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The bodies of Lance Corporal Lee Thomas Davies, 1st Battalion Welsh Guards and RAF airman Corporal Brent John McCarthy returned home yesterday after a farewell ceremony at the British base at Camp Bastion. The two men were gunned down at Patrol Base Attal, in Lashkar Gah district, last weekend.
One of the killers, Sarhad Mohammed, was shot dead. The other, Sardar Ali, escaped. Both the men were 20, and both had been in the police force for a year after passing through a system put in place after previous incidents of UK soldiers murdered by Afghan colleagues.
The deaths have led to the tightening of vetting procedures for Afghan security personnel in Helmand, following concerns that rogue elements are slipping through the current safety system to carry out murderous attacks and sow distrust among allies.
Colonel Abdul Ghani Alham, the Helmand provincial police chief, ordered the measures after the latest "green on blue" shooting at a patrol base. Around 50 members of Western forces have died so far from such assaults – raising fears of an enemy within gaining ground as international troops embark on their timetable of withdrawal.
Brigadier Doug Chalmers, the commander of Task Force Helmand, stressed that senior Afghan officers are appalled by what has happened. In his first interview since arriving in Helmand, he said: "Colonel Alham is as hurt, if not more hurt, than I am.
"I am utterly gutted. The system looks dented and he wants to tighten things up, to ensure it doesn't happen again. He hasn't jumped to conclusions, but he wants the investigation done quickly and he is looking at those who vouched for these policemen and he will put in place whatever needs to be put in place."
The ending of the West's mission in 2014 is predicated on security being taken over by the forces of President Hamid Karzai. This would mean British and other coalition troops working with Afghans in the intervening period. Even after the combat role is finished, a sizeable number of foreign forces, including those from the UK, are expected to serve as trainers. This, commanders acknowledge, has raised concerns about an enemy within.
The sense of shock has been heightened as it comes at a time when training and reform appeared to have resulted in improvements in the performance of the police and a drop in complaints of corruption and abuse which has dogged the force in the past.
Lieutenant Colonel Dino Bossi, commanding officer of 1st Battalion Welsh Guards, and head of the current training team, said: "There is no doubt that they came to kill. There was no provocation, no arguments; the two men opened fire. Obviously what happened was very distressing, very sad. These kind of deaths are very hard to take. But we know we are in a war and we know that there would be losses."
Brigadier Chalmers said: "There was something at play that day and we are still trying to work out what that was.
"There are a whole raft of theories. We need to find out who directed it, the reason behind it. Individuals may have tensions, we try and defuse these things, but here guns get involved far too quickly."
He was at pains to point out that the killings had not undermined co-operation between British and Afghan forces: "They were back out there next day at a shura [public meeting] without hesitation.
"The relationship is far stronger than when I was here last, there is a sense of condolence and a sense of trust I wouldn't have seen two years ago."
Lt Col Bossi had spent a long time with his men discussing what had happened. It has been, he reflected "a humbling experience". "They are deeply saddened, of course, but no one said they wanted to give up. Giving up is not what they do. I am immensely proud of them."
He added: "What happened was terrible. But I would like to stress that the Afghans themselves are devastated that their own could have done something like this. We shall continue to work together. We need to continue trusting each other. What happens if there are more attacks? We'll have to wait and see." He added: "The political will back home may break, but we will not break over here."
The Afghans point out that what does not feature much in the international media is that the enemy has also sought to infiltrate their ranks and they have suffered "green on green" attacks in far higher numbers.
Patrolling the streets of Lashkar Gah yesterday, Naimtullah Fouaz Shafiq, a police lieutenant from Ghorak in Kandahar, said: "The dushman [insurgents] will try to kill those trying to stop them taking over our country, so they kill the foreign soldiers.
"But we are losing men as well to this type of attacks. We are losing members of our families because we work for the police. The dushman know that if they can divide us then their job will be easier. So we must not be divided, despite these cowardly attacks."
His colleague Rahimuddin, a policeman of six years who did not want his full name used, added: "We are very sorry for the British who died.
"I think [the] relationship between us is good. It has not been so good sometimes in the past."
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SOUR "Life Is Music"
I don't know if you remember SOUR, but several years ago they made a music video that is probably in my top 10 of all time (see it here). After seeing this one I do have to put them in the "OK Go" category though, their video concepts really outshine their music.
This video isn't on the level of their previous one, but using spinning cds to make animations is pretty awesome. Watch the video below!


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Divorced Briton confesses to killing his children in France
Divorced husband in bitter custody row slits throats of daughter, 5, and son, 10, in France
A 48-year-old divorced Briton locked in a bitter custody battle has confessed to killing his two young children by slitting their throats near the eastern French city of Lyons.
The bodies of a five-year-old girl and a 10-year-old boy were discovered on Saturday afternoon in the man's apartment in Saint-Priest, a suburb of Lyons. Witnesses said the man, covered in blood, fled the scene of the crime on roller skates.
The unemployed father confessed on Sunday to the gruesome crime "but did not go into details of the motive", prosecutors said.
The tragedy was "linked to a bitter separation" and "the state of his visitation rights which he considered insufficient", another judicial source said.
"In 2010, there was an incident of violence with his spouse which led to restrictions on his visitation rights," the source said.
He was arrested on Saturday in Lyons. A judicial official said a knife which is thought to have been the murder weapon had been found.
The man had visitation rights but only in the presence of another person, the official said, adding that this was the first time he had brought the children home to his apartment on the second floor of a four-storey building without a third party being present.
He remained in custody over the weekend and was to be presented to a prosecutor yesterday. Police were also questioning his ex-wife, notably to learn more about "the legal framework of the children's visits to their father".
Several witnesses said the man fled on roller skates after his former wife encountered him on the stairwell of the building and saw him with bloodstained clothes. She alerted police.
A neighbour said the mother was being comforted by relatives.


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Latest Headlines
Lebron To Heat Voices Too Loud to Ignore
Posted on 8 Jul 2010 by Jordan Lauterbach.
The voices are deafening. Knick fans are trying today not to hear them. Oh boy, are they trying. But, like a crying child, you can only ignore the voices for so long. All reports today have Lebron James going to the Miami Heat and never have the indications been so loud. Newsday's Alan Hahn wrote that multiple sources are telling him that the Heat deal is done. Newsd...


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Walker Royce blogging about Economic Governance of Software Delivery
One of the blogs that I follow is Walker Royce's blog If you don't know Walker, I'd encourage you to check this blog out. He writes on a variety of interesting topics and provides some interesting perspectives which usually hit some nerves .... and spark some great discussions. His post today is the start of a series that I thought members of... [More]
Tags:  transformation software governance rational agile economic alm murray-cantor walker-royce ibm |


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Tarrant County RACES and ARES Repeaters |
Listen | Feed | Genre | Listeners | Player Selection | Links | Status |
Tarrant County RACES and ARES Repeaters 146.940 MHz, 147.140 or 146.760 backup frequencies when applicable. |
Amateur Radio
0 | Deleted |
Radio will be monitoring amateur radio repeater 146.940 used for area RACES / Skywarn reports for Fort Worth, Tarrant County, Texas.
146.940 Mhz K5FTW based out of Fort Worth, Texas. This is the primary frequency used by Fort Worth and Tarrant County Skywarn, RACES (Radio Amateurs in Civil Emergency Service), and ARES (Amateur Radio Emergency Service). The backup amateur radio repeater frequencies used by local RACES and ARES include 147.140 Mhz, 146.760 Mhz and 146.680 Mhz, 147.100 Mhz, 145.110 Mhz and on UHF 444.100 Mhz.


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The world of sports entertainment has lost another legend.
William Moody, better known to wrestling fans as Paul Bearer, the howling ghost-faced manager of World Wrestling Entertainment (WWE) superstar The Undertaker, died unexpectedly Tuesday at the age of 58.
While the cause of death has not been released, WWE confirmed Moody's passing on its website with the following statement: "WWE is saddened to learn of the passing of William Moody, aka Paul Bearer. Moody made his WWE debut in 1991 as the manager of The Undertaker and went on to become a memorable part of WWE over the course of the next 20 years."
Paul Bearer (a play on "pallbearer") became a favorite among '90s pro-wrestling fans when he debuted in the then-WWF as the manager of an "undead" character named The Undertaker, who drew his mystical powers of invincibility and resilience from Bearer's golden burial urn. Bearer also served as the oft silent Undertaker's high-pitched mouth piece, and delivered some of pro-wrestling's most memorable interviews. His screeching exclamation, "Oooh yes!" is still a favorite among fans.
In the late '90s, Bearer went on to manage additional fan favorites, including Mankind (Mick Foley), Vader and Kane, and would eventually feud with The Undertaker until his ringside retirement in 2000. Like most "retired" pro-wrestling personalities, Bearer later returned and closed out his career with sporadic stints alongside The Undertaker from 2003-2012. His last televised appearance with the WWE was in April of last year.
As news of Moody's death spread late Tuesday, many popular WWE superstars, past and present, reacted to his passing on social media.
"Rest in peace, Paul Bearer," wrestler Triple H posted on Twitter. "You will never be forgotten. There will never be another."
Hulk Hogan posted, "Very sad about Paul Bearer, he was a great person and one of the original boys, he was what made wrestling great much love much respect HH"
John Cena paid his respects as well: "I think most everyone in @WWE has a great story about Paul Bearer. I have many, and will always cherish them #RIPPaulBearer."
[iframe http://www.youtube.com/embed/WJYB9IOR3K0 580 476]
Moody is survived by two sons, Michael and Daniel. His late wife, Dianna, died of breast cancer in 2009.
The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.


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Job Opportunities in Zarai Taraqiati Bank Limited
Zarai Taraqiati Bank Limited (ZTBL) erstwhile Agricultural Development Bank of Pakistan (ADBP) is the premier financial institution geared towards the development of agriculture sector through provision of financial services and technical know how. The restructuring of former ADBP is being carried out with the aim to uplift the agriculture and rural sector by raising farm productivity, streamlining the institutional credit and increasing income generating capacity of the farming community. ZTBL was incorporated as a Public Limited Company on 14th December, 2002 through repeal of ADB Ordinance of 1961.
Post: Officer
Published on 06 May, 2010 (Nawaiwaqat)


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Big announcements are coming this weekend at Disney's D23 Expo! The first photo of Ellen DeGeneres' movie "Finding Dory" was unveiled, along with the newest voice/cast members!
Furious 7 Is On Track to Break Box Office Records This Weekend!
After a long wait and a heartbreaking delay after the passing of Paul Walker, Furious 7 is finally here and it's breaking box office records! Vin Diesel and the gang are going to have a lot to celebrate after Sunday's final totals are in. So far the flick is on track to be the best April opening ever (topping Captain America: Winter Soldier) and could beat the record for highest grossing pre-summer movie – beating out The Hunger Games' gross of $152 million in 2012.
LUKE EVANS Starring In Upcoming DRACULA UNTOLD
Luke Evans, star of Fast & Furious 6 and Immortals, is hitting the big screen this fall in his newest film, Dracula Untold.
This new flick, which hits theaters October 17 – just in time for Halloween – centers around the life of the man who would eventually become Dracula, telling his origin story and giving insight into the centuries old myth. [Read more…]
JASON MOMOA Is He The Next Superhero To Hit The Big Screen?
It seems that Jason Momoa, who shot to superstardom after portraying Kahl Drogo on Game of Thrones, is slated to be the next superhero to hit the big screen.
Rumors are swirling that Jason has been tipped to play the role of Aquaman in Batman Vs. Superman: Dawn of Justice. Here's what HitFlix had to say on the issue – [Read more…]
TOM CRUISE Hot New Trailer: 'Edge Of Tomorrow'
Here's another new trailer for the new Tom Cruise action movie, 'Edge of Tomorrow.' He co-stars with Emily Blunt. 'Edge of Tomorrow' looks like an action adventure version of the old Bill Murray movie, 'Groundhog Day.' RELATED: See an earlier 'Edge of Tomorrow' trailer!
MICHAEL DOUGLAS & DIANE KEATON Hot New Trailer: 'And So It Goes'
This looks like it'll be a funny but heartwarming romantic comedy. Michael Douglas and Diane Keaton teamed up for the movie 'And So It Goes.' These two seem to have great on-screen chemistry. Add in a kid and how can it go wrong?
JENNIFER LAWRENCE Beauty In Blue At 'X-Men: Days Of Future Past' Premiere
Really, could Jennifer Lawrence wear any color besides blue at an 'X-Men' movie premiere? Given the color of her character, Mystique, I think it would look rather odd if Jennifer didn't wear blue. However, she stayed away from the electric blue color of Mystique's skin for the 'X-Men: Days of Future Past' premiere; this deeper blue is lovely. RELATED: See Jennifer Lawrence in 'X-Men: Days of Future Past' when Mystique's plans are foiled.
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Those of us who have a child who was born by Cesarean (C-section) have always taken pride in the fact that our babies' heads are much rounder than those of babies born naturally. But those perfectly formed heads may come with a cost. Two new studies have found that C-section babies are more likely to be overweight as teens and to suffer from allergies than babies born vaginally.
In the first study, Dr. Jan Blustein and her team at the New York University School of Medicine, tracked 10,000 children from birth through age 10. She found that C-section babies were 83 percent more likely to be overweight or obese compared to the naturally-born children. This was after factoring in all other relevant information including the mother's weight and whether she breastfed and for how long. As early as six weeks of age, the C-section babies were consistently heavier than naturally-born infants at almost all the check-ups monitored by the research team. Why is this happening? Blustein isn't completely sure, but she speculates that it might have something to do with C-section babies missing out on important exposures to friendly bacteria during the trip through the birth canal. She published her findings in the journal International Journal of Obesity.
The second study, this one conducted by Christine Cole Johnson, Ph.D., chair of Henry Ford Department of Health Sciences, found that babies born by C-section have a higher risk of developing allergies than other babies. Again, the culprit may be the friendly bacteria that vaginally born babies pick up as they move through the birth canal. C-section babies also seem to have other microorganisms in their gut that make them more vulnerable to the antibodies that produce allergic reactions. It's possible that those microorganisms would be squeezed out of a baby's system during a normal birth. "This further advances the hygiene hypothesis that early childhood exposure to microorganisms affects the immune system's development and onset of allergies. We believe a baby's exposure to bacteria in the birth canal is a major influencer on their immune system," said Dr. Johnson, the study's lead author.


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The Department of English and Philosophy contributes to the mission of the Military Academy by accomplishing four objectives:
The mission of the United States Military Academy is to educate, train, and inspire the Corps of Cadets so that each graduate is a commissioned leader of character committed to the values of Duty, Honor, Country and prepared for a career of professional excellence and service to the Nation as an officer in the United States Army.
The Army's mission is to fight and win our Nation's wars by providing prompt, sustained land dominance across the full range of military operations and spectrum of conflict in support of combatant commanders. We do this by:


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I read something interesting...
I read something interesting...
Most of the 'money' in circulation is not physical money: cash and coins. It is represented by figures passing from one computer account to another electronically via money transfers, credit cards and cheque-books.
The more money, electronic or otherwise, that is in circulation, the more economic activity can take place and the more products are bought and sold, the more income people have and the more jobs are available.
But a constant theme of this Illuminati financial coup has been to create a boom by making lots of loans and then pulling the plug, causing a depression or crash. Overpaid economists and economic correspondents,most of whom have no idea what is going on, will tell you that boom and bust is part of some natural 'economic cycle'. It is not. It is systematic manipulation by the Illuminati to steal the real wealth of the world. During a boom many people get themselves into more debt. The vibrant economic activity means
that businesses borrow more for new technology to increase production to meet demand. People borrow more to buy a bigger house and a more expensive car because they are so confident of their economic
prospects. Then, at the most opportune moment, the major banks, coordinated by the Illuminati network,raise interest rates to suppress the demand for loans and begin to call in loans already outstanding. They
ensure they make far fewer loans than before. This has the effect of taking units of exchange (money in its various forms) out of circulation. This suppresses demand for products and leads to fewer jobs because
there is not enough money in circulation to generate the necessary economic activity. People and businesses can no longer earn enough to repay their loans and they go bankrupt. The banks then take over their real wealth, their business, home, land, car and other possessions in return for non-repayment of a loan that was never more than figures typed on a screen
In case anyone is wondering, it's from David Icke's "Tales from the Time Loop". - 03-11-2009, 05:06 PM
not really as
raise interest rates to suppress the demand for loans and begin to call in loans already outstanding. -
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Hi Head-Fi'ers,
I'm looking for some new IEM's, my budget is about €250. I now use the Klipsch S4 with the small eartips, but like an upgrade in sound quality. I listen to all kinds of music; pop, rock, alternative, jazz, classical and some electronic music. I'm not a basshead, but do like some bass. My sources are an iPod classic 80 Gb and an iPhone 4. Both are unamped, but I may buy an affordable amp if the sound quality will improve from it (maybe Fiio E6 or E11?).
After an intensive search I ended up with the shortlist below. All of these can be found in the Netherlands for €250 max.
Shure SE425
Sony MDR-EX700
Ultimate Ears TripleFi 10
Edited by De_klusjesman - 12/31/11 at 4:30am


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Winners of the baby show at the Shelby County Fair baby were 6- to-12-month boy, Liam Eversole, and girl, Addison Taylor; 12-to-18-month boy, Peyton Ryan Smith, and girl, Kaleeha Marie Bailey; and 18-to-24-month boy, Bryce Gentry, and girl, Maiya Payton.
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Yesterday's announcement from the Detroit Symphony Orchestra (DSO) musicians about their willingness to return to work without a contract is the closest thing the group has had to hope in some time. But before everyone begins rejoicing, there are conditions in the form of both sides agreeing to binding arbitration as a means to an end for the five month old strike… (more…)
Archive | Tue, Mar 1, 2011
Breaking News From Detroit: Musicians Propose Returning To Work
The Detroit Symphony Orchestra Musicians (DSO) issued a press statement at 1:00pm ET today stating they intend to hold a press conference at 2:00pm ET to announce that they are proposing to return to work under the conditions DSO management imposed in October that initiated the strike (last updated 6:50pm ET)… (more…)
Musicians Behaving Badly?
The 2/28/2011 edition of the Boston Herald published a review by Keith Powers of a performance by the Boston Symphony Orchestra (BSO) or Mahler's Ninth. What makes the review unusual doesn't have anything to do with the music so much as what Powers wrote about behavior he observed in the violin section. More to the point, behavior he defined as "disturbing"… (more…)


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Dirty Dancing Paying tribute to the emotional excitement of first love, the thrills and complexity of sexual awakening, the soul stirring power of dance, and the classic tale of teenage Baby's forbidden romance with Johnny Castle, the remake will incorporate classic songs from the 1960s, hits from the original film and brand new compositions. Directed by Kenny Ortega Genre - Drama ShowtimesThis movie is not currently playing in theaters. Home VideoThis movie is likely available now on home video.MultimediaRelated News Articles and Web SitesLooking for More Information?Search Google for more information about this movie: |
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By Kurt Layher on Wed 10/07/2009 02:45am
The County Planning Department has completed Phase II of the Groundwater Protection Area assessment. The County will consider amending the subdivision resolution to create the protection area and limit conventional subdivision lot sizes to a minimum of five acres in these areas. County Planner Mark Reid says two acre lots would have to use enhanced septic systems that provide better protection for the groundwater table.
The matter will go before the planning commission at their November meeting and will return to the Commissioners on December 1st. A moratorium on any further development in the designated areas will continue until the Commissioners take action one way or another.
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Australian teenager Nick Kyrgios has extended his remarkable Wimbledon debut into a dream last-16 showdown with world No.1 Rafael Nadal.
And the confident 19-year-old believes he's capable of causing one of the All England Club's greatest upsets in the biggest match of his life on Tuesday.
Wildcard Kyrgios, the youngest man in the draw, rebounded from the high of his incredible win over Richard Gasquet to beat 68th-ranked Czech Jiri Vesely 3-6 6-3 7-5 6-2 in a rain-interrupted third-round match on Saturday.
The last Australian left standing in singles at the grass court grand slam, Kyrgios will now face the 14-times grand slam champion Nadal in the sort of match he's dreamed about since first picking up a racquet.
"Obviously 14 grand slams between us, so it's going to be a good match," Kyrgios joked.
"I'm overwhelmed with happiness.
"Making my fourth round at a grand slam and the opportunity to play Rafa, hopefully on Centre Court, it's an opportunity I'm just going to embrace.
"I never thought I would be seeing Nadal in my fourth round Wimbledon in my 19th year.
"I thought it would take years and years of work to finally have an opportunity like that.
"To think that it's going to happen in about a day is daunting, but so exciting as well."
Nadal, Wimbledon champion in 2008 and 2010, reached the fourth round for the first time since 2011 with a four-set win over Kazakhstan's Mikhail Kukushkin.
However he has shown some vulnerability, losing the first set in all three of his matches so far.
"It's grass, it's probably his least favourite surface but he's extraordinary on it as well," Kyrgios said.
"Of course I have nothing to lose out there. Anything is possible.
"I'm just going to go out there and play my game. I think that's definitely enough to be competitive."
Asked if he had belief he could even cause an upset, Kyrgios replied confidently: "yeah".
Kyrgios' win also ensured he will break into the world's top 100 for the first time, a remarkable feat considering he was ranked lower than 800th at the start of last year.
The Australian showed no signs of an emotional or physical hangover from Thursday's incredible win over 13th seed Gasquet, in which he fought back from two sets down and saved nine match points, again coming from behind to clinch victory.
Saturday's match started almost two hours after schedule due to morning showers but the first session of play lasted just 18 minutes.
Kyrgios trailed 4-2 when play was called off due to more rain and the players had to wait four-and-a-half hours for a resumption.
The Australian failed to prevent 20-year-old Vesely closing out the first set but he dominated the match from there.
He banged down 26 aces and increasingly found ways to break down left-hander Vesely's huge serve.
After the pair traded breaks in the fourth set, Kyrgios forged clear impressively, finishing the match off with a big serve and dropping to the ground in a Nadal-esque celebration.
"I think the rain delay played a massive part in that match," Kyrgios said.
"He had a lot of momentum ... I thought I played some really good tennis in the last three sets."
Nadal earlier overcame Kukushkin 6-7 (7-4) 6-1 6-1 6-1 under Centre Court's closed roof and he believes Kyrgios will prove a tricky opponent.
"Young players are very dangerous as always they have something special," Nadal said.
"They are able to play with no pressure. They are fresh."


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Toledo City Council President Paula Hicks-Hudson plans to announce today that donated concrete and plumbing work is complete at two north-side city pools that were slated to stay closed this summer, but that doesn't mean they will open.
Ms. Hicks-Hudson, the District 4 councilman, has been on a crusade to open the two pools this season since Mayor D. Michael Collins announced earlier this year that only four city pools and a splash pad would open.
Mayor Collins said he would decide this week if the city has the money to pay for lifeguards and chemicals needed to operate the newly repaired pools for the summer.
Ms. Hicks-Hudson said Laborers Local 500 and Local 50 of The United Association of Journeymen and Apprentices of the Plumbing and Pipefitting Industry provided materials and labor to get Wilson Pool, 3253 Otto St., and Jamie Farr Pool, 2200 Summit St., operational.
"The city also provided equipment and there was a third group called Toledo Buffalo Soldiers that did work and painted," she said.
The councilman released a statement Monday calling it a success story of collaboration that required no public money.
Wilson and Jamie Farr pools had numerous leaks in pipes and fittings used in the skimming and water-filtration systems, causing the pools to lose large amounts of water, according to the report by Northwest Pools Inc. of Toledo, which was hired by the city to inspect the pools.
Mayor Collins praised the unions' work on the pools.
"Their participation refutes many of the naysayers about their dedication to a community," the mayor said.
Ms. Hicks-Hudson submitted legislation to use $41,698 of general fund money from the city's "electric aggregation program" for the two pools, but city spokesman Lisa Ward said city attorneys refused to support that idea because using the money for that purpose may not be allowed.
Ms. Ward said the aquatic facilities that will be open this summer — Navarre, Pickford, Roosevelt, and Willys pools, and the splash pad at Savage park —could open Saturday.
The mayor originally released a 2014 budget with no money for pools. Council later approved spending $266,199 of general fund money in the 2014 budget to operate four pools and the splash pad.
Last year, the city opened pools at Roosevelt, Wilson, Navarre, Jamie Farr, Pickford, and Willys parks.
Contact Ignazio Messina at: email@example.com or 419-724-6171 or on Twitter @IgnazioMessina.


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Problem Solving for Decision Making MANAGEMENT ADVISORY SERVICES By Gordon L. Murray As I picture it, we in Haskins & Sells find ever-broadening opportunity in three dimensions: extending our present capabilities to more clients; applying the techniques we already know to more areas of a business; acquiring capability in entirely new techniques. What does this mean? In the first dimension we do tax and MAS work for those who once were only audit clients, tax and auditing for MAS clients, MAS and auditing for tax clients, and all three for more new clients. The second dimension is not so obvious, and cost accounting furnishes an example. Think of cost accounting and you immediately think of the factory and production. But adapt cost accounting techniques and you can apply them in pre-costing to evaluate designs or plans, to marketing and distribution, to industrial relations (e.g., weighing the effects of wage demands), to decisions on buying capital assets, and to costing clerical operations. Other techniques offer similar opportunities for broader application. The third dimension, acquiring capability in new techniques, leads to extending the very scope of our services. Some of this extension comes simply from keeping abreast of new developments; some comes through conscious efforts to broaden our qualifications in particular areas; some comes through demands of business itself or through regulatory requirements. MAS Grows with Complexity This may all sound highly theoretical, but I find much practical evidence of it in our management advisory services, particularly when I think of how far our services have ranged since ten years ago, when MAS was known as the Systems Department, or five years ago, or even since 1963. There has been a very great growth of MAS both in the profession and in the Firm. Why is this so? Why does business turn to us so much more frequently and why are clients more receptive to our suggestions? The answer in one word: complexity. Let me explain. In our private lives we long for the simple life, but it never seems to arrive. Contrarily, more and more decisions are forced on us by an ever-widening array of choices: more ways to spend our money, more modes of living, more types of transportation and communication, to name but a few. The more alternatives, and particularly those that are new or outside our experience, the more
Object Description
Title |
Problem solving for decision making |
Author |
Murray, Gordon L. |
Contributor |
Stevens, Roy |
Subject |
Management -- Accounting |
Personal Name |
Murray, Gordon L. |
Portrait |
Murray, Gordon L. |
Office/Department |
Haskins & Sells. Management Advisory Services |
Citation |
H&S Reports, Vol. 01, (1964 autumn), p. 16-19 |
Date-Issued | 1964 |
Source | Originally published by: Haskins & Sells |
Rights | Copyright and permission to republish held by: Deloitte; Photograph by Roy Stevens |
Type | Text |
Format | PDF page image with corrected OCR scanned at 400 dpi |
Collection | Deloitte Digital Collection |
Digital Publisher | University of Mississippi Library. Accounting Collection |
Date-Digitally Created | 2010 |
Language | eng |
Identifier | HSReports_1964_Autumn-p16-19 |


text: UK iPad Data Tariffs Announced For Orange, O2 and VodafoneKat Hannaford5/10/10 6:00amFiled to: ipadApple ipad uk dataUkBritainEnglandAppleDataContractsPlansData tariffsUk ipad data37EditPromoteShare to KinjaToggle Conversation toolsGo to permalink Apple has sneakily put the UK iPad data plans up on its website before networks Orange, O2 and Vodafone have had a chance to issue news themselves—and what's obvious so far is that it pays to shop around. Advertisement O2 surprisingly is offering more data for its buck, with 500MB offered for £2 per day, whereas Orange is only giving 200MB a day for the same rate. From there, different time periods are offered, with O2 charging £10 for 1GB of data across a month, and Orange charging £7.50 for 1GB of data a week.Both networks are charging £15 for 3GB of data a month, but if you're a heavy user it's looking like Orange is offering the most in total—10GB for £25 a month. Vodafone has found itself with the rough end of the stick, charging £25 for 5GB of data a month, or £10 for 250MB a month. Really, Vodafone—how many subscribers do you intend on getting with those rates? Advertisement iPad prices in the UK aren't much higher than in the US, once you take into account taxes. The Wi-Fi versions will cost £429 for 16GB, £499 for 32GB and £599 for 64GB, with the 3G models coming in at £529, £599 and £699 each. [Apple]Reply37 repliesLeave a reply


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How would you rate the 1 time World or Olympic Champions from best to least great. Here would be my order: Women: 1. Midori Ito- a travesty she only won 1 World or Olympic Gold. A victim of figures, bad luck, injuries, bad timing. 2. Denise Biellmann- would have been the dominant skater for a long time had it not been for figures and her early retirement. Would have been the 1980 Olympic Champion in 1980 at only 17 without figures. 3. Lu Chen- one of the most stunning artistic skaters in recent memory and a very strong jumper too. Was robbed of winning more than 1 major title by judging mostly. 4. Debi Thomas- was a very strong force and part of a famous rivalry to Witt. Very strong all around skater with excellent figures, very strong jumps and elements for the time, and very good line and basic skating. 5. Yuka Sato- just since she was such an outstanding pro skater, one of the best of all time. Not as great an amateur skater so hard to rank her accurately. 6. Rosalynn Sumners- went into the Olympics the year after winning as favorite and narrowly missed winning. 3 time U.S Champion. 7. Karen Magnussen- Olympic silver and World silver the year before winning. 8. Maria Butyrskaya- was near the top a long time but not a huge threat to the big guns of her era. And didnt really do anything that made a huge impact on the sport. Won in weak transition era with so top skaters in field other than Butyrskaya and Kwan. Had chance to defend next year but blew it and never came close thereafter nor before. Never won Olympic medal but narrowly missed in 1998. I ranked her over Elaine only since she had a better shot of winning a 2nd World title in 2000 then Elaine ever really had, and both had forgettable pro careers. 9. Elaine Zayak- was a trailblazer in her early years. Her overall competitive record isnt as strong as some others and unfortunately her pro career was a dissapointment. I think she was very underrated at times by judges in 83 and 84. On the other hand I am also not as much on her bandwagon as some others on this forum. I dont think she was the best all around skater of the 80s or anything as some seem to think. 10. Christine Errath- since others seem to think highly of her skating and I havent seen that many of her performances I will give her the benefit of doubt and move her up. 11. Petra Burka- dont know much about her. First women to do a triple jump. 12. Sarah Hughes- was consistent for several years, flaws aside, and did win the Olympics as her lone major title. 13. Jill Trenary- not sure where to rank her. An elegant and stylish skating with strong figures and capable but inconsistent jumps. She didnt exactly give an extremely inspired competition to win her only major title like Sarah Hughes though so I decided to slot her below. She won 3 U.S titles but she didnt face Kwan at Nationals like Hughes did. 14. Miki Ando- only one other World bronze and an GP silver to show from remainder of her career so far. I openly admit I do not like her skating and find her very overrated. 15. Dianne DeLeeuw- a gangly stork on the ice with no grace and small awkward jumps. She was good in figures and a good competitor. 16. Kimmie Meissner- I hate to say it especialy as I like Kimmie but isnt it obvious by now it was one of the flukes in history probably. Men: 1. Brian Orser- Just incredible he won only 1 major title. An injustice of sorts looking at his overall career even if the actual result in each case was probably right via the rules and performances. 2. Robin Cousins- would have been a dominant skater and won so many major titles without figures. Nobody could touch him in free skating in his era. 3. Daisuke Takahashi- such a talented skater. I guess he could win again but seeing his performances this year I doubt it. 4. Ilia Kulik- also an incredible skater even with the Olympic Gold as his only major victory. 5. Brian Joubert- very consistent skater with good longevity. 6. Alexander Fadeev- had a chance to win multiple World titles for sure. Only had to stay on his feet and turn in something semi respectable to have defended his title in 1986. His career fizzled out as it went and every hint of a resurgence was quickly snuffed out. 7. Charlie Tickner- very nice skater. Was one of several guys fighting for big titles in a very competitive era. Had tough competition with Cousins the Worlds dominant free skater, Hoffman the figures expert and great jumper, and Kovalev the figures expert. 8. Jeff Buttle- wonderful skater who I loved to watch. A fine career with some other nice achievements. Inconsistent jumper who did one of his only ever clean competitions to win Worlds, and never a dominant skater or close to it. 9. Wolfgang Schwarz- 2nd almost his whole career but won the big one at the Olympics. Barely won that though. Dont know much about him. 10. Alexei Urmanov- an accidental Olympic winner who never really followed up his big victory. Did win both Europeans and the Grand Prix final in his career. Might have won the 97 Worlds had he been able to skate the long program. 11. Todd Eldredge- he wasnt my cup of tea but a very good career. Could only win in his time when the big guns fell apart. 12. Sergei Volkov- yuck, and yes I have seen him skate unfortunately. Pairs: 1. Underhill & Martini- their pro careers solidified their greatness as a pairs team. As did their performances at the 83 and 84 Worlds as amateurs. 2. Brasseur & Eisler- honestly I find their are a lack of good options in the pairs discipline unlike the others. 3. Shishkova & Naumov- very underrated and unlucky team. 4. Babiloni & Gardner- beautiful and very pleasant pair but fortunate to win in a year the dominant team took a pregnancy leave. 5. Baess & Theirbach- one of the dominant teams of the 81-84 quad, surprisingly missed the medals at the 84 Olympics. Very athletic team for the time. 6. Kazahkova & Dmitriev- they never really excited me the way M&D did together. And they were inconsistent most of their relatively short amateur careers. Still definitely deserved the Oly Gold in 98. 7. Petrova & Tikhonov- great longevity and consistency. 8 straight top 4 finishes at Worlds. 8. Kovarikova & Novotny- very elegant and artistic team but very inconsistent. 9. Eltsova & Bushkov- zzzzzz 10. Marina Cherkasova & Sergei Shakhrai- won Olympic silver after Babilonia & Gardner withdrew, then World gold after Rodnina & Zaitsev also took a pass on a final Worlds. Had a quad twist at one point I believe. A ragdoll team who dissapeared quickly once she grew. 11. Woetzel & Steuer- cant believe they won a Worlds. Were lucky to peak in such a weak and open couple years for pairs. 12. Vorobieva & Lisovski- who!?!? Looking at their competitive record their win appears to be just a stopgap in a vacant year. Dance: 1. Usova & Zhulin- unlucky to lose out on close decisions at 91 Worlds and 94 Olympics. Competed in tough era with Klimova & Ponomarenko, Duchensays, and Gritschuk & Platov. 2. Recogzy & Sallay- very good team, many thought should have won the 1980 Olympics right before their only World title. 3. Duchensays- they were certainly memorable if not technically the best. 4. Bourne & Kraatz- they never appealed much to me but they have 6 World medals. 5. Delobel & Schoenfelder- strong technical and polished team with some bad luck in their careers. Still World title is only World or Olympic medal. Have Grand Prix final and European titles though. 6. Fusar Poli & Margalio- she was a very good dancer. 7. Lobacheva & Averbuhk- never liked them. They had good ODs though, rarely if ever a memorable FD. 8. Domnina & Shabalin- they were already past their prime due to injuries when they won their World title.
Robin never won Worlds. I would have Zayak right up there on the womens list, probably tied for 2nd with Biellmann. She was hugely underrated and still suffers from the myth that she could only do triple toe. And Christine Errath has no business being so low down your list. She was a wonderful skater and the first lady to regularly do a triple toe in her programs, often combining it with a double toe which was practically unheard of back then. She really did have great charisma and was just about the only GDR ladies skater to make it without being coached by Jutta Muller.
I meant skaters to win only 1 World or Olympic title which is why I included Kulik and Hughes in my lists. You are free to change the title heading for me if you can please. I have watched Errath on tapes and I hated her skating. Sorry just my opinion. I didnt see any of the charisma or appeal of Seyfert, Morgenstern, or Witt, in any of her skates that I saw. And I dont see how she was any better than say Diane DeLeeuw who beat her atleast half the time both overall and in free skating. In fact the two look like the exact same kind and caliber of skater to me, almost interchangeable. I am amazed Hamill didnt win every major title in the mid 70s. Maybe I never saw her skate on her best day, I dont know.
To each their own of course. DeLeeuw got seriously lucky in '75 when both Errath and Hamill botched their SP's. I've never enjoyed DeLeeuw's skating. Errath had more speed, attack and another one of those amazingly powerful double axels that nearly all the 70's GDR girls seemed to have. I thought she was wonderful. JMO
Well you were around then unlike me so I am pretty sure your perspective on those skaters is more accurate than mine. I have seen Errath performances mostly from 75 and 76. Wasnt her free skating peak from 72-74 more anyway? I dont enjoy DeLeeuw at all either so hopefully Errath at her best was atleast better than her. DeLeeuw was like a gangly stork on the ice. I put her over Errath only because she was the one who seemed to be rated as Fratianne's bigger rival by 76 and won the silver in Innsbruck.
Joubert only has 1 world title because of his inconsistencies. He usually messed up in the SP and then underestimate what he needed to do in the LP to win. It's too late now for him to win another one and will most likely be off the podium for 2011. Yuka was lucky to win her title in a weakened field. She had wonderful qualities as a skater, but her lutz and flip were often questionable. Dorothy Hamill should be on the list somewhere. Didn't she usually win the LP over Dianne and Christina ?
I think the original poster wanted to rate the one hit skaters : one World title (and no Olympic) or one Olympic title (and no World). Dorothy has both.
I'd have Kulik higher on the list. I think his OGM performance was untouchable at the time similar ,to say ,Yu-Na Kim's. Much as I like Takahashi, I don't think he was ever in such a position. Mostly I agree with your other rankings, insofar as I remember the skaters and performances.
Agree completely with Floskate with everything that was said about Christine Errrath. She was a wonderful free skater. Loved her. In my eyes her only problem was her 3-toe was not consistent. Amazing to think she was never coached by Jutta Mueller. I think she should be much higher on your list.
I would put Jeff Buttle and Charles Tickner somewhere in the middle of the men's list listed. Debi Thomas probably would go above Maria Butyrskaya, Jill Trenary probably only above Ando and Meissner. Cherkasova and Shakrai should be above quite a few pairs teams on that list.
Petra Burka - First woman to do a triple. She was '65 World Champ and bronze-medalist at '66 Worlds, right? She had a lot going for her. Any one know why she didn't just stick with it thru '68 and the Grenoble Olympics?
On the presentation/artistic side that might've been a good thing; Otherwise, we might have seen her skate to a medley of Saturday Day Night Fever, You Light Up My Life, and The Muppet, .
She supposedly did the triple salchow at Nationals in 1962 but I've never seen it. I wonder if that still exists in an archive somewhere? She was sturdy and after winning Worlds went on a crash diet and so the story goes, her jumps went along with the weight. Who knows why she didn't stick it out? She was surpassed by Fleming and Seyfert in one year and back then, once you slid down the rankings it was very difficult to get back up again. How could I have forgotten about Charlie Tickner? Wonderful skater and definitely would be near the top of my list.
I am definitely not getting the love of Christine Errath's skating from the 1970s. Her choreography was heinous and I find her skating to be quite brutal and beastly : I guess I'm just not much of a fan of ladies skating of the 1970s . Despite the better basic skating ,I tend to find so many of the female skaters of this era to be very tedious and lacking in nuance and refinement in their overall body movement. Even the much beloved Dorothy Hammill's skating looks a bit... rushed to me. John Curry OTOH I could watch all day.
Roz Sumners should be way down on the list...somewhere close to Kimmie. She got very, very lucky in Helsinki '83 in that Katarina made fluke mistakes and Zayak, the reigning champ, got injured in the course of the competition. Roz was also the USFSA's "little Princess Perfect" at the time; they lobbied strong and hard for her to be marked over "chubby, working class Elaine" even before Elaine pulled out of the competition. Not that I did not enjoy Roz's energy and personality but I did not consider her a true prodigy like Elaine. (One of these days, either Elaine or her coach should write an all-tell book!) Off Topic: Luckily, Code of Points has pretty much put an end to "Little Princess Perfects" being annointed by federations or other power brokers (like networks), with backroom wheeling and dealing of one skater above another in the same country. Now you either "do it" on the ice, in that one program, or you do not. "Funny play" with PCS can only get a "darling" so far.
Witt was never good in figures before 1984 and as you yourself are basically admiting Zayak was not ever winning the 83 Worlds. So I see Sumners in no way lucky to have won that year. Witt's Olympic win the following year was luckier than Sumners's World title.
Believe me, I'm no fan of Roz but I respect the great quality of her basic skating. [She reminds me of Lepisto in that way - nice quality to all technical elements, musical, but somewhat icy and removed during actual performances and could be quite wobbly on/popping jumps due to nerves - JMHO. Don't flame me!]. But Roz was great in the figures whereas Kat prior to '84 was pretty mediocre in that segment and I admired Kat's athleticism but her 2d mark also was not where it would be in later yeasrs, so I don't think Roz was unlucky to win '83. There just wasn't any really eye-popping competition for ladies that season- 1) World champ Zayak was out injured, 2) as stated Witt was mediocre in figures and had not realized her potential, 3) Chin was a newcomer and still developing, 4) Ivanova was banned from competing internationally in these years by the Soviet Fed, 5) Biellmann, 6) Cottrill, and 7) Kristofics-Binder had already retired or were just gone. That left very few people to contend, so I'm just curious to know why you think Roz was lucky? Again, not a fan and I also like you preferred Zayak.
1981-1984 was the craziest quadrennial for womens skating ever. Even going into Sarajevo I dont think people knew what to expect. Sumners was probably favorite but was clearly vurnerable. Witt was doing well that season but hadnt won a major title yet. Zayak seemed to be on the way down but shocked most people with some of her best performances ever in Sarajevo, but unfortunately clearly was out of favor by that point it turned out. Leistner, Voderezova, Ivanova returning to competition but not really being proven yet even in her first go around, Chin, Kondrashova, Rueben. Many of the top skaters in the middle of the quad just retiring or dissapearing altogether- Biellmann, Binder, Cottrill, DeVries, Vegelius, and others making returns from long absences like Voderezova and Ivanova.
Katarina and Claudia Leistner were very much the international "It Girls" that season. (Alas, Leistner went downhill, for a while, after 83 Worlds.) Witt was the Euro Champ. So her time had definitely come. The win in Sarajevo was not at all a surprise to those who live in those times and attended major events, as I did. Roz was a pretty and pleasant fluke. The "surprise" was that Witt went past 1984. Nobody in the 1982-84 period would have predicted the longevity of Witt in amateur competition.
Maybe not in North America. Witt was IT everywhere else, at least since summer 82. I lived it. (And I'm the "other" F.Muller...not the real one. )
Gaby won two Worlds in 1969 & 1970 Re: Witt in '82 and '83. She was the combined free skating champion at both those Worlds. She should have won overall in '82, it was there for the taking despite Zayak's great performance but she made mistakes. 1983 it was her figures that did her in, but I think it's very clear that she was regarded as the biggest potential OGM for Sarejevo by the international judges, especially after Biellmann's shock early retirement.
Poor Leistner looked like the big up and coming star along with Witt in 1982 and 1983 but never really was a contender ever again after her weak Olympic showing in 1984. Well not until her last season in 1989 when nearly everyone had retired. From 1985-1988 she just kept getting passed by everyone and most years was 4th at Europeans, including even 1987 where she skated so well. In 1982 and 1983 she looked fresh and exciting with her ability to do so many triples, but she became stale and boring as the years went by. Even her 1989 World silver performance was an eyesore.
Leistner's atistry, program and music cut in 83 was crap. I don't know how she could've been seen as the "It" girl. Witt's win in 84 was somewhat of a surprised, although she was definitely considered a major threat to Roz for the Olympic title. Roz convincingly won the World title in 83. If you take away the triples, Roz was the better free skater than Witt. She could've, would've ..yadayadayada...won in 84. Who knew why she decided to double the last two triples and single the final axel in her LP. The mistake in the SP was stupid.
From what I've watched, Katarina's win was not such a surprise in 1984. She was a two-time Euro champ. Silver medalist at Worlds in 1982, first lady to land a 3Flip, and she landed 3Loop in 1983. Her jumps were beautiful, so was her skating. From 1983, she developped her grace and interpretation.
I always found Witt kind of awkward (look at her crossovers, look at her spin positions) and her 'artistry' was basically a reference first to her natural good looks and later to her cultivated showmanship. And most of her winning performances just aren't that great or memorable (except for her 87 worlds lp which was great in every sense of the word). But she had the toughest mental games of any skater ever. I think of Hughes as about as big a fluke as Meissner. I'm not disputing her win but her SLC victory really did come right out of and lead right back to nowhere. A very bizarre little chapter in ladies skating history.
^ But the thing is Hughes was at least proven to be a medal contender. Meissner just barely emerged into the senior ranks. And under 6.0, I think any free skate like what Hughes skated in SLC was going to win the gold medal.


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Cuartito Azul
After a busy Saturday morning hike, Richard and needed to "refuel" as they say (whoever they are). We'd heard good things about an Argentinian restaurant here on the Westside called Cuartito Azul, so that's where we headed. When we pulled into the small parking lot at a few minutes to opening time (1pm on Saturdays), there were already several people waiting. Good sign!
The menu includes a number of Argentinian favorites, including steaks and pastas. We'd read good things about the empanada appetizers and several others in the restaurant ordered those. But we knew if we got those we'd be too full for the all-important dessert course. So we refrained and placed our orders for the "main thing". Our server brought us some rolls as well as olives and what appeared to be marinated lima beans to tide us over. I let Richard eat up the rolls, which he said were good and tasty.
Richard went for the chorizo steak, which came with salad and mashed taters. It was very reasonably priced, considering both the quality and the quantity of food served. It looked wonderful, and he said that the steak was "a carnivore's delight …… perfectly cooked and heavenly seasoned". He also enjoyed the mashed taters and salad, but for him……steak is king and that's truly what mattered (and he was mighty pleased with this one).
I had the spinach lasagna with four-cheese sauce. It came with a beautifully presented, fresh salad with red wine vinaigrette. Such a simple salad but so,so good. And the lasagna …..oh my. This was yuuuuuummmmmmyyyyy. There were layers of spinach and pasta, along with what tasted like wonderfully crunchy nuts (walnuts, perhaps?), all topped with an incredibly rich and divine-tasting four cheese sauce. I ate every last bite. This was quite a lasagna experience (and that's saying a lot, because this girl has had quite a few lasagnas in her day).
Ok, dessert time! There were quite a few tempting offerings, including tiramisu and tres leches cake and cheesecake. But of course, Richard had to go with the chocolate cake (which was incredibly moist and chocolate-y). And in my quest for the richest and biggest dessert possible, I had to go with the brownie with ice cream (which was very good, with what seemed to be a nice, freshly baked brownie topped with plenty of good vanilla ice cream. Just what I needed, of course, on top of that rich 'n tasty lasagna).
All in all, we really loved our lunch at Cuartito Azul. The service was fantastic, the atmosphere was really nice, and the food was fantastic. By the time we left, nearly every table was full (at 2:15pm on a Saturday afternoon). And we can see why! We will definitely be returning to Cuartito Azul. Because of the limited number of parking spaces and tables, we highly recommend reservations in the evenings. You don't want to miss this place!
Cuartito Azul is located on the west side at 500 Thorn Ave. El Paso, TX 79912


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The following items should be included in the candidates application in the order in which they are listed below. All items should be included in the specified order in one PDF titled with the candidates last name and first name (Smith, Robert) and submitted via email to firstname.lastname@example.com.
Research Proposal: The application should include an outline of the candidates research proposal written by the candidate. The Review Committee respectfully requests that the submission is original writing by the applicant and not a copy of any material written by the Mentor. The outline should be written in Ariel font size 11 and be limited to five pages including figures and references. Submissions that do not comply with these criteria will not be considered.
CV: The candidate should include a current curriculum vitae listing all publications, presentations, and awards.
Biosketch: A biosketch of the candidates mentor according to NIH Biosketch format.
Ph.D. certification: Candidates should submit certification of receipt of their Ph.D. from the conferring institution.
Reference Letters: A minimum of three letters of reference from Professors who know the candidates work are required. In addition, letters from the mentor and the Department Chairperson of the host institution should be included. These letters should provide details describing the research training environment and facilities available to the trainee, as well as a description of the candidates suitability for the proposed research. These letters should be submitted directly to the Foundation in PDF form to email@example.com.
The deadline for submission of the application and accompanying materials is September 15, 2016. The Gruss Lipper Fellowship Foundation awardees will be notified in December 2016.


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The Oakland Raiders add QB EJ Manuel, LB Jelani Jenkins, and re-sign LS Jon Condo during the third week of free agency. Here is a recap.
Oakland Raiders Hall of Fame wide receiver Tim Brown discusses the careers of Amari Cooper and Michael Crabtree, and what the dangerous duo can do together moving forward.
Some of the best talent in the NFL is found after round 1 of the NFL Draft. Take a look at some of the best players that were scooped up in the 2nd round.
Raiders QB Derek Carr discusses DE Khalil Mack winning the 2016 Defensive Player Of The Year award.
NFL Network's Mike Mayock gives his updated Top 5 cornerbacks heading into the 2017 NFL Draft.


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Help with gallery pricing...
Let me first thank everybody in advance for any advice!
OK, I'm a hobby photographer who has always worked for my own enjoyment and that of those around me. Photography is not my profession, but something that I love and helps to keep me sane.
I recenlty took some of my work into a gallery I know in NYC for framing. These were 20x30's shot with a combination of a 1Ds, 20D, and 10D, then printed by Ofoto. The gallery loved the work and offered to give me a section of the gallery for my photography. They are mostly interested in B&W versions of my cityscapes. This sounded like a nice way to supplement my income a bit without having to do much additional work. I don't want to sell him the files, so I'm going to have them printed and they can handle the framing.
The problem is, I have no idea how to negotiate pricing! If anybody can help me, I would be really appreciative.
Post (hide subjects) | Posted by | When | |
Jan 28, 2005 | |||
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They've got muck; we've got rakes. TPM Muckraker
Syrian Regime Supporters Allegedly Hack Al Jazeera Show's Twitter Account
"The Stream's Facebook and Twitter accounts were compromised, and we resolved the issue," Al Jazeera told TPM in a statement. "The Stream" is a multi-platform TV news show that uses social media to produce content. Some of the alleged hacker-backed tweets on Thursday included: "Aljazeera: Fabricating another child martyr," "What exactly is SFA?" and "Do The Guardian editors know they are participating in violence in Syria?"
By Thursday afternoon, the tweets were deleted, and the program's account acknowledged the issue:
Our account was compromised and we've resolved the issue. Thanks for your patience and we look forward to your tweets for today's show.
— The Stream (@AJStream) July 5, 2012
The Associated Press, which first reported on the compromised account, says that one of the messages claimed to be from the Syrian Electronic Army, a group that has launched web attacks on groups sympathetic to the country's popular uprising.


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SAN JOSE, Calif. –August 4, 2009 – Worldwide silicon wafer area shipments increased significantly during the second quarter 2009 when compared to the first quarter 2009 area shipments according to the SEMI Silicon Manufacturers Group (SMG) in its quarterly analysis of the silicon wafer industry.
Total silicon wafer area shipments were 1,686 million square inches during the most recent quarter, a 79 percent increase from the 940 million square inches shipped during the previous quarter. The new quarterly total area shipments are 27 percent below second quarter 2008 shipments.
"Silicon wafer shipments recovered sharply from the low levels reported in the first quarter, though remain well below last year's shipments," said Nobuo Katsuoka, chairman of SEMI SMG and director, SOI process Engineering Department for Shin-Etsu Handotai Co., Ltd. "The recovery in wafer shipments is inline with general trends reported elsewhere in the semiconductor industry."
Quarterly Silicon Area Shipment Trends
Semiconductor Silicon Shipments* - Millions of Square Inches
2,303 |
940 |
1,686 |
*Shipments are for semiconductor applications only and do not include solar applications
Silicon wafers are the fundamental building material for semiconductors, which in turn, are vital components of virtually all electronics goods, including computers, telecommunications products, and consumer electronics. The highly engineered thin round disks are produced in various diameters (from one inch to 12 inches) and serve as the substrate material on which most semiconductor devices or "chips" are fabricated.
All data cited in this release is inclusive of polished silicon wafers, including virgin test wafers, epitaxial silicon wafers, and non-polished silicon wafers shipped by the wafer manufacturers to the end-users.
The Silicon Manufacturers Group acts as an independent special interest group within the SEMI structure and is open to SEMI members involved in manufacturing polycrystalline silicon, monocrystalline silicon or silicon wafers (e.g., as cut, polished, epi, etc.). The purpose of the group is to facilitate collective efforts on issues related to the silicon industry including the development of market information and statistics about the silicon industry and the semiconductor market.
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text:
Historically, the Walker has been at the forefront of thinking around cross-disciplinary and experimental art—from its extensive collection of boundary-blurring works by Fluxus artists to presentations of projects by artists crossing over into other fields, from a tree planting inspired by Joseph Beuys to dance legend Trisha Brown's creation of drawings using bodily movements to this September's presentation of Scaffold Room, a multimedia gallery installation by choreographer Ralph Lemon. As the hard edges between disciplines continue to break down, the Walker is intensifying its investigations into what this boundary-crossing means for this age and past ones and how curators must adapt to the needs of both artists and audiences in this new reality.
Fionn Meade is charged with leading this effort as the Walker's first senior curator of cross-disciplinary platforms. A curator, writer, and editor, he's collaborated with established and emerging artists who work with moving images, performance, and visual arts, including William E. Jones, Emily Roysdon, Xaviera Simmons, Lucy Skaer, Rosemarie Trockel, Grand Openings, and others. Having served as curator at SculptureCenter in New York and the Henry Art Gallery in Seattle, his curatorial work includes the upcoming exhibition Coming to Reality at Futura and SVIT (Prague, Czech Republic), the performance From the Sky by Turner Prize–winning artist Laure Prouvost at Danspace Project (New York), and Plaisance at Midway Contemporary Art (Minneapolis), which brought together visual, film, and performing artists in dynamic installations and formats. A writer for publications including Mousse, Parkett, and Artforum, Meade brings an editorial approach to the Walker—to its website and publishing ventures and to its exhibition-making.
Meade recently sat down with Walker editor Paul Schmelzer to discuss his new position, how he aims to mine the Walker's rich history of art across disciplines, and what "cross-disciplinary platforms" means today and into the future. It launches a a series of conversations Meade will be conducting on the Walker blogs about defining new territories in artmaking.
Paul Schmelzer
The Walker has always been an incubator for artists to experiment, to work across platforms and stretch their artistic practices. It's a fertile space of creation, presentation, and production but perhaps less so a space of critical dialogue around the synergies and tensions between disciplines and new ways of making. What unique territories of scholarship can the Walker advance that perhaps other institutions aren't able to?
Fionn Meade
One area is the changing space of performance-based practice and a new sense of shared time across disciplines. Choreographer Jérôme Bel, for example, increasingly looks at his art from the vantage point of creating work that requires the kind of production, setting, and attentiveness of a theater setting, while also imagining work that takes advantage of gallery conditions. This is not entirely a new thing. You can think of an artist like Joan Jonas who has thrived in an evening-length performance context while also doing indelible exhibitions that bring together sculpture and live performance within installation scenography. She's comfortable in both time signatures. Similarly, Ralph Lemon's Scaffold Room is yet another prominent example of a multimedia in-gallery project from a leading choreographer that seeks exactly the challenge to duration and bareness that a gallery context provides. It's important to look at practices that have excelled in both contexts because there's knowledge and expertise here that could inform the larger dialogue taking place regarding the increasing expectation that artists conceive performative work with multiple formats in mind. Given its history, the Walker should be leading this discussion internationally.
Can you talk about the areas where you see the most opportunity for new scholarship around these ideas and how you might seek to activate it in your new role? Where might you begin?
To consider practices that have adopted and moved between stage, set, and gallery dynamics would be a timely convening for the Walker to host. Here, I think of the way gallery and stage conditions combine in the work of visual artists such as Sharon Hayes, Walid Raad, or Rabih Mroué. This could be put in productive dialogue with choreographic practices like those of Sarah Michelson and Bel, but also, say, Yve Laris Cohen or Maria Hassabi, artists responding to and claiming multiple format expectations. To consider this shifting terrain not solely in a biennial-like setting, which is where this shared timing most readily occurs (only to quickly disperse), would be a timely dialogue that the Walker is uniquely situated to host.
Of course this goes well beyond convening. With state-of-the-art stage, moving image, and gallery settings, the challenge is for the Walker to inhabit and reflect upon how mixed formats simultaneously appeal to and challenge our increasingly split attention in contemporary visual culture. Again, not as an everything-for-everyone-all-the-time festivalism but rather as a vertical, deepening response to the accelerated conditions of our time, grabbing hold of something French artist Pierre Huyghe has referred to as a new cultural objectivity that makes the artwork something that is "a dynamic chain that passes through different formats." It's about asking for more depth, amplitude, and conditional awareness and argumentation from exactly that passing through.
To do this is to think through scale in terms of both space and time. To promote responsive scholarship is to propose and revise as much as look back and assess, to work big and small, fast and with deliberation, and to know that contemporary scholarship is what shuttles between, drawing us into the middle. This is what sparks real dialogue beyond mere mention in the citational culture of today. This responsiveness increasingly comes from presenters, artists, and viewers now, something institutions need to embrace. The Walker has an amazing history of working with artists repeatedly over time and in different contexts. With the Walker's renewed capacities and facilities across presentational platforms, it's uniquely positioned to take this longstanding sensibility and promote research and scholarship that is informed and conditioned by a real-time proximity to cross-disciplinary production. We need to make this more visible, not solely retrospective or excerpted within the framework of announcing the next presentation, but recursive and up for active negotiation.
The Trisha Brown Dance Company's recent visit to the Walker on its final proscenium tour raised questions about recording time-based movements for art history. How do we collect performance? This is a conversation we've been having at the Walker for quite some time. One way, of course, is exhibition-making. Are there other ways? What is your philosophy on collecting performative work?
It's a timely issue being raised in different ways. One approach is to explore new dramaturgical ways of showing performance documentation, demonstrating scholarly sensitivity while not sucking the life out of the viewing experience. Jay Sander's recent show at the Whitney, Rituals of Rented Island, was a good example. It explored experimental theater and loft performance in Manhattan from 1970 to 1980, and featured incredibly influential artists who previously haven't had such a prominent exhibition platform. By and large it was an exhibition that enlivened ephemera and video documentation as its primary material, supported through props and stagecraft. The result was a theatrical yet precise exhibition comprised almost exclusively of performance documentation.
More experiments in this vein are needed to demonstrate how performance documentation can be enlivened and perhaps allowed to be more dramaturgical and lively. This closely relates to the current move toward collecting and editioning contemporary dance and performance-based work, present but also past. I was at a talk at the Museum of Modern Art this past fall involving Ralph Lemon in conversation on just this topic with Simone Forti and Boris Charmatz, who had just mounted his project called The Dancing Museum. A lot was said, but one poignant and thoughtful distinction came from Forti when she talked about conceiving certain past construction pieces of hers as being readily collectable—Huddle from 1961, for instance—because these works have a sculptural intelligence formed in response to gallery awareness. At the same time she questioned new pressures to collect works that had greater site-specificity and were not appropriate for reprise. She made a very clear distinction that the possibility of collecting and editioning a performance work has to follow from logic inherent to the work at the time of its making. To come up with a score for reprise and collection years after the moment of production was challenged for these latter works. Overall, we're in a highly negotiable time and space on this, and it's therefore doubly important that institutions like the Walker play a leading role in furthering this conversation, because artists and institutions need to find better distinctions together.
You're surely aware of an ongoing conversation about apparent tension between performance that emerges from galleries (or a visual arts tradition) and performance that emerges from the stage (a performing arts, i.e. dance, theater tradition)—or "Visual Art Performance" and "Contemporary Performance" as Andy Horwitz puts it in his important Culturebot essay on the subject. Where do you position yourself within this conversation? How can the arts foster better dialogue between these two camps?
I think it speaks to what might be a false divide at times. By that I mean, from the perspective of criticism, there are tendencies toward different camps, as you point out, but one of the things we're discussing is the changing space of performative practice and new moments for artists and audiences. I just worked on a commission with last year's Turner Prize–winner Laure Prouvost at Danspace Project that was her first evening-length performance, From the Sky. It departed from and included excerpts from a previous video and sculpture installation, Wantee, shown at Tate Britain in 2013, but expanded to include a new live musical score, chorus, and Laure as the primary performer and narrator. This was a great example of crossing over from installation to a more theatrical setting as it embraced an emphasis on performance as commentary and revision, where the performance itself shows an awareness of a past installation as part of its liveness and gestural awareness.
We've been talking a lot about these conversations between disciplines, audiences, artists, and curators. One unique tool that we have here is our news-style website and homepage, so let's talk a bit about writing and what you're going to bring to that. Your job is charged with addressing both scholarship and connecting with audiences. How do you hope to use this platform to meet these goals?
The Walker's website is such a robust platform, so there's a lot of opportunity there. One of the things the Walker does incredibly well is bring together ideas that relate to the work of the Walker but also to contemporary visual culture in the larger sense—in other words, providing a gathering point of significant articles, scholarship, and awareness of related practices and collegial conversations from around the world. It reminds me of the way that Bookforum's Omnivore blog gathers and constellates.
In dialogue with this awareness we have to look at how online content can provide verticality, and by that I mean depth of content and singular presence in a time of filter and remix. And there are a lot of exciting new examples to look at, from VDrome to Afterall to a temporary project like Live Journal. I think the opportunity to bring the verticality of feature-like content and archival depth into dialogue with filtered content is a natural fit for the Walker's synergistic approach. A great recent example of feature online Walker content was the commissioning of Cactus River (2012) by Apichatpong Weerasethakul for the Walker Channel. We will be doing a lot more of this, exploring how different emphases of circulation need to take place in the theater and cinema, in the galleries, and online, for collections to really be present and future-oriented. This is what demonstrates a living history.
Even before you arrived in Minneapolis, you helped us find a scholar, Isla Leaver-Yap, our first Bentson Visiting Film Scholar. How will you work with her, and how will her position complement yours?
Isla Leaver-Yap is one of the most talented writers and curators around the moving image of a younger generation. She's based in Glasgow, but she's lived and worked in New York over the past few years before moving back to Scotland just recently. She brings what I find to be a unique skill set and voice in that she has written scholarly articles on artists such as Meredith Monk or Mark Morrisroe, but also has done a lot of dynamic writing in a short format as well, on important younger artists like James Richards, Alejandro Cesarco, and Morag Keil. An example of this was her work editing and commissioning the project Live Journal mentioned earlier, which accompanied the Biennial of Moving Images presented by the ICA London and LUX. This speaks to Isla's production and commissioning savvy that spans book-length publication projects and online broadcast as well as exhibitions.
As a visiting film scholar, Isla will help assess the Ruben/Bentson Film and Video Study Collection holdings and find areas of particular strength and depth—but also model new ways of circulating the collection and framing central motifs and questions that arise. For example, she is collaborating on film programs that will take place within the context of the upcoming exhibition Art Expanded, 1958–1978, organized by Walker curator Eric Crosby, even as she's also helping organize a new series of programs that put the collection into dialogue with moving-image works of today. She'll also be involved in helping us identify artists the Walker may engage through acquisition and commission.
You'll also be charged with engaging the Walker's acquisition of the entire collection of the Merce Cunningham Archive, including sets, decór, and costumes. Central to this acquisition was the aspiration to create a center for research and scholarship around the intersection of dance and visual arts with Cunningham as the foundation. How do you imagine we might activate this collection and realize our aspiration to be a center for research and scholarship in this arena?
First of all, what a great opportunity! The holdings are so diverse and significant here. Clearly, it's a collection that will have many lives moving forward. I'm quite familiar with Merce Cunningham's work and MCDC, but I feel very privileged to engage with such an extensive collection of major collaborations, ranging from those with Jasper Johns and Robert Rauschenberg to Andy Warhol, Charles Atlas, Bruce Nauman, Robert Morris, Marsha Skinner, and others. It's impressive. The implications cut across artistic disciplines while constantly returning to the choreographic core of Cunningham's work and how it lives on. It will be key to explore the truly rich layers of collaboration and presentational precision within the collection while also considering how its legacy lives on in relation to new practices as well. I look forward to working collaboratively with Philip Bither, McGuire Senior Curator Performing Arts, on this project as we look to include new performance commissions and scholarly writing that addresses the rich legacy but also responds to the restive, always moving forward spirit of Merce Cunningham and his far-reaching influence. We're also working closely with Cunningham Research Fellow Abigail Sebaly, who has done incredible work over the past three years in assessing and distinguishing the collection to the point where it can be accessed and shown in unprecedented ways.
Thinking about how to approach a Cunningham exhibition that stays restless and sharp brings to mind Cunningham's frequent collaborator, Robert Rauschenberg, and the Guggenheim's 1997–1998 retrospective exhibition done with Walter Hopps in collaboration with Susan Davidson. The Frank Lloyd Wright building was impacted in a way I've rarely seen. The spiral center of the space was punctuated by Rauschenberg's painting and sculpture combines while side galleries had, say, Rauschenberg's "Drawings for Dante's Inferno" series exhibited alone, so that by the time you left you felt as if you'd departed into four or five different exhibitions that returned to a core movement or choreography. The show was rigorous, but it also kept a bit of the precise imbalance that's so key to truly memorable exhibitions. And then when you went to the downtown Guggenheim, which at that time was in SoHo, there were these very different big, open, factorylike gallery spaces where you encountered a piece like Soundings or the lesser-known meditative cardboard series from the '70s. It showed how a large-scale survey exhibition can use pivotal works rather than be bound by them—listening for and animating the right momentum within the work itself. In this case, the show exceeded and evaded any falsely progressive narrative around Rauschenberg without falling into chaos or cacophony. So you had the intersection of art, media, technology, and rapacious curiosity kept very much alive in the choreography of the show and its scholarship, including the remarkable exhibition catalogue.
That was a resonant retrospective exhibition for me as a student, one of the early experiences that really made me think of the role of the curator—keeping the feeling alive front and center that the work of an artist such as Rauschenberg is not finished. It has many different future lives and needs to be kept interpretable. In thinking about Merce Cunningham—and the Walker's upcoming survey on the Merce Cunningham Dance Company's legacy—it's likewise important to think about the spirit of the work, to keep the technical grace and demanding formal sophistication of his choreography in dialogue with the production intelligence and incredible risk-taking range of presentation in Cunningham's way of working and collaborating. It will be important to keep his way of aligning rather than integrating collaborative efforts in mind. There is a remarkable shared autonomy to explore in his approach to collaboration. The upcoming exhibition will set new expectations for exhibitions and scholarship responding to modern and contemporary dance, something that the Walker is uniquely positioned to do and Cunningham is not just the foundation, he is the tutelary spirit pushing things forward.
That formative Guggenheim show prompts my last question. What's your philosophy for exhibition-making? From your past work on shows such as Nachleben, The Assistants, or Time Again, it seems there's an emphasis on compression within the gallery space that extends to related programs, performances, and screenings, while shows with David Maljkovic and Lucy Skaer or a project like Voyage of Growth and Discovery with Mike Kelley and Michael Smith reveal a more direct and less discursive emphasis. The critic and writer Anthony Huberman wrote that one way to consider an exhibition might be as a process of shared discovery with visitors, that is, "publicly following with others the life of an idea rather than having all of your explanations ready in advance." I'm curious about the philosophy that drives how you put together exhibitions.
The typologies of curating have proliferated in recent decades, from emphasizing a checklist approach to positioning a curatorial thesis to more persona-driven or reputational approaches. But I think there is arguably a growing fatigue in over-emphasizing highly authored approaches. In my view it's important to realize that many artistic practices are deeply embedded with ideas, conceptual approaches, and, indeed, modes of critique that are already in motion. There's a momentum and movement that you're working in tandem with as a curator, so recognition and listening are as important as questioning or shaping in order bring out the best in an exhibition for existing and new audiences. Attunement to ideas within a practice means the life of the idea is often already enunciating, framing, and speaking a language.
That said, some projects invite artists and audiences into a particular proposition or provocation. That's when you have to have the confidence and patience to have lived with an idea for a long enough period of time that it has the potential to become multifaceted and invitational, to have enough ways to enter in, focus, and also depart. It has to have the energy to be configured and taken up in different ways. This is important to distinguish, given the scale of the project and given the terms of production, especially in an institution such as the Walker that enacts and encourages porous boundaries.


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2011-11-13, 13:34 | Link #2102 | |
Waiting for more taiyuki!
Join Date: Jan 2004
Inori is Gai's shield against Shu. In a way Gai and GHQ are using similar tactics. Shu took the pen because GHQ threatened to go after Inori.
2011-11-13, 13:41 | Link #2103 | ||
Kana Hanazawa ♥
Join Date: Jun 2007
Location: France
Age: 30
Oh, come on. Shu barely even know Inori. It's a just a teenager's crush, he'll get over it. Shu needs to grow up, and this experience will help him do exactly that. This might be precisely what Gai is trying to accomplish. I have this idea he intends to have Shu succeed him after he's gone. Quote:
Last edited by Kanon; 2011-11-13 at 13:52. |
2011-11-13, 13:49 | Link #2104 | |
Senior Member
Join Date: Oct 2010
Shu would be a moron for following this dude, it literally makes no sense what so ever for him to want to follow him. Why would you risk your life for something you know nothing about and for someone who doesn't give a shit about you and just wants to use you. It was a freaking terrible plan and he's an awful leader. Shu was tempted to betray him anyway precisely because guy told him shit and made no effort to explain himself. He clearly didn't consider the possibility of Shu wanting to leave with the girl, and the dude was eventually going to find out and what did he think was going to happen then. |
2011-11-13, 14:11 | Link #2106 | |
~Official Slacker~
Graphic Designer
Join Date: Aug 2010
Location: Xanadu
Age: 22
But then we have the Funeral Parlor members acting friendly to him to atleast bring some hope for him to not press it (hence his struggle to take it back when offered). But we will probably have Gai aggravate Shu more to the point that he will actually use the pen.
2011-11-13, 14:14 | Link #2107 |
Dream Banger, Love Liver!
A few points I want to make on Gai.
The anime strongly suggests that Gai is racing against the clock. His plans typically have a sense of hurried desperation to them, as though time is truly of the essence. So I'm inclined to think that Gai is dying, and he knows that he has a small window of opportunity within which to accomplish his chief goals before he passes on. Supposing that the reasons and motivations pushing him and Funeral Parlor forward are intricate and complex, it may simply be the case that Gai literally just doesn't have the time to go over them in detail with Shu. So he's going for quick and dirty emotional/moral appeals (have Shu witness GHQ commit an atrocity, later appealing to Shu through the gorgeous Inori). Another possibility is that Gai is hiding something; something that he suspects, if not knows, would cost him any chance of gaining Shu's support if Shu was to discover whatever it is. So he's telling Shu as little as possible since that's actually more likely to gain him Shu's support than the alternative. So, either way, I think there is a method to Gai's madness.
2011-11-13, 14:22 | Link #2108 |
~Official Slacker~
Graphic Designer
Join Date: Aug 2010
Location: Xanadu
Age: 22
Well he was laying in a bed with Inori on the side. So that would indicate a future death, also the rushing of operations even though Funeral Parlor is fatigued from previous battles is one indication. Lets even make Gai part of Shu's past where they used to be best friends. It seems Inori is a replica in Gai's mind about a girl in the past, so it could possibly be the girl in episode 1 during Shu's past memories.
But yeah, this anime is just screaming "Shu will betray Gai!" before Gai can fully explain things and gain Shu's full support. It will probably resort in a dramatic scene after Shu betrays maybe?
2011-11-13, 14:40 | Link #2109 | |
Waiting for more taiyuki!
Join Date: Jan 2004
The rush could also be that GHQ is plotting something or getting close to finding them. We don't know how long Kenji was held. It could be that he was sprung only to do a particular task and not because he was held captive.
2011-11-13, 15:07 | Link #2111 |
Loves the Experience
Join Date: Aug 2011
Location: Earth...hopefully
So you posted it, huh? I have to say, GC can do previews well, although what the hell was Shu saying? And I'm sorry, but I still can't get over Inori's outfit. There are street hookers who dress classier than that. If you don't give a proper explanation for it, no one is going to take that costume seriously. Even Robin from Batman had an explanation for why he dresses like a bullseye.
2011-11-13, 15:08 | Link #2112 | ||
Senior Member
Join Date: Oct 2010
2011-11-13, 15:30 | Link #2113 | ||
Join Date: Dec 2005
Location: event horizon
You're not making sense.
2011-11-13, 15:40 | Link #2114 | |
Psycho Falling Deep
Join Date: Nov 2011
Location: The Anime World
Age: 22
2011-11-13, 15:59 | Link #2115 | |
- Shu running face first into Gai's spastic fist flailing - Gai running face first into a big duds spastic fist flailing - Tsugumi bending and making all sorts of cutesy poses (basically her entire character so far) - Daryl Yan wigging out with eyes bulging massively. - Inori being shown from a low angle full body shot (naturally) dual wielding pistols gansta style. This show literally just cannot have a female character on screen without having her in some sort of vaguely sexual pose that highlights all their curves and exposed areas and it's kind of amusing. It's like the sleaziest easiest fanservice that you don't even have to ask for and as I said it's like the majority of the female characters development so far 6 episodes in. It's like: Audience: "Hey what can you tell us about Tsugumi, Ayase and Inori?" Yoshino: "Well Inori's the one that wears the red dress that exposes all her cleavage and is of average to skinny build, Tsugumi's the one that wears the ultra skintight body suit and we chose to focus on her butt as the point of interest , and Ayase is the one in the wheel chair and has the largest bust size" Audience: Yoshino: "What?" Audience: Yoshino: "Errrr here's Shu's mom, isn't she hawt? We wanted to go with the whole MILF look for her characters appeal so we decided to give her the youthful Bishoujo look!" Audience: Yoshino: ".....Class President? She's got glasses " Audience: Last edited by Kaioshin Sama; 2011-11-13 at 16:09. |
2011-11-13, 16:12 | Link #2116 |
Join Date: Apr 2003
I don't mind the fanservice so far. This is being directed like you would a blockbuster Hollywood movie. Higher budget, lots of explosions, lots of motions merely for the artistic style, etc.
I wouldn't overthink it and just go along for the ride. They are at least doing the fanservice in a somewhat "eye wink to the 4th wall" manner -- as there are no up-the-skirt angles or gratuitous boob jiggling going on. |
2011-11-13, 16:21 | Link #2117 | |
Loves the Experience
Join Date: Aug 2011
Location: Earth...hopefully
I was going to upload the preview to Youtube and post it myself, but I backed out because I didn't want to get in trouble with Funimation.
2011-11-13, 16:49 | Link #2118 | |
Also I completely am along for the ride and not over thinking it all, the shows just makes it extremely easy to poke fun at it the very loose and flimsy way that Hiroyuki Yoshino is handling the script so far. I almost have to wonder if it's on purpose for some reason. |
2011-11-13, 16:49 | Link #2119 |
Join Date: Apr 2003
Funimation has it on their page as well? All I saw there was the episode. I ended up going to the JP official site to watch the preview.
Also: I said gratuitous shots. I don't consider those gratuitous. She got smacked across the face with a gun -- that lateral force WOULD cause them to jiggle. I took out a delivery at work yesterday, and when the lady came downstairs to answer the door her entire chest bounced up and down a good 9 inches on each step. Boobs have mass and are only loosely attached to the body -- they're gonna move around. Watch women sometime and see. Preferably with sunglasses. I'm not responsible for you being slapped: ) |
2011-11-13, 17:53 | Link #2120 | |
Dream Banger, Love Liver!
But honestly, I kind of like this new approach to fanservice, in that it's simply there. Like, there's no "boing" sounds, there's usually no character pointing it out for us as though the audience can't notice it without verbal aids, there's no jiggling to an unrealistic degree, and when certain body parts are focused on it's usually because they're relevant to the scene and/or help to capture a certain atmospheric mood. I actually kind of like this fanservice. It is, as you say, "easy". And perhaps for that reason, it seems a bit more seamless to me. Remember how you once took note of lengthy shots of girls' legs in Madoka Magica? Well, it's kind of like that to me, only more elaborate and varied of course. An easy sort of fanservice that works because it's not loud and obnoxious. Also, I'd argue that Ayase is the most well-developed protagonist thus far, and it's neck-and-neck between her and Major Segai for the most well-developed character thus far. So hey, at least Guilty Crown's writers aren't entirely relying on sex appeal to sell their female characters.
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