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text:
TOPEKA, Kan. (AP) _ A group's media campaign on behalf of developmentally disabled Kansans fueled a big increase in lobbyist
spending in January.
Interhab, which represents 40 organizations providing services to the disabled, was the leader in reported spending in January.
It reported spending $111,000 on media advertising. It had a campaign to publicize the needs of developmentally disabled Kansans who are on a waiting list for in-home services.
That campaign included billboards and radio and television advertising.
Lobbyists reported spending $352,000 to influence the Legislature. That's 41 percent more than the $249,000 spent by lobbyists in January 2008.
And last year was a record year, with lobbyists reporting more than $1.3 million in spending.
(Copyright 2009 by The Associated Press. All Rights Reserved.)

subset: commoncrawl


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BEST BETS: "Jessica Jones," "Big Trouble/Escape from New York" & More October 2016 Highlights
Comic Books
One of the weird things about writing about comics for a living — or, at least, part of a living — is that, at this time of year, you end up being asked for lists of the best comics of the year, or your favorite comics of the year and, if you're anything like me, find yourself falling back in love with comics all over again as a result.
It's really easy to get exhausted by comics, or fall out with comics, especially if you pay attention to the mainstream companies and get exhausted by the constant hype and exaltation that this is the big one and, really, it's the same big one that you've read countless times before over the past however-many decades (although I'll admit to being amused by Image boss Eric Stephenson calling Marvel and DC out on his blog last week by saying that "Image Comics is on a supersonic rocketship to the future" when they're also relaunching a line of Rob Liefeld comics, for the love of whatever Pete you're looking for). Something genuinely odd about comics as a subculture is the sense of … insularity, perhaps, or cliquishness that it seemingly demands — this surreal idea that, in order to be "into" comics, you have to somehow want to pay attention to what the biggest companies are doing with some level of worrying devotion (it's not enough to know that the Avengers are fighting the X-Men, you have to know who Hope is and why the Scarlet Witch might be pissed at the Avengers; it's not enough to know that DC relaunched with 52 new books, you're expected to have a favorite of all of them, and so on) that, I feel, doesn't really exist with other forms of media.
(On top of that, as well: Comics is so large as a subject, with minicomics and small press and the direct market and digital comics and webcomics and manga and oh God how can we keep up with all of this; again, I feel like this isn't something that other media really has to deal with. Am I imagining this idea – both internal and external to comic culture – that "comics" is some kind of homogenous entity that is entirely interchangeable? Really, you can tell me; I won't freak out too much.)
Even if you don't get exhausted just by the need to know things, the expectation that you should have opinions on all of that, there's also the fact that so much of comic culture is so combative. It's schizophrenic, really, that a culture can be simultaneously convinced of its own unity and universal importance and yet also ready to just disagree and fight with everyone within that culture who dares to disagree with each participant's particular opinion on any subject: Who'd win in a fight between Superman and Thor? How can you say that Chris Ware is overrated? What do you mean that you don't get Achewood?!? The unity and sense of brotherhood that comes from that idea that, Hey, you read comic books too, is almost immediately thrown away by the upset from a realization that You're not the same as me after all.
But if you can somehow separate comics themselves — the work, the comic books, you know, the important stuff — away from all the other comic-related culture like the movies and the internet chatter and the news (both real and fake) and everything else, then there's wonderful reminder that, really, you love the comic format and a lot of things that people have done within that format. It's difficult to do, to take "comics" as a medium away from "comics" as a culture, I think; there's something about the cultural aspect that can be so amazingly overwhelming at times. But they are separate, and it's always worth reminding yourself of that. When you need a break from what you think of as comics, you should take one; stop reading all the crap online, all the comics that you don't really care about but feel like you should be reading, and just sit back and read something that you love and would love no matter how the story was told.
The best way to recharge your batteries from dealing with "comics" is with a comic. As long as you can remember the difference between the two, of course.
I think getting back into comics late in life has helped me to not get so caught up what you describe as the "culture" of comics. Make no mistake, I'm in it, but I've never felt overwhelmed by it. I try not to get too emotional about it all. Don't like the direction a writer's taking a book? I'll just drop it and come back on board later. Big Event going on? Meh, I'll skip it and read the books that matter to me. Any affects it'll have on titles I'm reading I'll trust the writers to inform me of.
The trouble is that just about all of Marvel and DC's comics are wrapped up in their events. Any that aren't, are probably about to be canceled. It's very hard to be a casual reader or a reader of just one or two titles in this current envivronment.
True, that's one of the reasons I'm primarily a Vertigo/Image/Etc. guy. The stories I enjoy at the big two are often books that are set on the peripheral of their universes and I enjoy them while they last.
" It's difficult to do, to take "comics" as a medium away from "comics" as a culture, I think; "
I don't find it hard. I had to remove the political lecturing and social sanctimony from comics so early on as a conservative reader that I ended up not caring at all about the cultural side of it. As for the actual comics, I've never been happier as a fan.
Graeme, is the title of your column a Soul Coughing reference?
I think one issue is that sometimes people confuse being a fan of superheroes with being a fan of comics. This isn't necessarily everybody, of course, nor is it the only issue at hand. But I think some people like a character like, say, Moon Knight and follow his adventures. But since those adventures are primarily limited to comics, they assume that their interest in the superhero equates to an interest in the medium. There can be a substantial overlap but they're not really the same groups. For example, I have almost zero interest in the various movies and TV shows and video games featuring Batman, Iron Man, Spider-Man, whomever. Not that I dislike the characters per se, but my interest is in the comics specifically and how the characters are portrayed on screen is, for me, totally irrelevant. There's no right or wrong here, of course, just different preferences. But when you don't (or can't) recognize those distinctions, then you can run into conflicts.
Again, not the whole issue, nor one that affects everybody, but it's one that I think goes unrecognized frequently.


text:
After updating to the latest version of Scribe plugin (4.0.14) I get the following error every time I Analyze my posts:
An unknown error occurred when contacting the Scribe SEO API service.
I looked at the $request_result object that comes back from Scribe and it looks like this:
stdClass Object
[message] => Html Title value is missing|Meta Description value is missing
[technicalData] =>
The reason why I get "Unknown error" is because the $request_result object contains a key "message" with lower case "m". In analyze_content() method there is a check for
if ( isset( $request_result->Message ) )
with capital "M".
So that's one problem.
The second problem is that the real error message is:
Html Title value is missing|Meta Description value is missing
However I've triple checked my articles and they do have a title and Meta description.
Has anyone else reported this issue?


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Manhoef vs Sokodjou
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Hardcore......to the max!
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Manhoef vs Sokodjou
Visa Issues Will Keep Cameroon Sensation Out Of Manhoef/Overeem Match Monday at K-1 HEROS
By Loretta Hunt (email@example.com)
The Japanese have elevated last-minute fight card revelations to an art form, and if Fight Entertainment Group, promoters of K-1 HEROS, had pulled this one off they wouldnt have been accused of lagging.
With two openings left to complete its card and time ticking away, K-1 tried to secure the services of one of the sports most instantaneous stars in PRIDE light heavyweight phenomenon Rameau Thierry Sokoudjou for Mondays Olympia HEROS event at the Yokohama Arena in Kanagawa, Japan. The 2001 US Open Judo Championships winner would have faced either of two accomplished Dutch strikers still without opponent on the roster - Melvin Manhoef or Alistair Overeem.
Sokoudjou, who had been reported to have verbally agreed to a deal with Pro Elite two weeks ago, was set to leave Dan Hendersons Murrieta, Calif. Team Quest gym on Thursday for another whirlwind trip around the world. However, a proper visa could not be acquired in time, said Henderson. Sokoudjou is still slated to travel to Japan this weekend to discuss a multi-fight contract with the K-1 organization.
Few fighters have stirred fans up into as much frenzy in such a short time as Sokoudjou has. An unknown in Februarys PRIDE 33 The Second Coming in Las Vegas, the 1500-1 underdog knocked out Olympic boxing hopeful Antonio Rogerio Nogueira (12-3) in 23 seconds. The muscular, dreadlocked fighter topped that performance less than two months later at April 8s PRIDE 34 Kamikaze, sending Brazilian Top Teams Ricardo Arona (13-5) into unconsciousness in a minute and 59 seconds in the last event held under Dream Stage Entertainments banner.
Damn this fight was nearly on!
I would love to see that fight......both of them are ****ing monsters with brutal knockout power.
I would predict a great slugfest war.
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Berrow's Worcester Journal
Berrow's Worcester Journal claims to be "the oldest surviving newspaper in the World",[1] (although The World Association of Newspapers placed it seventh on its list of "Oldest Newspapers Still In Circulation."[2]) It is owned by Newsquest, the second-largest publisher of regional and local newspapers in the United Kingdom.
The common belief that Berrow's Worcester Journal or its forerunner was established in 1690 seems to be based entirely on an assertion, made more than a century after the fact, by Valentine Green in his 1796 work, History and Antiquities of the City and Suburbs of Worcester. Green's "vague statement, not verified elsewhere"[3] was, "From the best information, it is conjectured that a public paper was established in Worcester as early as the commencement of the Revolution... This was, doubtless, the period that gave birth to the Worcester Weekly Paper... It is uncertain however, in what order of succession these publications were first issued, whether monthly or weekly, on what day of the month or week or in what form, folio, quarto, or otherwise..."[4] Green did not explain what "the best information" meant and no copies of a seventeenth-century Worcester newspaper are known to exist.[5] More recent scholarship asserts that there had not been an active press in Worcester for more than 150 years before 1709.[6]
Berrow's Worcester Journal is the descendant of Worcester's earliest known newspaper, The Worcester Post-Man, first printed by Stephen Bryan in June, 1709. Bryan (who was proprietor, editor and printer) published the thriving paper for nearly forty years, first as The Worcester Post-Man (from 1709), then The Worcester Post (from 1722) and finally The Weekly Worcester-Journal (from 1725). Local news was relatively rare in the first decade of publication, but after about 1720 Bryan began to include more local items.[7] In the time that Bryan owned the paper it was published on Fridays.[8]
In April 1748, Bryan sold the paper to Harvey Berrow who changed its name to The Worcester Journal and its publication day to Thursday. From 11 October 1753 the paper was published as Berrow's Worcester Journal.[9]
This last name change was prompted when a competitor, Richard Lewis, tried to profit from the success of the Worcester Journal by launching the similar-sounding New Worcester Journal. Lewis's other efforts to take market share from the older paper included publishing on Wednesdays (the day before Berrow) and circulating a report in Bewdley, Kidderminster, and Stourbridge that Berrow's newsmen had left his service.[10] In return, Berrow's 8 November 1753 issue made a declaration of opposition to "the Publication of a News-Paper (on a Wednesday) by a Person who has not the least Right to exercise the Art of Printing, he having serv'd no Apprenticeship at all thereto, nor hath otherwise had an Opportunity of acquainting himself with the Nature thereof." Lewis was eventually hooted out of business by the ebullient Berrow in the following year.[11]
Berrow was the third son of Capel Berrow (died 1751), a clergyman, and younger brother of Capel Berrow the writer,[12] and was an apothecary in Peterborough. This was not unusual during this time as early newspaper proprietors would sell medicines alongside their newspapers. Berrow promoted in his paper his elixir for dropsy and his powder for gout. The paper was sold for 2½d every week with five pages.
The paper is still named Berrow's Worcester Journal, despite the Berrow family having long since ceased any connection with it - it is published by Newsquest. Around 41,000 copies are distributed every week, with all but 1,500 dispensed freely. A website is dedicated to the history of the Journal, with its contents uploaded every week onto its main page for anybody to access.
- ^ "Berrow's Worcester Journal - History of the newspaper". Worcester News. Newsquest. Retrieved 2013-10-25.
- ^ "Oldest Newspapers Still In Circulation". World Association of Newspapers. Archived from the original on 2012-02-11. Retrieved 2012-01-18.
- ^ Wiles, p. 14.
- ^ Green, Vol. 2, pp. 25-6.
- ^ Wiles, pp. 506-7
- ^ Cooper, p. 3.
- ^ Wiles, p. 257
- ^ Wiles, p. 65
- ^ Wiles, p. 506
- ^ Wiles, p. 91
- ^ Wiles, p. 22
- ^ Cooper, Margaret. "Berrow, Harvey". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/70356. (Subscription or UK public library membership required.)
- Cooper, Margaret, The Worcester Book Trade in the Eighteenth Century, Occasional Paper Number 8, Worcester Historical Society, Worcester, 1997.
- Green, Valentine, History and Antiquities of the City and Suburbs of Worcester (2 vols.) Bulmer, London, 1796.
- Wiles, R[oy] M[cKeen], Freshest Advices: Early Provincial Newspapers in England, Ohio State University Press, 1965.
External links[edit]
- Berrow's Worcester Journal website
- Freshest Advices: Early Provincial Newspapers in England at the Ohio State University Press website.
- Transcripts of Georgian Editions (1756 onward) of Berrow's Worcester Journal from copies from Mr Berrow
- Introduction to history of Berrow's Worcester Journal.


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A fantastic word processor. It is basically LibreOffice Writer that looks like Microsoft Word. It has picture tools, editing tools, and is a fully functional word processor. This software used to be licensed. Now it is free. You can just download it. We hope you enjoy it. Thank You for your support!
-Merge Soft
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I do not think this person has "based" their program "off of" [sic] LibreOffice. This software resembles a school coding project rather than a serious application. It even has placeholder labels and controls! Documents open rather poorly, and the feature set is a joke. How dare this person claim that this "has much more featres [again, sic] than LibreOffice Writer". That is false, a scam. Unless you count a thousand skins as "features". I don't mean to be harsh, but please don't make false claims.


text: I really like the Pro Version of this theme! The reason is that it allows me to create a combo of a Blog and CMS. But, I have an issue with theme support. I don't know if it's my problem, or the developer's. Here's my take on the issue: http://toolbox-4-websites.com/2014/whats-more-important-original-design-or-end-usage-by-shapeshifter-3/


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"Rid argues that what we have seen so far in the cyber realm can't properly be classified as war at all. And, he and his allies suggest, in thinking of it that way, we're creating new international hazards and diverting attention from changes that might actually keep us safe. Rid represents one pole of an emerging debate, as the world's policy establishment grapples with how to think about virtual attacks. One side believes that to downplay them is dangerously naive. . . Rid's side of this debate, which includes both experts on cybersecurity and those given the task of designing the new 'weapons' for cyberspace, argues that although the threat is real, in overstating it we're helping create a new kind of global risk."--Boston Globe
"'In Cyber War Will Not Take Place, Thomas Rid throws a well-timed bucket of cold water on an increasingly alarmist debate. Just as strategic bombing never fulfilled its promise, and even airpower at its apogee -- Kosovo in 1999, or Libya two years ago --only worked with old-fashioned boots on the ground, Rid argues that the promise of cyber war is equally illusory. . . What Rid does, with great skill, is to pivot the discussion away from cyber war and towards cyber weapons."--Financial Times
"His provocatively titled book attacks the hype and mystique about sabotage, espionage, subversion and other mischief on the internet. He agrees that these present urgent security problems. But he dislikes talk of warfare and the militarisation of the debate about dangers in cyberspace. Computer code can do lots of things, but it is not a weapon of war."--The Economist
"With news of cyber war, terrorism and espionage seemingly everywhere, separating hype from reality is not always easy. Many agencies and companies stand to gain by inflating cyber security fears. In Cyber War Will Not Take Place , Thomas Rid takes a razor to the evidence and carefully dissects the evolution of conflict and espionage in the cyber age. The result is a compelling and authoritative take on war and strategy in cyberspace, one that will surely be seminal in this area for years to come."--Ronald J. Deibert, Citizen Lab Director and author of Black Code: Inside the Battle for Cyberspace
"We're in the early years of a cyberwar arms race, one fueled by both fear and ignorance. This book is a cogent counterpoint to both the doomsayers and profiteers, and should be required reading for anyone concerned about our national security policy in cyberspace." -- Bruce Schneier, security guru and author of Liars and Outliers: Enabling the Trust Society Needs to Thrive
"'This book will be welcomed by all those who have struggled to get the measure of the 'cyber-war' threat. As Thomas Rid takes on the digital doomsters he also provides a comprehensive, authoritative and sophisticated analysis of the strategic quandaries created by the new technologies." --Sir Lawrence Freedman, Professor of War Studies, King's College London
About the Author
Thomas Rid is Reader in War Studies at King's College London. He is also a non-resident fellow at the Center for Transatlantic Relations in the School for Advanced International Studies, Johns Hopkins University, Washington, DC.


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Ganesh R.
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Le marteau sans maître
Le marteau sans maître (The hammer without a master) is a composition by the French composer Pierre Boulez. First performed in 1955, it sets the surrealist poetry of René Char for contralto and six instrumentalists.
Before Le Marteau, Boulez had established a reputation as the composer of modernist and serialist works such as Structures I, Polyphonie X, as well as his infamously "unplayable" Second Piano Sonata (Jameux 1989b, 21). Le Marteau was first written as a six-movement composition between 1953 and 1954, and was published in that form in the latter year, "imprimée pour le festival de musique, 1954, Donaueschingen" (though in the end it was not performed there) in a photographic reproduction of the composer's manuscript by Universal Edition, given the catalog number UE 12362. In 1955, Boulez revised the order of these movements, and interpolated three newly composed ones (Mosch 2004, 44–45). The original, six-movement form lacked the two "Bel édifice" settings and the third commentaire on "Bourreaux de solitude". In addition, the movements were grouped in two closed cycles: first the three "Artisanat furieux" movements, then the three "Bourreaux de solitude" ones, otherwise in the order of the final score. The first movement, though fundamentally the same composition, was originally scored as a duet for vibraphone and guitar—the flute and viola were added only in the revision—and numerous less significant alterations were made to playing techniques and notation in the other movements (Siegele 1979, 8–9).
It received its première in 1955 at the 29th Festival of the International Society for Contemporary Music in Baden-Baden (Jameux 1989b, 21). Boulez's work was chosen to represent France at this festival. The French members of the committee were against this, but Heinrich Strobel, then director of the Baden-Baden Sudwestfunk Orchestra, scheduled to give all of the concerts at the festival, threatened to withdraw if it was not (Jameux 1989b, 21). The first performance was given on June 18, 1955 conducted by Hans Rosbaud, with Sybilla Plate as the solo singer (Steinegger 2012, 240–42).
Boulez, notorious for considering his works to be always "in progress", made further, smaller revisions to Le Marteau in 1957, in which year Universal Edition issued an engraved score, UE 12450. In the years that have followed, it has become Pierre Boulez's most famous and influential work (Hughes 1998, 123).
The work has nine movements, four of which set the text of three poems of René Char. The remaining movements are instrumental extrapolations of the other four:
- Avant "l'artisanat furieux" (before "the furious craftsmanship")
- Commentaire I de "bourreaux de solitude" (first commentary on "hangmen of solitude")
- "L'artisanat furieux" ("the furious craftsmanship")
- Commentaire II de "bourreaux de solitude" (second commentary on "hangmen of solitude")
- "Bel édifice et les pressentiments", version première ("stately building and presentiments", first version)
- "Bourreaux de solitude" ("hangmen of solitude")
- Après "l'artisanat furieux" (after "the furious craftsmanship")
- Commentaire III de "bourreaux de solitude" (third commentary on "hangmen of solitude")
- "Bel édifice et les pressentiments", double ("stately building and presentiments", again)
These movements are grouped into three cycles by Boulez. The first cycle consists of movements I, III, and VII. The second cycle is movements II, IV, VI, and VIII. Movements V and IX make up the third cycle.
Steven Winick writes in his article "Symmetry and Pitch-Duration Associations in Boulez' Le Marteau sans maître":
It is well known that Boulez is reluctant to explain his own compositions. When asked to supply program notes for the first performance of Le Marteau in 1955 at the Baden-Baden International Society for Contemporary Music, Boulez laconically wrote, as quoted by Friederich Saathen: "Le Marteau sans Maître, after a text by René Char, written for alto, flute, viola, guitar, vibraphone, and percussion. The text is partially sung, partially interpreted through purely instrumental passages." (Winick 1986, 281, translating Saathen 1957)
Despite having been published in 1954 and 1957, analysts were unable to explain Boulez's compositional methods until Lev Koblyakov in 1977 (Heinemann 1998, 72). This is partially due to the fact that Boulez believes in strict control tempered with "local indiscipline," or rather, the freedom to choose small, individual elements while still adhering to an overall structure compatible with serialist principles. Boulez opts to change individual notes based on sound or harmony, choosing to abandon adherence to the structure dictated by strict serialism, making the detailed serial organization of the piece difficult for the listener to discern (Lerdahl 1992, 97–98).
The instrumentation was quite novel for Western music at the time, lacking any kind of bass instrument, and drew some influence from the sound of non-Western instruments. The xylorimba recalls the African balafon; the vibraphone, the Balinese gamelan; and the guitar, the Japanese koto, though "neither the style nor the actual use of these instruments has any connection with these different musical civilizations" ("Speaking, Playing, Singing" (1963) in Boulez 1986, 341). Boulez chose the collection with a continuum of sonorities in mind: "a number of features shared by these instruments (forms) a continuous passage from voice to vibraphone" (Boulez 1986, 340). The purpose is to allow a graduated deconstruction of the voice into percussive noises, a compositional technique which has been common throughout Boulez's work (e.g. the recent Sur Incises of 1998 similarly breaks down the sounds of the piano by combining it with harp and percussion). The voice and five pitched instruments can be arranged in a line, each pair connected by a similarity, as in the following diagram (quoted from Grondines 2000):
The vocal writing is challenging for the singer, containing wide leaps, glissandi, humming (notated bouche fermée in the score),[vague] and even Sprechstimme, a device found in the work of the Second Viennese School before Boulez. There are also deliberate similarities to Arnold Schoenberg's song cycle, Pierrot Lunaire (Jameux 1989a, 19), one of which is that each movement chooses a different subset of the available instruments:
- Alto flute, Vibraphone, Guitar, Viola
- Alto flute, Xylorimba, Tambourine, 2 bongos, Frame drum, Viola
- Voice, Alto flute
- Xylorimba, Vibraphone, Finger cymbals, Agogô, Triangle, Guitar, Viola
- Voice, Alto flute, Guitar, Viola
- Voice, Alto flute, Xylorimba, Vibraphone, maracas, Guitar, Viola
- Alto flute, Vibraphone, Guitar
- Alto flute, Xylorimba, Vibraphone, Claves, Agogô, 2 bongos, Maracas
- Voice, Alto flute, Xylorimba, Vibraphone, Maracas, Small tam-tam, Low gong, Very deep tam-tam, Large suspended cymbal, Guitar, Viola
The opening of the third movement in the flute is typical of the difficulties required of performers including wide range, large leaps, and complex rhythms:
Analysis of the first cycle: "L'artisanat furieux"[edit]
Boulez uses many serial composition techniques, including pitch multiplication and pitch-class association.[vague] According to Koblyakov, Movements I, III, and VII, are based on multiplying together various sets derived from the following tone row: 3 5 2 1 10 11 9 0 8 4 7 6 (Koblyakov 1990, 4). However, Mosch argues that this is not the basic form, but rather the "série renversée" (inversion) of the basic row (Mosch 2004, 51).
Boulez groups these notes into five sets according to five different rotations on the pattern 2–4–2–1–3, reflecting the highly mathematical nature in which this piece is composed. Following the first rotation of this pattern, the row would be grouped as 3 5 – 2 1 10 11 – 9 0 – 8 – 4 7 6. Using the five possible rotations of this pattern, Boulez creates five rows of five groupings each:
|3 5
|2 1 10 11
|9 0
|4 7 6
|3 5 2 1
|10 11
|0 8 4
|7 6
|3 5
|1 10 11
|9 0
|8 4 7 6
|5 2 1
|10 11
|9 0 8 4
|7 6
|3 5 2
|1 10
|11 9 0 8
|4 7
Using these 25 groups in conjunction with pitch multiplication, Boulez is able to create 25 "harmonic fields" within each set. Koblyakov in his analysis assigns a letter to each cluster within a set, such that two sets multiplied together can be notated as "aa," "bc," "ed," etc. (Koblyakov 1990, 5). Boulez's form of pitch multiplication can be thought of more as pitch addition. With this technique, Boulez takes two clusters and takes the sum of every possible pairing between the two clusters. For example, if we were to multiply groups b and c within set I, we would have the following:
(2 1 10 11) + (9 0) = ((2+9) (1+9) (10+9) (11+9) (2+0) (1+0) (10+0) (11+0)) = (11 10 7 8 2 1 10 11)
Boulez then eliminates any duplicate pitches, which in this case would leave us with the set 11 10 7 8 2 1. In fact, this is the set of notes we get in measure three of movement III, "L'artisanat furieux." This movement, scored only for flute and voice, lays out pitch multiplication in a more straightforward way than movements I and VII. For the first 11 measures, Boulez (mostly) sticks to one pitch multiplication set per measure. Later, Boulez begins to use multiple pitch fields at a time, further complicating the analysis. Koblyakov's analysis reveals that the harmonic fields Boulez employs at certain parts of the piece are laid out very systematically, showing that the movements' overall forms are complexly mathematical as well (Koblyakov 1990, 7–16).
Analysis of the second cycle: "Bourreaux de solitude"[edit]
The second cycle consists of movements II, IV, VI, and VIII. Through these movements, especially movement VI, Boulez uses a technique called "pitch-duration association" by Steven Winick. This technique associates individual pitches with individual durations, for example, C = sixteenth note, C♯ = eighth note, D = dotted-eighth note, so that as the pitch increases by half step the associated duration increases by an added sixteenth note. Winick calls this a pitch-duration association or PDA based on C. In movement VI, these PDAs are most easily observed, with the first twelve notes of the piece forming a PDA on D. The next twelve notes also fall neatly into a PDA on G♯, though Boulez occasionally swaps the durations of a couple pitches throughout this system, reflecting his interest in "local indiscipline." Another way in which Boulez confuses the analysis of this cycle is by placing some rhythms under triplet markings. After the voice enters in measure 13 of the movement, matters become even more complicated as Boulez employs all 12 possible PDAs simultaneously throughout the rest of the movement (Winick 1986,[page needed]). As with the first cycle, Boulez's overall formal structure is quite complex and shows many patterns. Arrangements in pitch order throughout these PDAs reveals many symmetrical and palindromic arrangements, which are further explored both in Winick's and Koblyakov's analyses.
In addition to coordinating durations with certain pitches, Boulez assigns dynamics and attacks to pitches in a similar manner. Using the opening PDA on D as an example, Boulez arranges the pitches chromatically and then groups them into 6 pairs (D and D♯, E and F, F♯ and G, etc.), assigning a dynamic from pianissimo to fortissimo to each pair. In addition, the first note within a pair receives an attack of some sort—legato for piano and pianissimo, accent for mezzo forte and mezzo piano, and sforzando for forte and fortissimo. However, while these dynamic and attack associations are consistent enough to be unmistakably deliberate, Boulez returns again to the idea of "local indiscipline" (Savage 2003). Wentzel found that Boulez's association of pitches, dynamics, durations, and attacks agrees with his analysis 80% of the time. A number of these discrepancies are accounted for by differences among the printed and manuscript sources, but it is impossible to say whether any are deliberate compositional decisions (Wentzel 1991, 148–50).
Analysis of the third cycle: "Bel édifice et les pressentiments"[edit]
The third cycle consists only of movements V and IX, making it the shortest of the three cycles. However, both of these movements play essential roles in the piece, especially when one takes into account the extreme levels of symmetry and pattern employed by Boulez in his composition of the work. Movement V occupies the central position in Le marteau, and the movement itself may be broken up into six sections. Boulez designates these sections in his tempo markings and orchestrations—the three odd-numbered sections are written only for instruments and marked assez vif, while the three even-numbered sections are scored for voice and instruments and marked plus large. An interesting characteristic of Boulez's orchestrating during the even sections is that the voice and instruments seem to be in opposition, with the instruments playing similar rhythms and dynamics (or at least more similar than between the instruments and the voice). In the sections where the voice is not present, the writing for the instruments is more contrapuntal. Movement V also uses Sprechgesang while vocal parts in the other cycles do not (Koblyakov 1990, 85).
Movement IX is broken up into three large sections, with the third being broken up further into a number of smaller fragments. The first large section includes variations of quotations from the central movements of all three cycles (movements III, V, and VI) along with the text from movement 5. The movements are quoted in reverse order (i.e. VI, V, III), and each time the text from the quoted movement is combined in some way with the text from movement III. The second large section, also the main section of the movement, includes a voice part without text and is built on a similar set of PDAs as the second cycle of Marteau while also drawing on movement V. The harmony for this section is interesting in that Boulez entirely avoids minor seconds as well as minor thirds (though their inverse, major sixths, are used instead). Unisons are used very rarely (Koblyakov 1990, 98). The third section of movement IX serves as both a coda to the movement and to the piece. It is scored only for flute and percussion.
Another interesting characteristic of movement IX is that all of its tempos are drawn from previous movements. Tempo shifts also almost always increase by a ratio of 1.2 or 1.5 (Koblyakov 1990, 102).
The text for this work was taken from René Char's collection of poems, Le Marteau sans maître, written in the 1930s while Char "still shared the surrealist views of poets like André Breton and Henri Michaux" (Grondines 2000). Boulez had earlier written two cantatas, Visage nuptial and Le Soleil des eaux in 1946 and 1948, which also set poems by René Char.
|L'artisanat furieux
La roulotte rouge au bord du clou
|The furious craftsmanship
The red caravan on the edge of the nail
|Bourreaux de solitude
Le pas s'est éloigné le marcheur s'est tu
|Hangmen of solitude
The step has gone away, the walker has fallen silent
|Bel édifice et les pressentiments
J'écoute marcher dans mes jambes
|Stately building and presentiments
I hear marching in my legs
- Boulez, Pierre. 1957. Le Marteau sans maître, score. London: Universal Edition.
- Boulez, Pierre. 1971. Boulez on Music Today. Translated by Susan Bradshaw and Richard Rodney Bennett. Cambridge, Mass.: Harvard University Press. ISBN 0-674-08006-8.
- Boulez, Pierre. 1986. Orientations: Collected Writings. Edited by Jean-Jacques Nattiez; translated by Martin Cooper. London & Boston: Faber and Faber. ISBN 0-571-14347-4. ISBN 0-571-13811-X (cased). ISBN 0-571-13835-7 (pbk).
- Boulez, Pierre. 1991. Stocktakings from an Apprenticeship. Translation by Stephen Walsh. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8.
- Boulez, Pierre. 2005. Le Marteau sans maître. Facsimile of the draft score and the first fair copy of the score, with an introduction in French and English. Veröffentlichungen der Paul Sacher Stiftung. Edited by Pascal Decroupet. Mainz: Schott. ISBN 3-7957-0453-7.
- Grondines, Pierre. 2000. "Le Marteau sans maître: Serialism Becomes Respectable". La Scena Musicale 6, no. 4 (1 December).
- Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice." Music Theory Spectrum 20, no. 1 (Spring): 72–96.
- Hughes, Alex. 1998. Encyclopedia of Contemporary French Culture. London: Routledge. ISBN 978-0415131865.
- Jameux, Dominique. 1989a. "Boulez: Le Marteau sans maître", in booklet to Pierre Boulez, Le Marteau sans maître; Notations pour piano; Structures pour deux pianos, livre 2. CBS Masterworks CD MK 42619. (Reissued 2002, Sony 508164.)
- Jameux, Dominique. 1989b. "The Fate of the Work", in booklet to Pierre Boulez, Le Marteau sans maître; Notations pour piano; Structures pour deux pianos, livre 2. CBS Masterworks CD MK 42619. (Reissued 2002, Sony 508164.)
- Jameux, Dominique. 1991. Pierre Boulez. Cambridge, Mass: Harvard University Press. ISBN 0-674-66740-9. London: Faber. ISBN 0-571-13744-X.
- Koblyakov, Lev. 1977. "P. Boulez Le Marteau sans maître: Analysis of Pitch Structure". Zeitschrift für Musiktheorie 8, no. 1:24-39.
- Koblyakov, Lev. 1990. Pierre Boulez: A World of Harmony. Chur: Harwood Academic Publishers. ISBN 3-7186-0422-1.
- Lerdahl, Fred. 1992. "Cognitive Constraints on Compositional Systems." Contemporary Music Review 6:97-121.
- Mosch, Ulrich. 1990. "Disziplin oder Indisziplin? Zum seriellen Komponieren im 2. Satz des Marteau sans maître". Musiktheorie 5, no. 1:39–66.
- Mosch, Ulrich. 1997. "Wahrnehmungsweisen serieller Musik." Musiktheorie 12:61–70.
- Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' 'Le Marteau sans maître'. Saarbrücken: Pfau-Verlag. ISBN 3-89727-253-9.
- Piencikowski, Robert T. 1980. "René Char et Pierre Boulez: Esquisse analytique du Marteau sans maître". In Schweizer Beiträge zur Musikwissenchaft 4, edited by Jürg Stenzl, 193–264. Bern and Stuttgart: Haupt.
- Piencikowski, Robert T. 2000. "Pierre Boulez's Le Marteau sans maître". In Music History from Primary Sources: A Guide to the Moldenhauer Archives, edited by John Newsom and Alfred Mann, 134–41. Washington: Library of Congress.
- Piencikowski, Robert T. 2003. "Au fil des esquisses du Marteau". Mitteilungen der Paul Sacher Stiftung no. 16:12–17.
- Roberts, Gwyneth Margaret. 1968. "Rhythm as a Structural Element in Boulez' Le marteau sans maître". M.M. thesis. Bloomington: Indiana University.
- Saathen, Friederich. 1957. "Le Marteau sans Maître". Schweizerische Musikzeitung 97 (15 July): 290.
- Savage, Roger. 2003. "http://www.ex-tempore.org/savage.html
- Siegele, Ulrich. 1979. Zwei Kommentare zum «Marteau sans maître» von Pierre Boulez. Tübinger Beiträge zur Musikwissenschaft 7. Neuhausen-Stuttgart: Hänssler-Verlag.
- Souvtchinsky, Pierre. 1955. "Le mot-fantôme: Le marteau sans maître de Pierre Boulez et de René Char". La Nouvelle Revue Français 3, no. 32:1107–09.
- Souvtchinsky, Pierre. 1971. 2004. "Quatre paragraphes: Pierre Boulez et René Char". In Cahier de l'Herne René Char, edited by Dominique Fourcade. Paris: Herne. Reprinted in Pierre Souvtchinsky, Un siècle de musique russe (1830-1930): Glinka, Moussorgsky, Tchaïkowsky et Autres écrits: Strawinsky, Berg, Messiaen et Boulez, edited by Frank Langlois, preface by Pierre Boulez, 265–76. Arles: Actes Sud, 2004. ISBN 2-7427-4593-9.
- Steinegger, Catherine. 2012. Pierre Boulez et le théâtre: de la Compagnie Renaud-Barrault à Patrice Chéreau. Wavre: Editions Mardaga. ISBN 9782804700904 (accessed 14 October 2015).
- Tsaregradskaya, Tatyana. 1997. "Pierre Boulez's Le Marteau sans Maitre: The Composition as a Process and a Result". In A Composition as a Problem, edited by Mart Humal, 45–49. Tallinn: Eesti Muusikaakadeemia. ISBN 9985-60-280-3.
- Wentzel, Wayne C. 1991. "Dynamic and Attack Associations in Boulez's Le Marteau sans maître". Perspectives of New Music 29, no. 1 (Winter): 142–70.
- Whittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to Music. New York: Cambridge University Press. ISBN 978-0-521-68200-8 (pbk).
- Winick, Steven D. 1986. "Symmetry and Pitch-Duration Associations in Boulez' Le Marteau sans maître" Perspectives of New Music 24, no. 2 (Spring): 280–321.
Further reading[edit]
- Aguila, Jésus. 2001. "Boulez: Vingt regards sur une page du Marteau sans maître". Analyse Musicale, no. 41 (4th quarter) 77–94. ISSN 0295-3722.
- Andersen, Mogens. 2001. "På sporet af hammerens herre: Om 'studiekredsen' og Le Marteau sans maître". In Fluktuationer: Festskrift til Ib Nørholm på 70-års dagen 24. januar 2001, edited by Eva Hvidt, Mogens Andersen, and Per Erland Rasmussen, 15–29. Frederiksberg: MAmusik. ISBN 978-87-987722-2-4.
- Bacht, Nikolaus. 2001. "'L'artisanat furieux' und sein Modell: Vergleichende Analyse von Arnold Schönbergs 'Der kranke Mond' aus Pierrot lunaire und Pierre Boulez' 'L'artisanat furieux' aus Le marteau sans maître". Die Musikforschung 54, no. 2:153–64.
- Boesche, Thomas. 1990. "Einige Beobachtungen zu Technik und Ästhetik des Komponierens in Pierre Boulez' Marteau sans Maître", Musiktheorie 5, no. 3:253–70.
- Decarsin, François. 1998. "L'organisation du temps en musique sur l'axe passé/futur". In Les universaux en musique: Actes du quatrième congrès international sur la signification musicale, edited by Costin Miereanu, Xavier Hascher, and Michel Guiomar, 589–97. Serie Esthétique. Paris: Publications de la Sorbonne. ISBN 2-85944-355-X.
- Decroupet, Pascal, and Jean-Louis Leleu. 2006. "'Penser sensiblement' la musique: Production et description du matériau harmonique dans le troisième mouvement du Marteau sans maître". In Pierre Boulez: Techniques d'écriture et enjeux esthétiques, edited by Pascal Decroupet and Jean-Louis Leleu, 177–215. Geneva: Contrechamps. ISBN 978-2-940068-23-4.
- Fink, Wolfgang G. 1997. "'Schönes Gebäude und die Vorahnung': Zur Morphologie des 5. Satzes von Pierre Boulez' Le marteau sans maître". In Pierre Boulez II, Muzik-Konzepte 96, edited by Heinz-Klaus Metzger and Rainer Riehn, 3–61. Munich: Edition Text und Kritik.
- 福岡由仁郎 [Fukuoka, Yujiro]. 2005.『ピエール・ブーレーズ論:セリー主義の美学』[Pierre Boulez: Aesthetics of Serialism]. Ph.D. diss. Tokyo: Tokyo University of Foreign Studies.
- Gligo, Nikša. 2009. "Skladba kao kritika skladbe: Le marteau sans maître (Čekić bez gospodara) vs. Pierrot lunaire—O nekim specifičnim funkcijama skladateljske teorije u glazbi 20. stoljeća". In Glazba prijelaza: Svečani zbornik za Evu Sedak/Music of Transition: Essays in Honour of Eva Sedak, edited by Nikša Gligo, Dalibor Davidović, and Nada Bezić, 110–18. Zagreb: ArTresor and Hrvatska Radiotelevizija. ISBN 978-953-6522-67-5; ISBN 978-953-6173-38-9.
- Goldberg, Albert. 1957. "The Sounding Board: The Battle of Boulez: The Defense Rallies Its Forces and Launches a Strong Counterattack". Los Angeles Times (21 April): E5.
- Grout, Donald, and Claude Palisca. 2001. A History of Western Music, 6th edition. New York: W. W. Norton & Company, p. 726. ISBN 0-393-97527-4.
- Haas, Georg Friedrich. 1990. "Disziplin oder Indisziplin. Anmerkungen zu der von Ulrich Mosch veröffentlichten Reihentabelle von Pierre Boulez", Musiktheorie 5, no. 3:271–74.
- Hirsbrunner, Theo. 1974. "Die surrealistische Komponente in Pierre Boulez' Le Marteau sans maître". Neue Zeitschrift für Musik 124, no. 7:420–25.
- Hoffman, Michael. 1997. "Pierre Boulez's Le marteau sans maître: An Overview Analysis". 20th-Century Music 4, no. 10 (October): 4–11.
- Heinemann, Stephen. 1993. "Pitch-Class Set Multiplication in Boulez's Le Marteau sans maître. D.M.A. diss., University of Washington.
- Koblyakov, Lev. 1981. "The World of Harmony of Pierre Boulez: Analysis of Le Marteau sans maître. Ph.D. diss., Hebrew University of Jerusalem.
- Roxburgh, Edwin. 2014. Conducting for a New Era. Woodbridge, Suffolk: Boydell & Brewer. ISBN 9781843838029 (accessed 14 October 2015).


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With the Z6m's camera you can take JPEG pictures in four sizes (2 megapixel, 1.3 megapixel, 640x80 pixels, and 320x240 pixels), and choose from three quality settings. Other features include a self-timer, three color effects, five lighting choices, a 5x zoom, and five shutter sounds (plus a silent option).The camcorder shoots MPEG-4 clips in two resolutions (176x144 pixels and 128x96 pixels) with sound; editing options are similar to the still camera. Videos meant for multimedia messages are capped at about 40 seconds; otherwise you can shoot for as long as the available memory permits. And speaking of which, the Z6m has just 14MB of integrated memory so we suggest you purchase a memory card.
Photo quality was quite decent. Although some colors were a tad faded, the objects were clearly defined, and our shots weren't the least bit blurry. It's too bad there's no flash--we'd expect one from a megapixel camera--as shots in dim conditions didn't fare well. On the other hand, the camera picked up a very bright reflection from one of our photo studio's ceiling lights.
As a Rokr phone, the Z6m has a digital music player. It does its job well, even if it is somewhat underwhelming. It plays MP3, AAC, AAC+, M4A, and WMA files, and you can organize your tracks by playlist, artist, album, genre, or song name. Features are a bit slim; though the player offers shuffle and repeat modes, there's no equalizer. Similarly, while the controls are easy to use, the simple interface may be too simple for some people. You can employ one of six visualizations, or display the song details, but the Rokr Z6m does not support album art. When using the player, you can minimize it to the background and its airplane mode will deactivate the phone's calling function so you can listen to tunes while aloft.
The Z6m doesn't support wireless music downloads, but loading tracks on the phone is relatively easy. You can download Alltel's Jump Music software from the carrier's Web site to organize your tracks on a PC and rip music from a CD. Keep in mind that the Z6m does not support DRM-protected files. When ready, you can transfer music to the handset through Bluetooth, a microSD card, or a USB cable. Unfortunately, you don't get either in the box so you must purchase them separately. Bad move, Alltel.
You can personalize the Rokr Z6m with a variety of wallpaper, color skins, screensavers, and alert tones. You also can write a customized greeting. You can download more personalization options and additional ringtones using the WAP 2.0 wireless Web browser. The Z6m doesn't come with any games.
We tested the dual-band (CDMA 800/1900: EV-DO) Rokr Z6m in San Francisco using Alltel's roaming service. Call quality was pretty good and on par with other Alltel phones we've reviewed. Voices sounded natural, and we enjoyed enough volume. There was the tiniest amount of static, but it wasn't significantly bothersome. Callers said we sounded fine and an automated calling system could understand us. Speakerphone calls were decent, as well, even though the phone's speaker is on its rear face.
Music quality was equally satisfying. Clarity was relatively sharp, and the speaker delivered decent output. It's no standalone MP3 player, but it will serve a purpose for short listening periods. The experience is best through a headset.
The Motorola Rokr Z6m has a rated battery life of 4.5 hours talk time and 154 days standby time. We managed to get 3 hours, 50 minutes of talk time in our tests. According to FCC radiation tests, the Z6m has a digital SAR rating of 1.23 watts per kilogram.


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|Paul Richards <p.richa...@elsevier.co.uk>
|Re: Voting Summary
|Wed, 06 Dec 1995 14:03:35 GMT
In reply to Ben Laurie who said > > OK, how hard is it to set up to use CVS? I might be prepared to put some time > into this, coz it would be handy for internal use, too. > Getting it set up is not difficult. There are some do's and don'ts but you won't need to worry about them until you try and do releases and wan't to do things like tag a particular snapshot. I've got a *lot* of experience with CVS and will be willing to hand-hold anyone interested in it. -- Paul Richards. Originative Solutions Ltd. Internet: email@example.com, http://www.netcraft.co.uk Phone: 0370 462071 (Mobile), +44 1225 447500 (work)
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Welcome to WebmasterWorld Guest from 188.8.131.52
Forum Moderators: incrediBILL & lawman
The 1812 Overture
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joined:Dec 10, 2005
votes: 33
Wagner, Flight of the Valkyries
I just heard this question on the Radio
It might be played over my Home Theater Sound System, but never again will it be on a "stereo" in this house.
A fully 2-D sound (there is not really any such thing as 3-D sound) can be achieved with two speakers. In a movie theatre where listeners are positioned over a wide area, there may be a case for more than two speakers, but at home, I don't think so.
You only have two ears
2) You only have two ears - there is simply no getting around that. In order to appreciate the "depth" offered by three or more speakers, you need to turn your head. In a shoot-em-up game this might be a reasonable thing to do but, be honest, do you really want to be turning your head continuously while listening to music or watching a film?
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Your ears consist of two tiny microphones called ear drums


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You're going to have to wait just a little longer to find that out. I'm a little bit of a tease that way. On this week's episode of "Glee", Santana had her coming out party. While her friends were supportive, her grandmother was not. In a heart-wrenching scene, Santana's abuela disowned her granddaughter and told her to leave. I'm glad that the show decided to show a response to coming out that wasn't so pleasant. Let's face it, not everyone is as awesome as Burt Hummel.
Though Santana's grandmother wasn't supportive, earlier in the episode Santana told New Directions that her parents took her lesbian declaration well. Whether that's true, remains to be seen. When "Glee" returns in January, we'll find out first hand when Santana's mom makes her debut. Just who'll be playing her mom? Here's a hint. She's an international music star in both English and Spanish speaking countries. Sources say, the cast are "really really big fans of hers and love her music and her husband's music".
Looks like someone's about to shake their bon bon at McKinley High. Out-and-proud Ricky Martin is adding some serious gay musical cred to his resume. The "Livin La Vida Loca" singer just signed on to guest star in an upcoming episode of the show's third season. According to TVLine, Martin will appear as "the hottest Spanish teacher ever in the history of Ohio." Sounds like an acting stretch for Martin. NOT. He could easily earn the hottest title for the entire Midwest without even blinking an eye.
Isn't it funny how there seems to be an overabundance of Spanish teachers at McKinley High. First off, lest we forget, but Will Schuester is technically the Spanish teacher at the school. Then, during one of her guest appearances on the show, Gwyneth Paltrow also taught español. And now it's Ricky's turn to teach the student body how to roll their Rs. Who knew the state of Ohio loved Spanish so much? Martin is set to sing at least two numbers in the January episode. Any predictions on what he'll sing?
Missed Glee last night? Some of you may say no but for those of us still trudging through the trenches with them, you probably were upset about X Factor's one day push due to Thanksgiving. Don't worry Gleeks, Glee will return next week and by the looks and sounds of it, it's going to be one hell of an episode. From what I can gather, a lot of things are coming to a head which should make for some pretty good on-screen drama.
The biggest number of the night is going to be the girls of Glee (from New Directions and the Troubletones) singing Katy Perry's famous hit I Kissed a Girl. This is all part of Finn's elaborate plan to blackmail Santana. So, he suggests that both groups sing Lady songs.
Another major story line flowing through next week's episode will be that of not only one election, but two. That's right, the McKinley High Senior Class President will be discovered as well as the winner of the special Congressional Election. According to what I can find, the result of the elections will be a shocker! Why? Because both elections are taking place at the school and the arrows pointing on where to vote cause some confusion. Hilarious. Check out the girls singing I Kissed A Girl and find out more music and synopsis spoilers below.
Check out the Katy Perry cover and more synopsis spoilers here.
This year's Sexiest Man Alive winner may be seen as an upset for some of you, but that doesn't stop the mag from housing pages and pages of other sexy man for us to oogle and oggle over. One of those men is Glee scene stealer, Darren Criss. There is no doubt that Criss is sexy, but wait until you see this little behind-the-scenes footage of Darren's photo shoot for People mag Sexiest Man issue.
Going for a little dip in his denim with no shirt on (swoon), Darren has landed on People's Men of the Year list. During the little interview with E! discussing the shoot, he also spills on his crush worthy co-star, Dianna Agron. He even goes as far to call them kindred spirits but admits that he doesn't think he's on her level.
Well for what it's worth Darren, we think you are on our level and we're looking forward to seeing more from you in the future. I hope that Glee is only the launch pad for a very long and prosperous career. Once Darren leaves Glee behind, I think he could become the next breakout star like how Zac Efron left Disney behind and became one of Hollywood's hottest commodities. Check out Darren's shoot with People below.
One thing is certain, Glee has been struggling in the ratings department this season. And not just by a little, by a lot. The show has declined in ratings every single episode this season. Even with this week's awesome mash ups, the show still couldn't regain the viewers it has been losing week after week. However, the collision of Adele songs has brought Glee back on top of the music charts. So with the few big numbers planned ahead, will this give Glee the ratings shake up it needs?
It's questionable really. Despite the fact that FOX has been leaking the songs early to try and get viewers excited about them doesn't seem to be working at all. In fact, the hype surrounding the Adele mash-up was so large but the episode pulled in it's lowest ratings for the season. So what gives? I'm still tuning in week after week. Despite the fact that they are throwing story lines at me left right and center, I still want to tune to see how it will all play out. So, what does Glee have in store musically? Check it out below.
Welcome to another Monday. I know, they're never easy. But, hopefully this list of new releases will help. If not for your own pleasure, maybe it'll help with shopping ideas for a few people on your Christmas list. This week's featured release is Pirates of the Caribbean: On Stranger Tides. Check out a synopsis below.
From Disney and Producer Jerry Bruckheimer come all the fun, epic adventure and humor that ignited the original. Johnny Depp returns as Captain Jack Sparrow in PIRATES OF THE CARIBBEAN: ON STRANGER TIDES. A tale of truth, betrayal, youth, demise — and mermaids! When Jack crosses paths with a woman from his past (Penelope Cruz), he's not sure if it's love, or if she's a ruthless con artist using him to find the fabled Fountain of Youth. Forced aboard the ship of the most feared pirate ever, Jack doesn't know whom to fear more — Blackbeard (Ian McShane) or the woman from his past. Directed by Rob Marshall, it's filled with eye-popping action, mystery and all-out wit. Complete with a bounty of bonus features, this is one thrilling journey you won't want to end.
You can choose this as a stand alone DVD or to add to the collection of an avid Johnny Depp or Pirates fan. Check out more new releases below.
If you're a fan of Glee, this is the gift that just keeps on giving. After debuting their 300th musical performance mash-up of their Adele mash up, FOX has decided to release the rest of the music from this Tuesday's upcoming episode titled Mash-Off. Glee has also been known for creating their unique mash-ups of songs with similar themes and concepts but this time, Glee kept it "in the family" if you will be having the mash-ups be two songs from the same artist.
The artists getting the Glee treatment this week are Pat Benatar with her songs Hit Me With Your Best Shot and One Way or Another, Hall & Oates with You Make My Dreams Come True and I Can't Go For That and Shelby and Will square off for a You And I mash-up courtesy of Lady Gaga and Eddie Rabbitt. To be honest, I haven't been a fan of many of their attempts to put two songs together. However, I think this time, they actually did a pretty good job. The Pat Benatar one in particular is quite well done.
But, the one song that has caught my ear in particular is Puck (played by Mark Salling) doing a rendition of Hot For Teacher which was originally done by Van Halen. Look at Glee digging into some metal music. I'm assuming that Puck is singing this about his new found love for Troubletones leader, Shelby. So what are you waiting for? Listen to all the mash-ups below.
Rumor has it that FOX's hit show Glee is having a little trouble in the ratings department. They've dropped every single week since it's season three premiere despite the hype that this season would be it's best yet with minimal guest stars and the fact that the show hired a new writing department. I guess it's loyal fans and viewers gave up on the show for trying too hard to push the envelope and be controversial. Try as I might to steer clear of the show, I can't help but still tune in every week to see what songs they'll cover and what's going to go down with all of the new romances.
Next week's episode it titled Mash Off and is sure to bring some serious drams. First off, Puck starts spending a little bit more time at Shelby's and confesses to her that he is in love with her. Say what?! I can't wait to see if Puck's teacher is hot for student. Woof! In other Shelby news, her all girl show choir, the Trouble Tones face off in serious friendly competition with Santana and Mercedes taking the lead on a fierce Adele mash-up of her tracks Rumor Has It and the epic hit Someone Like You.
Thanks to the folks at FOX, we've been treated to a special sneak peek at the show's big number and mash-up. I absolutely LOVE it. Now that there is a story line for Santana and Mercedes to shine, their voices are going to be all over the show! Plus, Naya Rivera is starting to rival Ms. Lea Michele's ho-hum vocals on the show lately. I absolutely loved her her vocal's on West Side Story's America this past week. Go check out the performance spoiler below.
Listen and watch to the fierce Adele mash-up after the jump.


text: H H AAAAAA RRRRRR RRRRRR Y Y PPPPPP OOOOO TTTTT TTTTT EEEEE RRRRRR H H A A R R R R Y Y P P O O T T E R R HHHHHH AAAAAA RRRRRR RRRRRR YYYYY PPPPPP O O T T EEE RRRRRR H H A A R RR R RR Y P O O T T E R RR H H A A R RR R RR Y P OOOOO T T EEEEE R RR PPPPPP OOOOOO AAAAAA P P O O A A PPPPPP O O AAAAAA P O O A A P OOOOOO A A COLLECTABLE CARDS FAQ! Copywrite of Emily Parker 2004. If you are requesting permission to have this FAQ on your site, please email me at email@example.com This FAQ can be found at the following sites: Gamefaqs http://www.gamefaqs.com/ NeoSeeker http://www.neoseeker.com/ ********************************************************************** This FAQ uses the fast find service. Copy the code on the right of the text and hold control (ctrl) whilst pressing F. Paste your code into the find box to find the section you are looking for. ********************************************************************** 0. Contents 1. Legal Stuff 2. Version History 3. A bit about me 4. Intro 5. Quidditch Cards 6. Witch Cards *** 7. Wizard Cards *** 8. Vampire Cards *** 9. Classical Beast Cards *** 10. Credits I HAVEN'T GOT ALL THE CARDS INFO YET. Please be patient! *** = Section isn't finished --------------- 1. Legal Stuff --------------- This FAQ is copywrite of Emily Parker 2004. If this is copied, pasted (other than for personal use) or in any way violated then you are in BIG trouble. If you would like permission to use it on another or your own site you must e-mail me at email@example.com List of sites permitted to using the FAQ: Neo Seeker http://www.neoseeker.com GameFAQ http://www.gamefaqs.com If you see this guide on another site, please email me and tell me what site it's on. Thanks!!! ------------------- 2. Version History ------------------- 6th June 2004- Found quite a few more cards. Added the Witch, Wizard, Vampire and Classical Beasts. {Version 0.5} 5th June 2004- The FAQ was first started as I got the game! I started recording card data straight away! Finshed Quidditch card section. {Version 0.2} ------------------ 3. A bit about me ------------------ Hi. My nick is vanilla so we'll leave it at that. This is my first ever FAQ and I think it's ok. If you know anything that isn't on here and would like tocontribute, please e-mail me at email@example.com. You can e-mail me cheats, gameshark codes, hints and generally stuff which you know that isn't on here. I shall give you full credit for contributing and I will not give out your e-mail address if you request. If you want to email me, put the topic, 'Harvest Moon BTN' as the Subject otherwise I shall delete it. Also, if you have a question about Harvest moon: Back to Nature then feel free to e-mail me but i'm afraid that HM BtN and HM2 GBC are the only Harvest Moon games i've got so please don't e-mail me about other games. --------- 4. Intro --------- One day, I was playing Harry Potter POA and had to come off because it was my brothers go on the ps2. All of a sudden, I came on the computer and their where no HP POA guides what so ever! Que start of this FAQ! ------------------ 5. Quidditch Cards ------------------ Cyprian Youdle- This card is in the Red trunk in the boy's dormitory. Joscelind Wadcock- When you first see peeves, he sets a magical *and deadly!* book at you! {This is on the way to seeing Fred + George}. Finish the fight and walk over the the other side of the room. It is in the chest on the right. Roderick Plumpton- When you are looking for the Marauder's Map, you go into a room with mirrors you twirl around. Carry the trunk up to the ledge and climb up. Go to the left of the ledge and it's in the chest. Leopoidina Smethwyck- You have to be in the 3rd room on the Marauder's Map quest. Play as Ron and lift up the walls. Inside one of them is a chest. Barberus Bragge- To get this card, you have to collect all of the Quidditch cards! ---------------- 6. Witches Cards ---------------- Morgan le Fay- In the Glacious challenge, when you play Hermione. It's in the room where she has to push the ice blocks about. Push the block up to the ledge. Climb up and the chest is to the left on the ledge! Queen Maeve- INFORMATION UNAVAILABLE!!! Ignatia Wildsmith- After you get the Glacious spellbook and you ice the lava pit, make Hermione climc up the dark ledge. Start walking along and it's in the shadows. Beatrix Bloxam- In the chest outside of Professor Lupin's office. You can get it when you come out of the Glacious challenge. It's up the spirally staircase. UNKNOWN- To get this card, you have to collect all of the witch cards. ---------------- 7. Wizard Cards ---------------- Merlin- INFORMATION UNAVAILABLE!!! Glanmore Peaks- INFORMATION UNAVAILABLE!!! UNKNOWN- INFORMATION UNAVAILABLE!!! Edgar Stroulger- INFORMATION UNAVAILABLE!!! UNKNOWN- To get this card, you have to collect all of the Wizard cards! ---------------- 8. Vampire Cards ---------------- Lady Carmilla Sanguina- Use Glacious on the fireplace in the Gryfinndor common room. UNKNOWN- INFORMATION UNAVAILABLE!!! Sir Herbert Varney- On the mission 'Black Deeds' after Draco reveals to you that he used a Polyjuice potion to look like Ron. You go through the room with RedCaps and in the room after that, there is a chest with the card in which is next to the one with Owl Treats. Blodwyn Bludd- INFORMATION UNAVAILABLE!!! UNKNOWN- To get this card, you have to collect all of the Wizard cards! ------------------------ 9. Classical Beast Cards ------------------------ Giant Squid- In the chest on the right hand side of the 4th floor corrirdor. Manticore- In 1 of the trunks at the ends of some of the boys beds in the boys dormitory in the Gryfinndor Common Room. Unicorn- INFORMATION UNAVAILABLE!!! Mountain Troll- You find this in the Glacious Challenge. After you've all carried and dropped the Cauldren on the stone, the 2 gates open. Go up the steps and in the middle should be a chest. UNKNOWN- To get this card, you have to collect all of the Wizard cards! ------------ 10. Credits! ------------ 1. J.K. Rowling 2. The Warner Brothers 3. EA games 4. You for reading this! 5. My brother, for patiently waiting for me to come off the ps2! If you find any information about the Sets I have on here, email me at email@example.com Don't email me saying i've missed Hags or Beasts because I haven't had time to add them yet and i'll add them when I get enough time!


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Report: Vietnam to block access to online gaming after 10pm
Vietnam News is reporting that the country has asked interner service providers to block off access to online gaming from 10pm nightly from March 3.
The block would be lifted 8am daily. The move is said to "mitigate the side effects of online games."
"Provincial departments of information and communication will inspect on-line games activities nationwide and deal with organisations that violate regulations by cancelling their services," said ministry deputy minister, Le Nam Thang.
The report adds further that the block would help improve internet management "in a way that both meets the demand for information and ensures internet security while not affecting the lifestyle and customs of young people."
There's more on the move through here.
Thanks, AusGamers.
Sometimes we include links to online retail stores. If you click on one and make a purchase we may receive a small commission. For more information, go here.


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How much money will conferences make from the College Football Playoff this year?
Can Leonard Fournette fetch a historic amount for his game-worn jersey at auction?
And is Ohio State out of line with its ticket price increase for next year's Michigan game?
I have the answers in my latest segment for Campus Insiders:
Continue to Campus Insiders to read my blog with more details


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At what stage does a born-Jewish messianic Jew's presence at and/ or participation in an Orthodox synagogue's kiddush make wine 'Yayin Nesech'?
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Wine becomes yayin nesech when it is open and then is handled by a non-Jew or by a Jew who violates Shabbat or participates in avoda zara. "Messianic Judaism" could certainly be considered a form of avoda zara as discussed in other places on this site. So if the person touches an open bottle of wine, that wine would become prohibited.
If the wine is mevushal, though, there is no issue of yayin nesech because the wine is not considered fit for avoda zara libations. My experience is that most shuls use wine that is mevushal to get around the problem of someone attending kiddush who does not keep shabbat. Therefore, I would assume that your shul probably is also using mevushal wine and there is no problem. This is easy to check by looking at the label of the bottle.
You are all incorrect. Wine only becomes nesech when used for a ritual in the name of an avoda Zara. However when a goy moves the wine it becomes yayin stam. There is a HUGE difference, yayin nesech is assure b'hana (forbidden to derive benefit), and nesech is forbidden on a biblical level. Yayin stam is a rabbinic ordinance but the prohibition only forbade consumption of the wine, however the rabbinate never forbade stam for benefit.


text:
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I am selling my Barbie Doll House and several accessories. Some of the items included are:
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Storage units going to auction starting at $25. Bidding is taking place online.
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Turn key business! Charming salon business for sale in downtown Batavia. Bring your stylists or hire the existing stylists currently at the salon...they are willing to stay. Full basement for storage! Full line of Redken color included. 2nd entrance in back with convenient parking lot. Sale price of $60,000.00 includes: all rights to business, clientele base, all materials, products and ...
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I have a LG Steam Washer and Steam Dryer set I purchased 5 years ago that I would like to sell. The set is good, I just needed a bigger set that I have already purchased due to a large family. I paid over $2,500 for the set and this includes pedestals. Now asking $850 for the set with pedestals. The set is front loader and white to go with any decor. Clean and ready to be picked up.
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Published: December 2, 2011
Cardinal Mooney's Macy Marlowe (4) drives to the hoop against Springfield defender Baylee Felger (5) during
their basketball game Thursday at Mooney High School. The Cardinals downed the Tigers, 49-37, with Marlowe sparking the Cards' second half with a coast-to-coast lay-up after an early steal in the Springfield paint.
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Is there a way, using this plugin or otherwise, to track which posts have Amazon links in them?
I run a multi-author site, and it would be very helpful if at the end of the month I could see a broader view of every amazon link that month and what post it was in and what it linked to.
Any help is much appreciated.


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Cause we definitely need another crazy Texan for the White House
The next president will be a dictator. R or D, does it matter? Unless somebody with some self-control and respect for the constitution gets elected. Not likely.
Not only is he a Republican, he's a crazy, crazy, crazy Republican. He favors putting the US back on the gold standard for fuck's sake.
Please see William Jennings Bryan's Cross of Gold speech if you're confused about that.
William Jennings Bryan was a Democrat though and the most powerful Democrat in the later part of the 19th and early 20th Century. (Until FDR) But Bryan was a freakzoid.....
I just hate all the random people on the internet who are like "RONPAUL2008 4EVER" like he's the only viable, morally Good choice. Please. Puhleeze. There's a difference between grassroots and making your candidate look ever more like a joke.
I'm not voting for any candidate who's anti-FDA. Wtf?
OK, I'm calling BULLSHIT on your story.
WOW Ron Paula agrees with you on one (or two) issues. He must be a totally awesome candidate. It was the same thing with the Gunthri supporters in 2006. They would try to get voters by highlighting that Gunthrie agreed with them on one issue, like gay marriage. Ignoring the fact that his positions on every fucking other thing was idiotic.
Quote - "Not only is he a Republican, he's a crazy, crazy, crazy Republican. He favors putting the US back on the gold standard for fuck's sake."
And I suppose you LOVE inflation! You LOVE paying more and more for gas each year? In 1964, a silver dollar would buy 4 gallons of gas, today that same SILVER dollar will buy 4 gallons of gas. A paper dollar, not so much, is that too much to get your head around. If wanting the money you earn to NOT lose it's purchasing power is crazy, than count me LOCO!
Dude, remind me never to mention the gold standard at the same dinner party Deet's at.
Inflation's a hell of a lot better than deflation. Didn't take much U.S. history/Economics/common sense in school I assume?
WTF are you talking about Deet. US currency was gold based until a bit before WW2, but certainly not silver based in 1964. Not to mention that even metal pegged currancy still has to contend with inflation and the like. Its just more inefficient and rather silly.
But then I guess the Illuminati the trilateral commission and the boogy man now control everything right.
Party on fool
I like inflation. I like the idea that in ten years, the $1,660 a month I pay for my mortgage will be a pittance. I like the idea that all those small businesses borrowing money to start up or expand today will find their loan payments to be a minor drain on their income in ten years. I like that for all those students who are borrowing money to pay for their educations, it'll be much easier to make their loan payments in ten years than it is right now, not only because their incomes will have increased, but because the absolute cost of those loan payments will have decreased so heavily.
If you hate inflation so much, why don't you just hop in a time machine, move to Japan in 1991, and see how nice living in a country with no inflation or negative inflation is.
This is what you get when a political party decides to use a primary to select its delegates. Voters are dumb enough to support someone like this, caucus goers probably are not. Like Pelz said, a primary is for boutique candidates and brainless advertising, which is exactly what paid sighn-wavers like this are.
I hope that Ron Paul doesn't win so the next president can regulate the Internet and remove stupid comments like the ones above.
Jesus christ is this post infuriatingly stupid, Dan. I definitely don't want Ron Paul to be president (mostly because of his total isolationist stance and he's kind of a xenophobe).
But I certainly wouldn't be so fucking dumb as to oppose him based on party alone. How ignorant can you get?
Sorry this post is so hostile, it's just what you wrote tonight is a lot of what's wrong with american politics.
When did he say he opposed him because he was a Republican?
Dan I was at the market about the same time and also took the flier from those people thinking the same things. "Why are the leaving off the fact that he is a Republican?" was my first thought.
My second thought was: "If these people are so serious about singing some type of anti-war song with a conductor and everything, shouldn't they not suck so bad?"
he's a libertarian republican.
but he's a republican.
i smell an eyman.
Not to worry.
The guy has such radical views that if he ever became a serious contender, he will be 'disappeared' just as Dean was.
His principles and goals are anathema to the real rulers of the country. His election would mean an end to their control.
So relax, enjoy the show.
The next president has already been picked. Can you guess the next president's name?
I kind of agree with coolidge @ 17, minus the nasty tone. Party alone shouldn't be the deciding factor.
Ron Paul ran as a Libertarian in the 1988 presidential election. Those are his true stripes. This is pretty obvious when you look at his stance on various issues. I think it's just more convenient for him to be a member of a major party. I doubt he would have made it into Congress otherwise.
I'd vote ron paul just to make the republican party a little more interesting.
There are very, very few political ads of any kind (TV, print, bumper sticker, flyer, yard sign, you name it) that identifies any candidate for any public office as belonging to one party or the other. (Third party candidates are the big exception.) You might not think about that when you see cars go by with old W or Kerry stickers (or Rossi or Gregoire, or Cantwell or what's-his-name) since you all know which party they belonged to, but it's the same for city council, state house and senate, and any other partisan race you can name. (There are rare exceptions, but sometimes you can't find that info even in the fine print.)
I think candidates in the last 20 or so years don't see their party affiliation as a selling point any more. One possible reason is not wanting people to just dismiss them on that basis. (Admit it people - some of you would sooner get a paint thinner enema than vote for any Republican.) Maybe they want to spare their campaign workers confrontations with hardcore members of the other side. Whatever the reason, candidates today don't seem to think there's anything to gain by calling themselves Democrats and Republicans.
see also: Seattle Times: Opinion: Bruce Ramsey: "The GOP would be wise to listen to Ron Paul's message", 2007-05-30
Ramsey begins:
Two-thirds of Americans can now see that starting a war in Iraq was a mistake. The majority of Republicans still do not see it. Eventually they will, but it's hard to go against their own president unless one of their own makes them do it.
and also writes:
Paul rejects President Bush's gum-drop idea that the terrorists hate us for our freedom. They hate us because of what our government has done in their part of the world. In the May 15 debate, Paul said America was attacked on 9/11 "because we were over there."
At the debate, Rudy Giuliani disingenuously declared that he had never heard such a statement, as if it were ridiculous on its face. After the debate, Paul went on Fox's "Hannity & Colmes" show, and Sean Hannity barked at him: Did he think America was to blame for 9/11?
No, Paul said, though really he was saying something like that. When your government acts as an imperial power, the natives bite back. They are responsible for what they do, but theirs is not the only responsibility.
When a Saudi zealot kills Americans, you can blame the deaths on the Saudi because he did it, or on the U.S. government for stationing soldiers in the Saudi's homeland, which aggravated him. Paul's point is that if you don't aggravate folks, you don't get bit.
Party alone needn't be the deciding factor in criticizing Ron Paul. Don't oppose him because just because he's a Republican. Oppose Ron Paul because of his history of racism.
"If you have ever been robbed by a black teen-aged male, you know how unbelievably fleet-footed they can be."
"we are constantly told that it is evil to be afraid of black men, it is hardly irrational. Black men commit murders, rapes, robberies, muggings and burglaries all out of proportion to their numbers."
-Ron Paul, 1992
"we are constantly told that it is evil to be afraid of black men, it is hardly irrational. Black men commit murders, rapes, robberies, muggings and burglaries all out of proportion to their numbers."
-Ron Paul, 1992
Ron Paul does have a nasty habit of telling the truth. Like saying that an Administration of White Guys has committed genocide in Iraq.
I'm definitely a Ron Paul fan. Sure he's a Republican, a Texan, and pro-life... but, without someone like him Cascadia has no chance.
Instead of thinking how awful it would be to do without the Fed or FDA, think about how much better these systems could be if they were designed for and by us instead of the corporate interests that currently dominate American politics.
Ron Paul is a Republican, the way that the Republican party used to be. The Republicans were, once upon a time, the party of small government. Ron Paul respects the Constitution, which is something that I can say about very, very few politicians. Respect for the Constitution, above and beyond his positions on any individual issue, is the major reason that I am so excited to see Ron Paul running for President.
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Obama Focuses on Veterans
WASHINGTON—President Barack Obama pledged Saturday to support soldiers returning from Iraq as the U.S. prepares to end its combat mission there next week.
"What today's veterans have earned—what they have every right to expect—is new care, new opportunity, and a new commitment to their service when they come home," Mr. Obama said in his weekly radio address.
In the GOP response, U.S. Senate candidate Marco Rubio of Florida criticized the president and Democrats for failing to spur an economic recovery and spending more money than the government can afford.
"Today the American Dream is threatened by out-of-control politicians in Washington, who think that more government deficit spending is what it takes to grow our economy," he said. "That has never worked anywhere it's been tried and it won't work now."
Mr. Obama focused his message on ways that his administration is trying to improve services for veterans, including modernizing and expanding Veterans Administration hospitals and health care, creating a single electronic healthcare record for veterans and building new wounded warrior facilities through the U.S. Department of Defense. He also said his administration is putting more money toward treating post traumatic stress disorder by hiring more health care workers and increasing investments in awareness, outreach and suicide prevention.
"As we mark the end of America's combat mission in Iraq, a grateful nation must pay tribute to all who have served there," Mr. Obama said. "Because part of the responsibly ending this war is meeting our responsibility to those who have fought it."
Mr. Rubio said that Democrats' policies that would raise taxes or tax the energy sector are not creating jobs, but are scaring employers from hiring and expanding their businesses.
"The job of government is to create an economic climate that encourages the job creators," he said. "But the policies coming from Washington are scaring the job creators. They have created tremendous uncertainty about the future."


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Hello guys,
I'm no php expert and I was wondering if anybody here could help me figuring out a really simple line of code.
In each one of my items page inside the Portfolio, I would like to dynamically show the category that post belongs to: any help?
Thanks a lot!


text:
Buy Item $6.77 Retail:
Save 55% ($8.22)
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Create soft candleglow and shimmering detail when tealight is lit up; boxed; 7" diameter. Mark My Words Collection. A keepsake gift she'll love.
Note: Please order tealights separately since they are not included.
|Format: Gift
Vendor: Pavilion Gift
Publication Date: 2011
Availability: In Stock


text:
I have a web app that allows people to register directly or by using their facebook credentials through the facebook registration plugin. I want to be able to duplicate information posted on the website to my website's facebook fan page. So far if I have a user that is not logged into facebook, it will post to my Page's wall no problem showing that it came from my website app. But if the person is logged into facebook, but has not granted my app the publish_stream permission I get a permissions error. Is there anyway to simply force the post to come from my website app if I don't have the proper permission with the user? I would be happy if every post on my facebook page came from the app and never from the user, but I simply can't find any documentation showing how this is done or if it even can be done.
Here is the code I am using that will allow me to post to my own wall if the person is not logged into facebook. I have already authorized the app to post.
$attachment = array('message' => $notes,
'name' => 'Backcountryride.com',
'caption' => "Community Driven Transportation",
'link' => 'http://backcountryride.com',
'description' => $description,
'picture' => 'http://backcountryride.com/images/vanlogo.jpg'
$result = $facebook->api('/backcountryride/feed/','post',$attachment);
Here is the code I use to instantiate the $facebook object:
$facebook = new Facebook(array(
'appId' => FACEBOOK_APP_ID,
'secret' => FACEBOOK_SECRET,
'cookie' => true,
$session = $facebook->getSession();
$me = null;
// Session based API call.
if ($session) {
try {
$uid = $facebook->getUser();
$me = $facebook->api('/me');
} catch (FacebookApiException $e) {
Thank you!


text:
Former College Of Southern Nevada standout Bryce Harper has been called up by the Nationals. He will be taking the roster spot of third baseman Ryan Zimmerman who is on the 15 day disabled list. The 19 year old outfielder was the number 1 overall pick in the 2010 draft. Nationals general manager Mike Rizzo said for Bryce it is the optimal situation developmentally. He signed a five year, 9.9 million dollar contract with the Nationals in August of 2010.
Las Vegas's Harper Called Up To The BigsApril 27, 2012 4:54 PM
poses during photo day at Space Coast Stadium on February 28, 2012 in Viera, Florida.Credit: Getty Images


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Book your room at Conrad Tokyo
Get an overview of this hotelTokyo luxury hotel with indoor pool, gourmet dining
Near Ginza shopping
Overlooking Tokyo's Shiodome area and the Tokyo Bay skyline, this high-rise hotel is five minutes from the Ginza Shopping Street. Hamarikyu Garden and the Tsukiji Fish Market are within 0.7 km (0.4 mi).
Day spa, health club
Conrad Tokyo offers a 25-meter indoor pool, a luxury day spa, a health club, saunas, and steam rooms. Dining options include Chinese and Japanese restaurants.
City or garden views
Spacious guestrooms overlook the city or Hamarikyu Garden and the bay. All include premium bedding, 37-inch flat-panel TVs, and wired and wireless Internet access. Bathrooms offer rainfall showers, slippers, and separate deep soaking bathtubs.Would you like to give us feedback? Share it! Opens in a new window
Hotel Amenities
Hotel Amenities
This 37-story hotel commands panoramic views of the Shiodome area, Hamarikyu Garden, and Tokyo Bay. The Conrad Tokyo is known for its impeccable, personalized service.
Located on the 29th floor with city views, the spacious Mizuki Spa offers 10 treatment rooms. The hotel's health club features a 25-meter indoor pool, sauna and steam rooms, an aerobics studio, and a gym with state-of-the-art Technogym equipment.
There are 4 restaurants. Kazahana serves Japanese cuisine. China Blue, a modern Chinese restaurant, overlooks Hamarikyu Garden and the Tsukiji Fish Market.
Complimentary wireless Internet access is available throughout the Conrad Tokyo.
- 24-hour front desk
- Babysitting or childcare (surcharge)
- Bar/lounge
- Business center
- Free newspapers in lobby
- Conference space
- Dry cleaning/laundry service
- Elevator/lift
- Express check-in
- Express check-out
- Free WiFi
- Full-service spa
- Hair salon
- Health club
- Indoor pool
- Laundry facilities
- Limo or Town Car service available
- Multilingual staff
- Number of restaurants - 4
- Porter/bellhop
- Safe-deposit box at front desk
- Sauna
- Shopping on site
- Spa services on site
- Spa tub
- Steam room
- Total number of rooms - 289
- Wedding services
Family Friendly Amenities
- Babysitting or childcare (surcharge)
- Cribs/infant beds (complimentary)
- DVD player
- Free Wi-Fi
- In-room childcare (surcharge)
- Indoor pool
- Laundry facilities
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Room Amenities
- Air conditioning
- In-room climate control (air conditioning)
- Coffee/tea maker
- Free bottled water
- Free toiletries
- Free cribs/infant beds
- Daily housekeeping
- Deep soaking bathtub
- Desk
- Digital TV service
- DVD player
- Flat-panel TV
- Free WiFi
- Hair dryer
- Hypo-allergenic bedding available
- In-room childcare (surcharge)
- In-room safe
- Iron/ironing board
- Minibar
- Pay movies
- Phone
- Pillow menu
- Premium bedding
- Private bathroom
- Rainfall showerhead
- Room service (24 hours)
- Separate bathtub and shower
- Separate sitting area
- Slippers
- Turndown service
Where to Eat
Kazahana - Japanese cuisine for lunch and dinner. Kaiseki, sushi, teppanyaki. Serene dining room with high ceilings, glass partitions. Lounge and private dining rooms.
Collage - Michelin-starred restaurant serving modern and innovative interpretations of French dining. Cuisine prepared by a world experienced chef.
Executive Lounge - Serves drinks and snacks.
China Blue - Award-winning restaurant serving modern Chinese cuisine. Walk-in wine cellar. Open for lunch and dinner.
TwentyEight - Bar and lounge on 28th floor, overlooking Tokyo Bay. Martinis, classic and creative cocktails, champagne cocktails, premium spirits, and non-alcoholic drinks. Live entertainment.
Cerise - All-day casual dining from breakfast, lunch and dinner to a quick bite or late night meal.
Room service is available.
Nearby Things to Do
The recreational activities listed below are available either on site or nearby; fees may apply.
- Golfing nearby
- Fitness classes on site
Spa Services
Conrad Tokyo has a full-service spa.
- Manicures and pedicures
- Sauna in spa
- Spa tub in spa
- Massages
- Body treatments
- Facial treatments
Hotel Policies
Check-in time starts at 3 PM
Special check-in instructions:
Check-out time is Noon
Payment types
- Pets not allowed
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Optional extras
- Rollaway bed fee: JPY 8694 per night
Hotel Name
- Conrad Hotel Tokyo
- Conrad Tokyo
- Tokyo Conrad
- Conrad Hotel Minato
- Conrad Tokyo Hotel Minato
- Conrad Tokyo Japan
- Minato Conrad
We should mention
One child 6 years old or younger stays free when occupying the parent or guardian's room, using existing bedding. The Japanese Ministry of Health, Labour, and Welfare requires all international visitors to submit their passport number and nationality when registering at any lodging facility (inns, hotels, motels, etc. ). Additionally, lodging proprietors are required to photocopy passports for all registering guests and keep the photocopy on file.


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Handmade Craft Ideas from 2010: A Year of Free Crafts
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Garden Container Ideas
By: Joan Fee for Cool2Craft
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If you're looking for a nice gift to send the gardener in your life, this is an easy craft idea for you.
Watch Joan Fee create an adorable garden container using a hand-painted tote and small stones. Joan decorates her bag with red flowers and pencil-sized dots, but each bag can easily be altered to match the preferences of your friends.
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