documentation to the Office of Admissions and the Registrar.


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The Lebanese Almanar University in Tripoli celebrated today the laying of the foundation stone of the Custodian of the Two Holy Mosques King Abdullah bin Abdulaziz Building.
University President Dr. Sami Manqarah delivered a speech highlighting King Abdullah's care for knowledge and education and Saudi Arabia's support for Lebanon.
Saudi Ambassador to Lebanon Dr. Abdulaziz Khojah delivered the greetings of the King, who provided a grant to the university to construct the building.
The new structure will include four flours with 24 educational halls.


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A good analogy is that the difference is like those in British and American English, but what are those differences exactly? Is Spanish in Latin America a branch from that in Spain?
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closed as not constructive by jrdioko, Brian, Richard, Alfredo Osorio, hippietrail Nov 29 '11 at 20:45
As it currently stands, this question is not a good fit for our Q&A format. We expect answers to be supported by facts, references, or expertise, but this question will likely solicit debate, arguments, polling, or extended discussion. If you feel that this question can be improved and possibly reopened, visit the help center for guidance.If this question can be reworded to fit the rules in the help center, please edit the question.
The analogy is essentially correct, except:
One thing to consider is that there are also lots of differences between different latin american countries (Spanish in Mexico vs. Uruguay), and even inside big countries (Buenos Aires vs. Córdoba), much like the differences you'd find between England vs. Australia or Texas vs. New York.
Now, what are some examples of those differences?
Vocabulary: peach is called melocotón in Spain, durazno in Latin America
Pronunciation: In Spain z is pronounced approximately like the th in thick. In Latin America, it's pronounced like s (which has the same sound as in English)
Grammar: in particular, the second person has completely different forms. For some details, read the wikipedia article about Voseo.
The greatest differences are in the use of vosotros and in the pronunciation of
In Latin America, the informal 2nd person plural form vosotros and all of its verb conjugations are omitted in favor of the formal 2nd person plural Uds and its verb conjugations (which match conjugations of the 3rd person plural).
Where in Latin America the soft
Even though I am a foreigner but I can clearly differentiate between Spanish in Spain and Spanish in Latin America by their pronunciation. So, one of the differences is in pronunciation of some letters. And of course they have probably some words that is unfamiliar in Spain and visa versa.
The Spanish language have a lot of differences along the countries that speak it. The difference is not only from Spain to Latin America, but inside Latin America too. The main difference is the pronunciation, and the second most important is the use of some words.
There are lots of differences, and that's ignoring the variations inside Latin America. However, there are no spelling distinctions.
The most important differences lie the pronunciation of s, c (before e or i) and z. In Spain, z and c are pronounced /θ/ (like English th in think), while s is an alveolar /s/ (like English s, but slightly closer to sh /ʃ/). In Latin American, all three are pronounced /s/, and it's a slightly more dental s (just a bit closer to English th). This is called seseo, and it's also common in some parts of Spain.
A native Spaniard can correct me on this, but I believe ll and y (before a vowel) can be pronounced /ʎ/ and /j/ respectively (the first is a palatal version of l, the second sounds sort of like and English y), while in Latin America they are pronounced the same and can range from /ʝ/ (palatal fricative) to /j/ (again, like English y) to /ʃ/ in places like Argentina and Uruguay. This pronunciation is called yeísmo.
Again, someone while lives in Spain can tell me if this is right: the verb and pronoun forms for the second person plural are also different. While in Spanish the conjugations are vosotros amáis, vosotros teméis, vosotros partís, in Latin America it's ustedes aman, ustedes temen, ustedes parten, like the third person plural.
Aside from those, there are very many vocabulary and idiomatic distinctions, too many to list here. Wikipedia has a list of Spanish dialects. Also, remember that there are a lot of variations, both inside Spain and in America. On of the most notable, for example, is voseo: the replacement, in Argentina and Uruguay, of the seoncd person singular pronoun tú for vos and its verbal forms.
The differences are not in the spelling but both in the pronunciation (see questions about s sound and y and ll sounds) and semantics (very good example is the different meaning of the verb coger.


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If I would like to view all of the reputation I have gained or lost due to one specific question of my own, how can this be done? Is it possible for someone with, say, 421 rep on the site in question?
What is meta?
- Any Stack Exchange user can ask a question
- The community provides support, votes on ideas, and reports bugs
- Your voice helps shape the way Stack Exchange operates
You could probably parse http://meta.stackoverflow.com/reputation and filter out the entries from a specific question id.
Here's a rather crude way, assuming you have a shell in hand:
And for kicks, here's a hastily written script which parses
While your reputation does not yet allow you to see the vote counts, the API can be used for that. On https://api.stackexchange.com you can simply create queries by clicking some options, to see a lot of information.
Like a query for one of your own questions could return:
However: this does not take any reputation cap (or the minimal rep of 1) into account. So, once you're able to see the vote counts, then the above does not tell you much more. In the meantime, there's a nice bookmarklet.
As an example for the reputation cap, using /posts/1732454 for an infamous answer shows a huge total score, but that's not related to what the user really earned:
To see the actual capped gain, one needs /users/{ids}/reputation, but I think that cannot be limited to a specific post (no
In this case, knowing the answer was posted 2009-11-13, became Community Wiki on 2009-11-19, was accepted before that and has no later bounties, one can limit on date a bit:
For yourself, the list on Meta is not too long yet, so see /users/142865/reputation (or /me/reputation). Even when authenticated, this does not list the downvotes you cast yourself, so is different from the report at /reputation.
The list is a bit longer for your SO account though...
Once you have enough reputation, you can view the vote count specifics on questions / answers.
From there, it's basic math. If it were an answer, it would be 24*10 + -1*2. If it were a question, it would be 24*5 + -1*2.


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Simple PS3 Fan Speed 555 Pulse Mod No Pots
Posted 16 January 2011 - 10:40 PM
I've been playing with my 555 pulse timers and figured I'd post what I've done so far as there really doesn't seem to be a decent schematic online anywhere.
I didn't want any potentiometers, I don't want the owners turning the fan down. Just a simple 555 timer schematic for running the fan at a decent rate.
Runs off the fans 12V Brown wire so no need to wire from another source. To regulate the pulse peek voltage to 3V I used a common LED and it also helps to visually gauge the pulse frequency.
With 4.7K ohm at R1 it is still quite fast and about as loud as a 360 12V Mod. Combining resistors to make around 5K ohms or so should quiet it down a bit more. You can change the C1 from 1uF to 10uF but then you must change the R1 value accordingly.
Posted 17 January 2011 - 12:20 AM
Posted 28 January 2011 - 12:51 AM
One good thing about this is you can substitute many different value resistors and caps and still get the same ~50% fan speed. Only if the frequency gets too low you will hear the fan turn off and on. Like below 20 Hz. the frequency in the schematic is quite low, I'm told the actual fan pulse is 25Khz with 20% duty which is too slow. It is the duty (percentage of time the pulse signal is high) that really determines the fan speed.
If I can get around to it I will post a ~35-45% Mod later on that needs an extra diode and resistor but it's not a big priority for me.
If anyone had ideas to make this pulse mod even simpler, please post but remember I'm not interested in adjustable POT mods. I want a decent speed FIXED mod. Users will just turn a POT to it's lowest setting anyway. I'm not making these for myself, I don't own a PS3.
Posted 29 January 2011 - 04:24 AM
As it says you could replace R1 with a combination resistor + POT in series to fine tune.
I suspect you can use probably use any Capacitor from .1 to 10uf for C1 as the actual frequency doesn't affect the fan too much. as long as it's between 30Hz and 25Khz.
Posted 01 July 2011 - 07:37 PM
Posted 18 July 2011 - 09:18 PM
gostaria de montar este esquema mas tenho duvidas quando ao 555.
Qual foi a referencia que usas-te?
Here's another diagram 50% speed without using the LED. This is how I've been doing them recently:
Posted 24 July 2011 - 11:22 PM
They were using the 555 chip to blink LED's for halloween costumes.
Also some info here:
So the schematics using the LED is to reduce the 12V output to 3.3V pulse peek. The only problem with this is if the LED ever dies the Fan pulse will peak to around 10.5 volts or so and possibly damage the fan. I realized this from the beginning and decided it was an acceptable risk. The 555 chip can handle being powered at 12V and if I remember correctly the output at pin 3 is around 1.5V lower than the power voltage. The whole reason I did it like that as I wanted the whole mod attached to nothing more than the 3 fan wires, fore convenience mostly. Now if you power the 555 chip from the PSU 5V line like my last diagram there is no need for the LED to drop the voltage for the fan pulse line, the pulse output should peak at 3.5V.
Posted 11 August 2011 - 06:54 AM
Posted 13 August 2011 - 12:20 AM
I do have an install pic:
This one is the diode version. Different capacitors and diodes require different value resistors to get the speed just right when using the diode variable duty version.
After soldiering I just wrap in tape and tuck in over the fan connector.
Posted 30 September 2011 - 09:33 AM
Posted 05 October 2011 - 11:48 PM
Posted 01 November 2011 - 02:48 PM
Posted 02 November 2011 - 12:33 AM
Posted 04 November 2011 - 11:04 AM
I used 3x 1.8k resistors at R1 to get the level I wanted.
Posted 16 December 2011 - 01:04 AM
I have 2 questions:
1) Increasing R1 is there a limit?
2) Cutting a hole in the the top just over the fan about 1 and a half inches is it a good idea. I am not sure because air will be suck thrue that hole instead of hole around the unit to cool all parts of the unit.?
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I have only ever seen the interrobang discussed as a novelty; I've never seen it used in context. Is there a situation in which its use is acceptable?
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As far as I've seen, it's more an experimental thing than any sort of formally accepted marking. Thus, for informal writing where you can be sure that the reader/recipient knows your intent, it should be acceptable. For more formal writing or business communications, especially those where irony or sarcasm would be badly construed, it's best to be more cautious and make your intentions clear in another fashion.
That being said, I'd like for it to appear more often, so—especially online—feel free to spread it around.
Short answer: no. Longer answer: at the risk of your reputation. Exclamation marks should be used sparingly anyway, and I for one tend to class interrobangs along with multiple exclamation marks as (to quote Terry Pratchett) a sign of mental instability.
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Today, folks has been a really really super duper day…..
Can't say that I've been feeling all that 'super' lately— lots going on and weighing on my mind and for whatever reason—SHA-ZAMMIE today— poof seems like a weight has been lifted.
Can't really put my finger on what / why / how I'm feeling so much more like ME—but I am and I'm really excited about it.
Now, since I haven't chatted with you guys in a while—and can you really say what we do it 'chat' Naaa…..I write—you read. I spill my beans and you say "she's crazy"….I open up my world to you and you just comment. I'm beginning to think something about our relationship is a little off keel. (had to look that word up, I thought I just made up another 'Terra' word—but I didn't. It's a really word and I used it correctly—goshgee—today is really turning my way—HipHip HOORAY)
Okay—golly—I can ramble on about nothing…..can we just get this story started already-HELLO! (missed me haven't ya?!-HA)
Okay, Okay….that's it for now folks—teehee. I really just wanted to say HI–HELLO– How are ya???…. I promise to write more and more often later.
Let it snow….Let it snow….Let it snow…..


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Phase 2: Course Building
During Phase 2, you'll focus on creating the web pages for your course and loading them into the university's course management system. You'll also configure the course management system with your preferred settings for any tools—such as discussions, assignments, assessments, or the grade book—that you've decided to use. We offer several workshops to give you the technical skills necessary for this phase. Phase 2 will go more smoothly if you've finished all of the steps in Phase 1.
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I'm trying to pass some files from a MacBook Pro with Snow Leopard to an old LC 630 with an HD floppy drive and a CD optical reader. As Snow Leopard cannot burn a CD with the HFS (Mac OS Standard) file system I thought to use an ancient LaCie USB floppy drive and an old floppy disk.
I could read the floppy disk (of the 1,44 MB type) with the MacBook Pro. However, when I entered into the LC 630 the computer complained I should initialize it and the only options available where Mac, DOS and ProDOS format with 720 kb or 800 kb of disk space. I decided to initialize it with the Mac format.
Alas, now the disk works with the LC 630 but there is no way to read it with the MacBook Pro. It seems that it became one of those old DD floppy disks with only 800 kb available and when I enter it into the USB LaCie drive it just does nothing at all.
How it could happen? The floppy hardware is of the HD type! Moreover, can you suggest me a way to transfer some files (only roughly 700 kb of stuff) to the LC 630?


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WINTERSVILLE - It was a case of senior experience winning out over inexperienced underclassmen Monday night as home standing Indian Creek methodically downed Weir High 49-33.
The Redskins, who never trailed in the game took a nip-and-tuck first quarter by 14-10, outscored the Red Riders 17-7 in the second stanza to take command.
Seniors Cody Durbin, Blake Roar and Jonathan Woodbury scored eight, seven and eight points, respectively, to lead the first half surge that saw the Redskins, now 4-7, take a 31-17 lead into halftime.
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TO THE HOOP — Indian Creek's Blake Roar takes and makes a jumper in the first quarter of Monday's 49-33 win over Weir High.
-- Mike Mathison
DRIVING — Weir High's Chris Wood drives to the basket during the first quarter of Monday's 49-33 loss at Indian Creek. Trailing is the Redskins' Tran Hyung.
-- Mike Mathison
"I think Weir High is struggling a little bit right now, but we played pretty good defense," said veteran Indian Creek coach Joe Dunlevy. "Once we got that lead in the second quarter, we spread the floor a little bit and Weir had to come after us."
That created a high risk defense for the Red Riders. They forced some turnovers (Indian Creek had 15), but it also allowed Dunlevey's club to execute its half court offense scoring on several back door cuts.
"I was much happier with our effort tonight than our last game against Buckeye Local," said another of the Ohio Valley's veteran basketball coaches, Mike Granato. "Let's face it, they are pretty much a senior-laden team.
"I thought we did a better job blocking out, better job getting deflections and getting on the floor diving for loose balls - those types of things. From that standpoint, I was happy, but we only shot 12 of 40 and their defense does that to you. It forces you to play one-on-one sometimes and they do a nice job of taking you out of any type of rhythm you try to get into.
"But really, I think the story for us tonight was 9 of 23 from the free throw line. Those numbers changed the complexion of the game, particularly when we had a mild comeback there in the second half.
"We were down by 14 points at halftime, but we made just three of 12 foul shots in the first half. If we do a better job at the line, it makes things a little tighter and it changes how you substitute. I'm never happy with losing, but I think there were a lot more positives tonight that we can gain from this game and hopefully our young players will learn from it and it will make us better."
Indian Creek took a 44-24 lead into what turned out to be a low scoring fourth quarter, but the Red Riders cut the deficit to 15 points when junior Michael Curtis took a nice pass from sophomore Ryan Kirk and made a layup. That made the score 47-32 at the 3:25 mark, but the Redskins held the ball most of the time from there, scoring only on a Durbin layup while the Riders could get just a free throw from Curtis going down the stretch.
"I think the Weir High kids are playing hard for Mike and that's all you can ask as a coach," Dunlevy said. "I think they've improved every time I see them. They're trying and so are we. We're 4-7 now and we have a big game tomorrow (today) against St. Clairsville. In fact we have four home games this week, so we have our work cut out for us."
Granato, whose team dropped to 1-7, has just two seniors left on his roster. Add to that, one of Weir High's top athletes and guards, JoJo West, a 6-foot sophomore, is looking to have surgery on an injured knee during the next week and will be lost for the remainder of the season.
Durbin ended up leading all scorers and rebounders with 14 points and seven boards. Roar backed him with 10 points.
A quartet of players scored six points to lead the Red Riders - senior Mitch Viakley, juniors Chris Wood and Curtis and Kirk, a sophomore.
The Red Riders play Friday in the annual city championship game at Madonna.
Indian Creek hosts St. Clairsville today, Buckeye Local Friday and Brooke Saturday afternoon.
Indian Creek 49, Weir High 33
Weir High 10 7 7 9 - 33
Indian Creek 14 17 13 5 - 49
WEIR HIGH (1-7): Knight 1 1-4 3, Viakley 2 2-4 6, Wood 2 2-2 6, Kirk 2 2-3 6, Smith 2 0-2 4, Curtis 2 2-6 6, Enrietti 1 0-2 2. TOTALS: 12 9-23 33. Rebounds, 19 (Enrietti, 4); Turnovers, 18.
INDIAN CREEK (4-7): Foldi 3 0-0 6, Roar 4 2-4 10, Wade 0 0-2 0, Haught 1 0-0 2, Hujnh 0 1-2 1, Anderson 3 1-2 7, Durbin 4 5-8 14, Woodbury 3 2-2 9. TOTALS: 18 11-20 49. 3-pointers: Durbin, Woodbury; Rebounds, 17 (Durbin, 7); Turnovers: 15.


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Ya-Fei Chuang
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Pianist Ya-Fei Chuang is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Chuang has appeared at numerous international festivals, among them the Beethoven Festival in Warsaw with Christoph Eschenbach, the Taipei International Music Festival, the European Music Festival (Stuttgart), the Bach Festival (Leipzig) and those of Schleswig-Holstein, Ravinia, Gilmore and Tanglewood. She has performed as duo partner with Kim Kashkashian, Robert Levin, Steven Isserlis, James Buswell and Pierre Amoyal. Her recent engagements include concerts in the Berlin Philharmonic Hall with the City of Birmingham Symphony Orchestra; the Malaysian Philharmonic; performances in Hong Kong, London, Salzburg, South America and throughout the US; on forte piano with Boston Baroque, Orchestra of the Age of Enlightenment; and TV appearances in Hong Kong, Tel Aviv and Germany. She has recorded solo, concerto and chamber music works for Naxos, Harmonia Mundi, ECM and New York Philomusica Records. Her recording of Hindemith's chamber music works with Spectrum Berlin was awarded a special prize by the International Record Review in 2009.
Chuang has given the world premieres of works by John Harbison, Stanley Walden and Thomas Oboe Lee. She also gives master classes throughout the US, Europe and Asia, including at the World Piano Pedagogy Conference and annually at the International Summer Academy of the Mozarteum, Salzburg.
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I'm trying to bend up then back down on the G string (so it plays both notes, I'm not muting the bend back down to G) but I always catch my fingernail on the D string. So when I let the bend back down to G, my fingernail flicks the D string and makes a bit of a noise. How can I stop doing this? Is it a problem with how I am bending? Or do I just need to practice it more so I don't do it?
It is hard to not touch other strings when you bend, especially if you bend wider than a semitone.
The trick here is to mute strings that are not supposed to sound to eliminate unwanted noise instead of trying to not touch them.
Some ways to do that are:
It is a very useful habit to mute strings all the time, not only while you bend. Try to develop it by combining the ways described above, and you will notice that you play much cleaner than before.
Good luck!
One thing that will help its to keep the nails on that hand very short, but the technique I use if I must bend a string into or through another is to tilt it back enough that only the fingertip touches the other string, keeping the nail back out of the way.
This is relatively easy to practice and pick up.
The fret hand can be very effective at muting the lower adjacent string, as well as all higher strings.
For the lower string in your case, position your first (index) finger so that the tip of the finger is slightly touching the string you want to mute. In a good position, the tip of the finger should "butt up against" the string, not press it down.
In this position, the first finger can be simultaneously used to fret the string you are playing on, and mute all the higher strings by lightly laying across them (not enough to fret them). Any other lower strings can be palm muted.
This can be a slightly tricky fret hand technique at first. To get comfortable with it, I recommend fretting a fret on the D or G string and strumming all 6 strings, listening for any notes other than the fretted one. From here, you can adjust until everything is correctly muted.
If you can achieve the bend without touching the D string, doing it very slowly, then you have a chance of practising that motion until you can do it at speed.
Doing it slowly, you can experiment with the angle of your fingers, etc. I'm sure your guitar tutor and/or book goes into detail about proper fretting hand position, so I won't repeat it here.
If you find you can't avoid touching the D string even doing the bend very, very slowly, then you simply have to accept that this is a limitation of your instrument.
You then have two choices:
Of course 2 is quite extreme, but some people have large collections of guitars.
If you're bending half to one full note (combined with the right technique and angle approach), you can avoid flickering adjacent string most of the time.
It can be harder to achieve consistently on an electric guitar with a lower action, narrow neck, and/or strings with less tension; also when playing fast solo, bending one-and-a-half note, or vibrato while keeping the bend-up.
To cope with that, I would press the string hard. With the right angle of approach, the finger nail on the G string would slide "under" (just slightly) the upper D string as it bends. Bending down G string, finger nail will slide off from under the D string without producing sound from it.
When doing fast solo though, often with vibrato at the top of the bend, I must finger-mute adjacent strings (e.g. your D string) as I attack the G string to avoid noise from D string consistently. Palm-mute would not be sufficient. Or else there's no way I can avoid making sound out of D string as I bend up on G and do vibrato. It wasn't tricky - I normally wrap my hand over the neck as I solo so my other finger are touching and effectively muting all string, single the one being attacked (the G string here).
There are two ways to bend a string. One where you pull down and one where you pull up. They both produce the same effect. Try both methods and see if either minimizes the interfecrence with the other strings you are trying to avoid interacting with.
i just palm mute for D and lower. for G and higher, it feels awkward for my picking hand to palm mute the string while picking the higher string im going to bend or release(it seems to be more of a problem, when i quickly release a bend). since i choke up a lot on my pick, i rest the side of my thumb on the lower string i want to keep silent. you might find yourself doing this automatically when you tremolo pick, to gain accuracy and speed. if your not a player who chokes up on the pick, give it a shot. it seems to be the key to efficiency for this muting technique.
I'm kind of late to this thread, but I'm a newbie with the same problem; think I just solved it.
There is just no way to play the bend in tune without touching the strings above; at least not for me. Maybe I'll get better like some of the guitarists I see on Youtube, but until then I found what works is to mute the higher (toward my chin) strings with the part of my picking hand below the thumb. Using any other part of the right hand causes problems with my picking, but the meaty part of it just above the wrist seems to do the trick.
The problem was really bad as one of the first songs I learned was Peter Green's introduction to "I need Your Love So Bad."
Sorry to be so late in my response, but I just started doing my search and I thought this might help someone else.
not sure if this will work or not, but i'm having trouble with catching notes on bends atm, and I remember my mate used to put glue on his fingertips (and let ut set obviously) before he played. Research it before you go ahead and try it. Just a thought.


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I have two team members who come from backgrounds that differ from what they're currently being asked to do: how can we encourage them to step up, develop their skills, and learn the new ways?
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Practice, practice, practice. The only way to get better is by doing. I find that if I want to learn a new language, the best way is to follow along with programming examples.
If you're talking about SQL code in itself, it is a relatively easy language to grasp and be productive with. I'd say she just needs to get a good book, read it and code SQL, and buckle down and start working with it.
As far as the encouragement goes, the desire to work hard to obtain something like this is intrinsic. But maybe you can explain how its not too monstrous of a language to learn. She must have some unjustified fear towards the language which you can alleviate.
Or if she's just plain old not interested in SQL she can 1) just learn it and use it or 2) find another job. That last statement is depending on whether or not this is a requirement for the position.
I suppose this depends on what you're doing with the SQL.
Surfer513 said that SQL is relatively easy to grasp and be productive with... but that really only applies to the basic CRUD stuff. Up until recently, I wasn't fully aware of all that SQL had to offer but a colleague of mine showed me some of the SQL he was working with for an advanced course in SQL Server 2008R2 (it was geomapping and some other stuff IIRC) and that can quickly get complicated/difficult.
So, if it's basic CRUD you're talking about then a good book, some practice and pair programming (or code reviews) with confidence building feedback should do the trick.
If you're working with some of the more complicated or esoteric bits, then a course or a certification might be called for. People usually feel confidence after a course, because they can say "I passed the course, I know x". Basically, a tangible badge of learning.
Make sure you have a test or development database that can be used as a sandbox. Oftentimes a fear of databases (or any component of a production system) is increased by the feeling that the least mistake will have catastrophic effects.
In the particular case of SQL databases you can show the engineer how to create test tables (
You might also point out that both COBOL and SQL date from the relative dark ages of the computer business with COBOL having the slight seniority but both far predating things like the personal computer and spreadsheets. Whether this is a comfort or not probably depends on the individual.
Just ask her some questions (maybe during a meeting) that can be answered by running simple SQL statements on a database, like "Sandra, how many customers do we have in New York right now?". Start it simple, it should encourage her to be able to answer that right away, so make sure it's on her level of knowledge. Make questions more difficult over time. (like what was our sales volume since we implemented the automatic payment system).
When you are sure she can do it, you can ask such questions in customer meetings as well. Customers are soooo impressed if you just hack something in a commandline tool and get the results and it may be a highly encouraging experience to her.


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It remains a badge of honor for Curtis Vaughn, a graduate of Morehouse High Class of 1955: When the school captured its first-ever football victory after its first three seasons of consecutive losses, he was the quarterback.
He remembers it well, especially the victory party.
"We spiked the football," he quipped.
Read the full story in Thursday's print edition of the Enterprise.
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Hitler's Niece (Paperback)
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Hitler's Niece tells the story of the intense and disturbing relationship between Adolf Hitler and the daughter of his only half-sister, Angela, a drama that evolves against the backdrop of Hitler's rise to prominence and power from particularly inauspicious beginnings. The story follows Geli from her birth in Linz, Austria, through the years in Berchtesgaden and Munich, to her tragic death in 1932 in Hitler's apartment in Munich. Through the eyes of a favorite niece who has been all but lost to history, we see the frightening rise in prestige and political power of a vain, vulgar, sinister man who thrived on cruelty and hate and would stop at nothing to keep the horror of his inner life hidden from the world.
About the Author
Ron Hansen is the bestselling author of the novel "Atticus" (a finalist for the National Book Award), "Hitler's Niece", "Mariette in Ecstasy", "Desperadoes", and "Isn't It Romantic?", as well as a collection of short stories, a collection of essays, and a book for children. "The Assassination of Jesse James by the Coward Robert Ford" was a finalist for the PEN/Faulkner Award. Ron Hansen lives in northern California, where he teaches at Santa Clara University.


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Graveside funeral services and burial for Leah Rae (Ziegler) Nelson, 70, of Carmi were held at 2 p.m. Saturday, March 9, 2013 at Maple Ridge Cemetery in Carmi with Rev. Steve Nelson officiating.
Barbara Whybark led the congregation in singing, "Sunlight, Sunlight."
Andrew Nelson, Debbie Nelson, Jeff Nelson, Robert Nelson, Todd Nelson and Tony Nelson served as casketbearers and Tessie Nelson served as an honorary casketbearer.
Campbell Funeral Home in Carmi was in charge of arrangements.
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Looking for Gene Marinaccio and Michael Brigante
Posted 20 December 2007 - 07:40 PM
My Mother trained at the American Concert Ballet Company in Los Angeles with Gene Marinaccio and Michael Brigante for many years. We are looking for Gene or Michael.
Thank you.
Posted 20 December 2007 - 08:05 PM
I hope readers who are not BT members will use the Contact Us button to send any info they have. I hope someone can give you good, solid leads.
Posted 20 December 2007 - 08:06 PM
Unfortunately, I can't help directly, but I did find this story on line that mentions Gene Marinaccio in June 2007. The author may be able to help:
Posted 25 December 2009 - 07:49 PM
With your consent, onetimehoofer, I will send Gina your e-mail address, and if she is willing (as I trust she will be ), perhaps we can get it to Mr. Marinaccio, so he can then contact you. You can also use the "Contact Us" link to relay your phone number to administrators, who will pass it along to Gina.
I, too, have been surfing the Internet for news of Michael and Gene. For two years I was in Michael Brigante's class just off Western Blvd. in L.A. with the deservedly legendary Gene Marinaccio, along with the wonderful flamenco and ballet dancer Barbara Sinclair. I was around when Gene started his ballet company and am among those very interested in any news of all three: Michael, Gene and Barbara. With Barbara I studied flamenco under Michael as well. I know she was in Gene's company, but not for how long. I'll rack my brains to dredge up any additional clue. (Barbara, I'd love to hear from you.) I glanced up to see Gene, as if it were nothing, turn ten pirouettes. He paused at the end of the last, checked his position in the mirror, made a last, rosen-squeeky adjustment to turn his still-pointed supporting foot a bit, shot a disapproving scowl at himself, and leisurely came down off point.
By the way John, if it's not indiscreet, what is your mother's name? I may have been in Michael's classes with her. --Douglas Chapman
In 1960, when I was 21 years old, Michael Brigante was about 60. He was an astonishingly convincing combination of the burly boxer he had been as a youth and the implausibly graceful ballet dancer he had become. I remember a day during a class in late summer, when Michael excused himself from class because of a commotion we heard coming from the tiny waiting room. He was gone only a minute, but after class we heard what had happened from some of the excited younger dancers who witnessed the confrontation. , Two belligerently drunk and muscled laborers had come to see the "pretty girlies." Wiry Donald Eryck and tall, muscular Douglas Hinshaw, barred the way into the studio. Deeply impressed we listened to how Michael had simply grabbed the two by their necks, turned them and ousted them from the wooden steps of the studio.
Michael was a man's man, with an ready, boyish sense of humor. It was easy to picture him fishing or sparring in the ring. There was relaxed authority in his voice as he relentlessly tapped his cane on the sprung wood floor. He was a kind and persistent seeker of good line and perfection in balance, less interested in historic style than centered foundations for graceful movement. His voice boomed encouragement rather than intimidation.
Gene Marinaccio made you wonder if Nijinsky was as good. If you can imagine the feline agility of a cat in human form, you've got an idea of Gene's presence, whether performing or just watching (I heard Michael once say that "Gene at rest has more movement than most dancers at full gallop").
Gene has gracefully masculine frog's legs that come up to here, with an extension and point that was the envy of many a 14-year-old girl in class. I've never seen another dancer pause in the air as long as he did in a grand jeté or pas-de-chat—including Mikhail Baryshnikov (there is a similarity of the extreme a human soul's body may reach, and they were akin in projecting unapologetically masculine power).
The first time I saw Gene, he was practicing quarter-turns. I'd heard so much. I expected something spectacular. After several minutes of one quarter-turn after another, I turned away, bored, smugly disappointed. I happened to glance in the mirror when, as if it were nothing, he turned ten pirouettes, paused at the end of the last, checked his position in the mirror, and almost reluctantly came down off point. In 1960 Gene was 26. Now he'd be about 76.
Regardless of the years, I can still see Barbara Sinclair's dark and fiery sensuality filling Michael's unassuming dance studio. Her passionate gaze toward where her port-du-bras led the eye, her voluptuous beauty as she dramatically snapped her chin aloft and held her arms in classic line during a zapateo, brought the heat and grace of centuries of Moorish tradition into the studio. When she danced flamenco, Michael's face always shone with delight and pride in her. Even in the most classical of center-of-the-floor combinations in ballet class Barbara's femininity surrounded her.
As a dancer, Barbara's moods were mercurial, flashing a kaleidoscope of emotions with the practiced ease of a veteran actress—girlish, ethereal, playful, dramatic or aloof. She was generous with fellow dancers, not taking herself too seriously, although clearly she was a star. She and Gene defined charisma. Although so different from each other—Barbara always at play, as if technique came naturally, and Gene, soaring somewhere beyond mortal man—they made audiences hold their breaths, joyously applaud, and go home filled with delight, longing, and perhaps personal regret for dreams gone dim beneath their pillows.
You should have been there . . .
Posted 26 December 2009 - 07:50 PM
I was lucky enough to meet Gene once when I traveled with Don to LA one Christmas.
Happy New Year.
Posted 27 December 2009 - 05:05 PM
I was lucky enough to meet Gene once when I traveled with Don to LA one Christmas.
Happy New Year.
D . . . What year did you meet Gene--did you see him dance?
Posted 29 December 2009 - 12:27 AM
Posted 30 December 2009 - 06:41 AM
Thanks so much for the comment. I would love to contact Gene . . . Would you ask "someone who would know" if he has an Email address for Gene?
Gene is alive and living in LA. That's all I can tell you... I heard this fairly recently from someone who would know. Also, my husband is Gardner Carlson who worked with Gene in LA during the 60s. My first ballet teacher is Penelope Lagios who worked with Gene and also with Michael. I have heard amazing stories from them both about these two remarkable teachers!
By the way, I also remember an amazing enormous blow-up photo of Gene in full flight in a gran jetée at Michael's studio. Does anyone know where I may find photos of him, Barbara Sinclair, anyone else at Michael's studio, and of me?
Posted 02 January 2010 - 03:47 PM
Posted 02 January 2010 - 05:18 PM
Posted 03 January 2010 - 04:53 AM
With your consent, onetimehoofer, I will send Gina your e-mail address, and if she is willing (as I trust she will be ), perhaps we can get it to Mr. Marinaccio, so he can then contact you. You can also use the "Contact Us" link to relay your phone number to administrators, who will pass it along to Gina.
Thank you! My Email is: firstname.lastname@example.com
I have lived in South America for the past 27 years, 16 of them in Argentina, where I'm currently interpreter and translator for the UN and many commercial international companies. I was a war and terrorism journalist for 26 years, currently finishing a novel about my 9 years in Perú, where I reported on the nearly successful drive of the Maoist Sendero Luminoso (Shining Path) to overthrow the government.
(Gina, I seem to remember seeing you dancing somewhere, perhaps in Coppelia ???)
My passion for dance has affected the entire course of my life, perhaps most in discipline, resolve and the will to survive. Memories of the dancers I knew and those I observed from a distance—fellow performers and classmates, as well as those seen briefly at auditions—have bobbed up at odd moments in my life and literally saved me in at least two.
I was not a personal friend of Gene's, although I took class with him for two years. Seeing myself through his eyes, I think I was for him a late-starting, but doggedly determined question mark: would this passionately dedicated novice go on? He was always polite. All expression of his ego was somehow channeled into movement, never surfacing as a personal trait; he was always effective, never in affect. Like Bruce Lee, he was focused on one subject, and that subject drove him. As I remember, "The Dance" and gossip seemed Gene's only topics of conversation. (I can just hear Gene snickering and saying, "Well, sounds good!")
My initial interest in ballet began in Atlanta, Georgia, where a Marine friend, Judd Bell, dragged me to a rehearsal of the Atlanta Civic Ballet, where his girlfriend was a performer. On sight, I fell in love with one of the other dancers, Jo Anne Rader, who went on to dance with the Royal Ballet. In one of those truly unlikely, but probably logical turns of events, a year later found me drawn to attend a performance in L.A. of, I believe, the Alicia Alonso Ballet Company, with Alonso herself and 46-year-old Igor Youskevitch as principals.
At intermission, I listened to three young men seated directly in front of me animatedly talk with obvious authority about the dancers and their performances. Still in love with Jo Anne, I tapped one on the shoulder and asked if they really knew those dancers on the stage. The three, Gene Marinaccio, Douglas Hinshaw and Donald Eryck, turned, eager to talk. Donald had toured South America with the Alonso company. He told me about how Miss Alonso had to be turned upside down and shaken by two dancers just before each of her entrances, to reset her optic nerves in place at least long enough for her to find her bearings once she was on stage. And, they corroborated what I had seen, that Youskevitch managed to find within himself movement and leaps that convinced me he was still a young man.
The three fellow watchers of the Los Angeles performance invited me to their dance studio. I remember thinking, yeah, sure! I politely said I'd "try," as convinced that I wouldn't go as my three fellow theatergoers were as their eyes shied politely from my lie. But . . . Dance is so physical, and so passionate. I went the next day. Michael wasn't what I expected a man teaching ballet might be. Dance in the classroom didn't fit my niggling prejudices. Something in me moved like the ocean tide answering the moon as the dancers gestured, turned and leapt. I went only to watch, but somehow was cajoled into borrowed tights and slippers for the second class.
Toward the close of my first year of study with Michael Brigante I began performing as soloist in the Wilson Morelli Ballet Company (later, the Los Angeles Opera Ballet), and danced in two movies. I met Bronislava Nijinska (Nizínskaya), a fellow tenant where I lived in Hollywood, who presented me with her brother's worn costume from Petrushka after seeing me dance at Hollywood High School with the then Wilson Morelli Ballet Company. I never showed the tattered and torn, crimson costume to anyone, but kept it for many years. I remember once looking at it, then at a Photo of Waslaw Nijinski dancing Petrushka, then back at the faded material in my hands, suddenly overwhelmed by my own insignificance. Perhaps it is still among my things left with my younger brother, Arnold, in L.A.
For more than a year my brother and parents were politely noncommittal about my choice of caree. They saw me dance for the first time in Manuel de Falla's El Amor Brujo at the Greek Theater. I cannot express how much they warmed my heart when they appeared backstage after the performance to congratulate me, eyes shining with admiration and pride. Although I was nobody in the ballet world, that moment backstage meant the world to me. Sorry . . . MEANS the world to me.
Most dancers find they were absent when God handed out the right bone, muscle, proportions and hormones to begin an advantaged life as a dancer. Most of us didn't get light bones, long, powerful muscles, graceful arches, and hips that both turn a leg out and let toes point through the roof. While we turn a blind eye to our imperfections, and strive to transform our bodies into fleeting instruments of universal expression, a few, like Gene, are genetically blessed. Maybe you too are one of those whose arches are beautiful, whose naturally sculpted torso and limbs answer easily to emotional and artistic implulse. Or, like me, in spite of imperfections, were determined to go on anyway, just for a few moments of immortality in class and on the stage. A providential mishap prevented me from continuing as a dancer, but fortuitously led to my ongoing career in my other love: writing. (My, how I do go on!)
Posted 12 July 2010 - 11:08 PM
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Home > Food > Recipe Slideshows > 15 Ways to Disguise Vegetables
15 Ways to Disguise Vegetables
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I am currently working on a (functional) analysis problem refining Pekar's Ansatz (or adiabatic approximation, as it is called in his beautiful 1961 manuscript "Research in Electron Theory of Crystals").
Anyways, I have two related questions, which the members of this community may find simple.
The Fröhlich Hamiltonian is given as follows in three dimensions
$$H=\mathbf{p^{2}}+\sum_{k}a_{k}^{\dagger}a_{k}-\biggl(\frac{4\pi\alpha}{V}\biggr)^{\frac{1}{2}}\sum_{k}\biggl[\frac{a_{k}}{|\mathbf{k}|}e^{i\mathbf{k\cdot x}}+\frac{a_{k}^{\dagger}}{|\mathbf{k}|}e^{-i\mathbf{k\cdot x}}\biggr]$$
The physical scenario here is an electron moving in a 3-dimensional crystal. Each $k$ signifies a (vibrational) mode of the crystal.
If we restrict ourselves to just a 1-dimensional crystal, why is it that the Hamiltonian can be written as follows:
$$H=\mathbf{p^{2}}+\sum_{k}a_{k}^{\dagger}a_{k}-\biggl(\frac{4\pi\alpha}{V}\biggr)^{\frac{1}{2}}\sum_{k}\biggl[a_{k}e^{i\mathbf{k\cdot x}}+a_{k}^{\dagger}e^{-i\mathbf{k\cdot x}}\biggr]$$
Namely, why do we drop the $|\mathbf{k}|$ factor in the third term?
Furthermore, I see how the creation and annihilation operators work on the (bosonic) Fock space (referring to the crystal here), especially when we write the creation operator in the form $\sum_{k=0}^{\infty}\frac{(a^{\dagger})^{k}}{\sqrt{k!}}\left|0\right\rangle =\left|k\right\rangle$. Namely, the creation operator is jumping from one tensored state in Fock Space to the next. However, I also see the form $a_{k}=\frac{1}{\sqrt{2}}\bigl(k+\frac{d}{dk}\bigr)$. How are the two forms connected? How do you intuitively think of the latter form? For example, I thought of the former form as the creation operator jumping from one state in fock space to the next, but the latter form I am not quite sure.


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8 May 2009 11:32 AM #1
Ext.Direct - Server-side Stacks
Link to spec: http://docs.sencha.com/extjs/6.0/bac...ification.html
Symfony - Maintained by dancablam (Daniel Stevens)
Ext.Direct PHP - Maintained by tommymaintz (Tommy Maintz)
Simple Router - Maintained by Ext JS Team
Within SDK - examples/direct/php/
Ext.Direct PHP Backend - Maintained by ckr
Ext.Direct for CodeIgniter - Maintained by goachka
Ext.Direct for Kohana 3 - Maintained by Bodom78
Easy Ext.Direct integration with PHP
Ext.Direct CakePHP Stack - Maintained by Dumas
Zend Framework 2 - Maintained by Rovak
Rails - Maintained by christocracy (Chris Scott)
Merb - Maintained by christocracy (Chris Scott)
Ext.Direct .Net Server-side stack - Maintained by evant (Evan Trimboli)
Ext.Direct for .Net 3.5 - Maintained by shibubh (Shibu Bhattarai)
ExtDirect4DotNet - Maintained by crp_spaeth
Ext.Direct for ASP.NET MVC - Maintained by elishnevsky
ExtDirectHandler for .NET - Maintained by gianmarco
ExtDirect stack based on Castle Framework (.NET) - Maintained by (aritchie)
directjngine - Maintained by pagullo (Pedro Soliveres)
extdirectspring - Maintained by ralscha
extdirect4java - Maintained by piziwate (Steve Guillarmod)
Ext.Direct Struts 2 plugin: extdirectj-s2-plugin - Mainted by stefanorg
HQExtDirect - Mainted by cattus
A new reflection based Java server-side stack implementation.
Examples, additional information and packages you can find at the project's home page:
Forum thread: http://extjs.com/forum/showthread.php?t=70619
DirectCFM - Maintained by aconran (Aaron Conran)
ExtDirectCF: A Managed ColdFusion Server-side stack with security - Maintained by jimmifett
Grails - Plugin: Ext Direct - Maintained by dferrand (Damien Ferrand)
ExtDirect for Delphi - Maintained by r.federiconi
4th Dimension (4D) v11
4th Dimension (4D) v11 ExtRemoting component - Maintained by ahartlen
RPC::ExtDirect - Reference Ext.Direct stack - maintained by (nohuhu) Alex Tokarev
Perl Stack - Maintained by (scottpenrose) Scott Pennrose
CatalystX::ExtJS::Direct - Enable Ext.Direct in Catalyst controllers
extdirect.django 0.2 - Maintained by (sancho_0) Santiago Videla
Django Stack - Maintained by (Svedrin)
Pyramid - Maintained by (jenner)
Docs: http://docs.pylonsproject.org/en/lat...s/pyramid.html
Github: https://github.com/jenner/pyramid_extdirect
PyPI: https://pypi.python.org/pypi/pyramid_extdirect/
Maintained by stju (Juris Vecvanags)
Last edited by Stju; 22 Oct 2015 at 2:54 PM. Reason: Updated spec locationAaron Conran
13 May 2009 12:30 AM #2
What about perl stack? It is mentioned in specification, but not present here.
13 May 2009 5:56 AM #3
+1 for a Perl stack
13 May 2009 2:44 PM #4
13 May 2009 4:25 PM #5
Ext.direct for C ?
Why not a C (and not C++) implementation? All of your supported stacks are slow, and resource hogs. None of your supported stacks are appropriate for embedded configurations. The only compiled stack is for the proprietary MSFT operating systems.
Of course, I'm not complaining (well, only a little) ... glad to see ext.direct, but there is a whole class of potential users for it are resource sensitive and/or have proprietary operating systems for the server. This eliminates .NET, JAVA, and your other choices, except for PHP, which isn't a good choice in general for embedded developers.
Also, could you please publish full specs for the back-end? I.e, an operating system agnostic point of view or porting guide. Anybody who wishes to port to another language needs more than to just take apart the source code, especially since your source code makes calls to library functions that are built into the various back-end language stacks.
13 May 2009 5:42 PM #6
+1 for perl, would begin coding against it today. Also, can there be/is there a JS-based stack for possible use with apps like freeswitch and couchDB?
Thanks Ext!
14 May 2009 7:43 AM #7
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Ext is going to provide routers for the more popular server side languages. We're finalizing the specification now so that you can build one for your own platform.Evan Trimboli
Sencha Developer
Twitter - @evantrimboli
Don't be afraid of the source code!
14 May 2009 7:53 AM #8
14 May 2009 10:04 AM #9
The specs are relatatively incomplete, and unfortunately, recursive in nature. I.e, right at the beginning, the author writes, "... some features are not required for particular languages or may lack the features required to implement the functionality".
I can certainly implement XML & JSON encoding/decoding, there are published specs. Wait, I can't implement it. The spec doesn't say basic things like which version(s) of XML do I need to be compliant with.
The whole point of a server-side stack is to be language agostic from perspective of the client. Let's say I wrote a back end in imaginary language called "D"
Does the D language require type conversion, or async method calls? The spec doen't give me a yes or no, so what is the answer? Explain in detail async method calls, Exactly what are all of the error codes . is there a limit to how long it can be? This opens up problem where clients need to have conditional logic depending on the back-end they use. Bad design. The client should only have to run a standard call to figure out best way to do something based by the response ... and all of this should be handled automatically by the framework. If server side doesn't support json, then extjs should (well, it would be nice) to convert to xml automatically and translate back to json so client browser code works.
On rather simple file transfers, what do I do about file names that may not be compatible. What if somebody uploads filename ABC.TXT, Abc.TXT, and AbC.txt into same directory? Are these three different files or one file? OS / X will let you decide at installation time case sensitivity? What if the filename is to go into directory '?*.\\//', or the filename is "..\" or there are control characters in the file or directory name. Perfectly legitimate in UNIX, windows won't be happy. What if first character is a period? Do I expose it on a directory listing in UNIX?
I know I am getting anal, but a specfication has to assume nothing, and certainly can't make assumptions about whether or not my programming language lacks certain features so I can't implement something, as the spec says.
14 May 2009 10:52 AM #10
I think best way to simply frame it, is that the spec is written so that the server-side language-specific defaults, libraries, and features are used as the default. From design perspective of server-side, that is good. You want to make sure that ext.direct works with all of the default library code, for all obvious reasons.
But for a new port, the spec doesn't provide enough information. The developer doesn't know what the default should be. PHP on Solaris and .NET on Windows XP have very different perspectives on everything from variable and expression parsing to file naming conventions. So what is a developer to do? I think you are going to run into some serious problems down the road unless you get very specific.
The architecture guarantees that one can have a perfectly good ExtJS app behave differently depending on the server-side backend ... especially if there are bugs in client-side code. Are plug-in authors going to have to choose what back-end they support? That is like having plug-ins only work with certain browsers .. we hate that.
A suggestion, develop a certification extjs suite that not only tests what should work, but what shouldn't work. Get the plug-in authors to work toghether on it. Each server-side engine must pass and fail each test within the certification suite exactly the same way. .i.e. test #27 tests rules that define acceptable whitespace. Test #28 examines bad whitespace, and if your server code is too tolerant, and the test passes, then you report that the server-side failed test #28 because it is just too tolerant.
This test suite will be invaluable to developer, and will be most helpful when new versions of perl, php, coldfusion, etc, come out ... because we all know about how upgrades break things, or if certain server side engines break under certain operating systems. What if server engine works with one O/S, but not another? The cert suite can be part of the bundle that the installer runs to test things as part of the startup.
Sorry for rant, I've written code for just about every O/S and CPU architecture you can imagine, from z80s to mainframes, and portability for software black-boxes is incredibly difficult to get right unless you leave nothing open to interpretation. (You must also rewrite the spec so the words SHOULD is replaced by MUST).
Look at all the mess we have right now with browser compatibility and CSS. Nip it all in the bud ... now.
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text:
Cast: Andrew Lincoln, Jon Bernthal, Sarah Wayne Callies, Laurie Holden, Jeffrey DeMunn, Steven Yeun, Chandler Riggs
- Airs: 10pm Sundays
- Air Dates: October 2010 - Still Running...
The story of the aftermath of a zombie apocalypse; this follows a small group of survivors traveling across the desolate United States in search of a new home away from the shuffling hordes of the undead. The group is led by Rick Grimes, who was a sheriff's deputy in King County, Georgia, before the zombie outbreak.
As their situation grows more and more grim, the group's desperation to survive pushes them to the very brink of insanity. At every turn they are faced with unspeakable horrors, both from those who are dead, and from the scattered remains of a struggling human populace.


text:
Seeing Stars (Paperback)
April 2010 Indie Next List
"Venture into the world of child stars, where the next booking could be their big break. Ruth leaves her husband in Seattle while trying to help their daughter find the part that will make her a star. Allison, old beyond her tender years, is searching for the role that will make her a household name. Quinn has the talent and drive, but is he too volatile to shine in Hollywood? You will come to care about these characters, and want to know their stories and share their hopes."
— Deon Stonehouse, Sunriver Books, Sunriver, OR
Ruth Rabinowitz believes. She believes that her daughter, Bethany, is a terrific little actress, so they have come to Hollywood, where dreams come true. Ruths husband and Bethanys father, who thinks their quest for stardom is delusional, has been left behind in Seattle.
Joining Bethany Rabinowitz in Hollywoods often toxic waters are fellow child actors Quinn Reilly, who has been cast adrift by his family and excels only on Hollywood sets; beautiful Allison Addison, who is misled by her powerful need for love; and Laurel Buehl, who brings a desperate secret to LA that makes the stakes impossibly high. As talent managers, agents, coaches, directors, and teachers nurtureand feed ontheir ambitions, stars will be made, hearts will be broken, children will grow up, and dreams will both be realized and die.
About the Author
Diane Hammond is the author of the critically acclaimed novels Seeing Stars, Hannah's Dream, Going to Bend, and Homesick Creek. She served as a spokesperson for the Free Willy Keiko Foundation and the Oregon Coast Aquarium and currently lives in St. Paul, Minnesota, with her husband and their three Pembroke Welsh corgis.
Praise For…
"With razor-sharp insight, Hammond grabs us by the wrist and dives into the child-actor world....[a]n untarnished look at the spoils of fame, the residue of unbridled longing and the lengths too many go to for those 15 minutes of marquee-made joy."
-The Oregonian (Portland)