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6 Best Bars, Live Music, and Nightclubs in Miami
Where to Party at Night in Miami?
Miami nightlife makes this city a world-renowned party destination, with all kinds of cool dance events taking place throughout the year. You can get on it by the pool, head to some swanky rooftop bars in the city, or go all out at one of Miami's hottest clubs in South Beach. If it all gets too much, check out one of the waterfront bars in Coconut Grove or chill to some Latin beats to catch your breath before you do it all over again.
South Beach
The biggest clubs and the swankiest parties
If you're in Miami to hit the clubs, South Beach has to be on your radar. Party through the day in your best swimwear – plastic champagne flute in hand – at Nikki Beach Miami, then carry on to one of South Beach's hottest dancefloors, such as celeb-hangout LIV or sister-club Story. The top-tier of DJs from Europe and the US are regularly performing at these party spots, so the music is always on point. Rocking it SoBe is never cheap, so dress to impress and be ready to splash the cash.Read more
Rooftop bars in Miami
Enjoy gorgeous views and expert cocktails
The balmy weather of Miami is tailor-made for evenings spent drinking and dining at rooftop bars. Downtown Miami has the biggest concentration of rooftop bars, with recommended spots including Bloom at The Langford Hotel and the 'big city' feel of Area 31.
If you're looking to stay by the beach, head to the always-bustling Skybar at Shore Club South Beach on Collins Avenue or the Skyline Deck at The Betsy Hotel, with its Art Deco stylings. To enjoy Miami nightlife in such lofty surrounds, be prepared to spend plenty of money. Drinks at many rooftops around Miami are among the most expensive in the city, but most places do offer happy hour deals in the early evening.
Live Latin music
A major part of Miami's nightlife scene
The cultural influence that travels north from Latin America doesn't stop at food and cigars. Miami's live music scene is loaded with venues that showcase Latin bands and DJs that specialise in infectious beats ranging from Afro-Cuban fusion to Latin jazz and contemporary electronica.
Hoy Como Ayer, in Little Havana, is an enduring favourite for live music in Miami. Open from Thursday to Sunday, you'll find a mix of live bands, DJs and packed dancefloors.
Location: Hoy Como Ayer, 2212 SW 8th St., Miami FL 33135, USA
Open: Thursday – Sunday from 8.30 pm to 4 am
Phone: +1-305-541-2631
LIV Miami
Miami's hottest club and renowned celebrity hangout
- Nightlife
- Luxury
Located in the Fontainebleau Miami Beach hotel, LIV is one of Miami's hottest spots for dancing until dawn. The 18,000 sq ft club is lavishly decorated and features private skyboxes for VIP service. LIV is the stomping grounds of Hollywood's young elite, as well as a platform for world-famous DJs. But this kind of exclusivity comes at a cost – there's a minimum spend on VIP tables that can run well over $1,000.
Location: 4441 Collins Ave., Miami Beach FL 33140, USA
Open: Wednesday – Sunday from 11 pm to 5 am
Phone: +1 305-674-4680
Nikki Beach Miami
Party through the afternoon with your feet in the sand
- Nightlife
- Luxury
A Miami landmark noted for its signature beach club, Nikki Beach is a top spot for dancing with your feet in the sand. Outdoor tiki bars and cabanas provide a retro and kitschy setting for disco, dance, and lounge-music nights. Dress in your finest beachwear and consider spending for a table with bottle service. It doesn't come cheap, but it's a classic snapshot of Miami's fun and fancy beach party scene. There's also a restaurant specialising in seafood, sushi, and some easy-to-share snacks like pizzas.
Location: 1 Ocean Dr., Miami Beach, FL 33139, USA
Open: Monday – Thursday from 10 am to 7 pm, Friday – Saturday from 10 am to 11 pm, Sundays from 11 am to 5 am
Phone: +1 305-538-1111
photo by isvend09 (CC BY-SA 2.0) modified
Skybar at Shore Club South Beach
Enjoy great views from this exclusive rooftop bar
- Nightlife
- Photo
- Luxury
For an otherworldly experience, step out onto Skybar's terrace decorated to resemble an intimate and exotic living room. Bougainvillea and passion flowers act as a tropical backdrop to creative cocktails and DJ entertainment. You can enjoy a sundowner cocktail with ocean views, or come later and enjoy the cool, lounge house beats while kicking back in a hammock. There's a smart causal dress code at Skybar, and the security have been known to be picky, so dress in your best 'beach chic' threads.
Location: 1901 Collins Ave., South Beach FL 33139, USA
Open: Daily from 4 pm to midnight (open till 2 am on weekends)
Phone: +1 305-695-3100
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I want to buy techdirt for $4.. please…
Turns Out, $7.5 Million For Business.com Wasn't So Bad
from the the-big-score dept
It's commonly believed that the $7.5 million paid for the domain name business.com was one of the surest signs of irrational exuberance displayed during the dot-com bubble. But according to The Wall Street Journal, the site is raking in several million dollars per year and is looking to sell out for between $300 and $400 million. At this point, there's a little more here than just a domain name, but it's still hard to tell how much of a business business.com actually is. Ostensibly it's a popular search engine for business needs, but the site itself looks like little more than one of those fake search engines that typosquatters and domainers put up. Still, if the company is as profitable as it's said to be, someone is bound to come in and snap it up.

subset: commoncrawl


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Notes (Text Book) FSc Part 2
Notes on FSc Physics Text Book for different boards of Pakistan will provide you ultimate help in your examination preparation. These notes will give you answers of questions, solutions of numericals, solved examples, MCQs & questions from past papers. These notes are helpful for all educational boards of Pakistan.
|Auther: Mr.Saleem Arshad
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|Auther: Mr.Muhammad Ali Malik
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|Practical Centre(Karachi)
|View Online & Download


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David Axelbank Work from the Lozenge Series. "The idea of "Landscape" is dependent on the human viewpoint – it is a cultural and aesthetic construct versus the natural world. It could be argued that this moulding or shaping of space has as much to do with the framework for traditional landscape, as it has to […]
Archives for the 'agnle' Category
David Axelbank
Monday, 31 May 2010


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Seventy-five works by the prolific and wide-ranging sculptor, multi-media and installation artist will be featured in Jim Hodges: sometimes beauty, a show co-organized by the Dallas Museum of Art and the Walker Art Center in Minneapolis, which just purchased a massive new work by Hodges (the DMA owns his Changing Things, which involves scattered silk flowers – above). sometimes beauty will include photography, drawings, glassworks and room-sized installations by the artist who, last year, was the acting chair of the sculpture department at Yale.
After debuting in the DMA in October 2013, it will travel to the Walker and thence to Boston's Institute of Contemporary Art and finally the UCLA Hammer Museum in Los Angeles.
The full release follows:
First Comprehensive Survey on the Work of Jim Hodges Premieres at the Dallas Museum of Art in October 2013
Co-Organized by the DMA and Walker Art Center, Jim Hodges: sometimes beauty Examines Over 25 Years of the Artist's Career Through Works in a Range of Media
Exhibition to Travel to Minneapolis, Boston, and Los Angeles Following Dallas Debut
Dallas, TX—October 18, 2012—In October 2013, Dallas will premiere a major traveling exhibition and the first comprehensive survey to be organized in the United States on the work of contemporary American artist Jim Hodges. Co-organized by the Dallas Museum of Art and the Walker Art Center, Jim Hodges: sometimes beauty explores the trajectory of the artist's twenty-five-year career, highlighting the major themes that unify his multilayered and varied practice.
Comprising approximately seventy-five works produced from 1987 through the present, this exhibition examines how Hodges transforms both everyday and precious materials into poignant meditations on themes including time, loss, identity, and love. Jim Hodges: sometimes beauty brings together photography, drawing, works on paper, and objects rendered in mirror, light bulbs, and glass alongside several major room-size installations to examine and illuminate Hodges' command of material and gesture.
On view at the Dallas Museum of Art from October 6, 2013, through January 12, 2014, Jim Hodges: sometimes beauty is co-curated by Jeffrey Grove, the DMA's Hoffman Family Senior Curator of Contemporary Art, and Olga Viso, Executive Director of the Walker. Following its debut at the DMA, the exhibition will travel to Minneapolis's Walker Art Center, where it will open in February 2014, and then proceed to the Institute of Contemporary Art, Boston in June, and the UCLA Hammer Museum, Los Angeles, in October.
"Jim Hodges: sometimes beauty immerses the viewer within the poetic practice and attuned vision of one of the most compelling artists working today. We are pleased to partner with the Walker Art Center in the organization of the first major retrospective of the artist's career, adding to new curatorial insight and broadening public understanding of an artist whose work deserves even greater national and international recognition," said Maxwell L. Anderson, the DMA's Eugene McDermott Director.
"We are thrilled to have played a key role in the development of this exhibition, the result of a natural partnership between the Walker and the Dallas Museum of Art," said Walker Art Center Executive Director Olga Viso. "Both Jeffrey Grove and I have long histories working with Jim Hodges, having exhibited and acquired his work early on in his career. When the exhibition comes to the Walker, it will be a fantastic complement to Untitled, a major outdoor sculpture by Jim Hodges that the Walker acquired and installed this spring."
Since the late 1980s, Jim Hodges' reconsiderations of the material world have inspired a body of work in which the man-made and artificial are invested with emotion and authenticity. From the delicate nature of early installations comprising hundreds of drawings on paper napkins and disassembled silk flowers pinned to the wall, to the large, light-filled mirror mosaics and complex installations of the past decade, Hodges' ability to coax meaning from the simplest materials has remained constant. His aesthetic has consistently embraced natural metaphors, reveled in the qualities of color and light, and explored meaning through language, particularly in Hodges' use of text and titling.
Though much of his work appears concerned with the evanescence of time, it is the careful recording of it in the making of his art that distinguishes Hodges' approach. "Jim's concern and interest in the passage of time and ephemeral nature of life can be read through his experience coming of age in the mid-1980s at the height of the culture wars and AIDS crisis. But in looking at his body of work comprehensively, what is revealed is a celebration of nature and life," said Grove. "There are broad affinities throughout his work in all media that extend beyond the material to embrace experiences of light, color, and sound. Jim Hodges: sometimes beauty provides a singular opportunity to experience Jim's complex, idiosyncratic, and nuanced devotion to ideas and ethics that are very personal, but easily accessible."
Jim Hodges: sometimes beauty maps a timeline of the artist's career, but rather than unfolding chronologically, the exhibition is organized around significant recurring themes that have informed and shaped Hodges' practice, including materiality, temporality, and the threshold between light and dark. For the installations at the Dallas Museum of Art and the Walker Art Center, exhibition curators Grove and Viso have worked closely with Hodges to create an exhibition design and experience unique to each venue.
Highlighted works include:
- Untitled (Gate), 1991, a room-size installation that one cannot enter, marks one of Hodges' earliest major articulations of the web motif that became a recurrent theme in the artist's work for many years, as well as one of his first forays into the structure of space and architecture as critical elements.
- what's left, 1992, a touching meditation on identity and loss, comprises a virtual portrait of the artist as if he had just disrobed. This sculpture of Hodges' clothing is knit together by a delicate, silver-chain spider web, symbol of both strength and fragility, a simultaneity informing much of Hodges' work.
- Changing Things, 1997, is an assemblage of 342 petals and leaves taken from disassembled silk flowers and pinned individually to the wall. This work of visual poetry addresses the floral motif and theme of precarious beauty inherent in much of Hodges' production.
- With the Wind, 1997, is a layered scrim of floral-print and delicately colored silk scarves. This work, both fragile and reactive to its environment, is informed by memory and explores ideas of accumulation and dispersal that echo through Hodges' work.
- As close as I can get, 1998, is a large-scale "drawing" rendered in Pantone color chips held together with tape. This work underscores Hodges' interest in labor, craft, and the exuberant potentiality of color.
- All in the field, 2003, a mesmerizing, hand-embroidered textile, fuses the powerful grisaille camouflage pattern Hodges has rendered elsewhere in large-scale wall-paintings and outdoor sculpture with the delicate floral motif that appears throughout his practice.
- Ghost, 2008, an exquisite, hand-worked glass sculpture of beautiful butterflies and delicate budding flowers encased by a massive bell jar, this work unifies themes including the fragility of life and memento mori that Hodges has explored throughout his career.
- on the way between places, 2009, an epic series of twenty-one charcoal and saliva drawings, discloses Hodges' constantly evolving interest in drawing, natural metaphor, ideas of construction and dissimilation, and disruption of sequential time.
- Movements (Stage IV), 2009, is a dazzling, intricately patterned mosaic of cut mirror. This work exemplifies Hodges' engagement with the reflective surface, evoking both the music of the dance club and the consequences of vanity. It symbolizes Hodges' ongoing negotiation with dueling themes of celebration and memorialization.
About Jim Hodges
New York–based artist Jim Hodges is known for his singular ability to infuse emotion and narrative into the objects of our daily lives, creating poignant studies on ideas such as temporality, life, and love. He has been featured in numerous solo and group exhibitions in the U.S. and in Europe, including the 2004 Whitney Biennial and a solo exhibition at the Centre Georges Pompidou, Paris.
Hodges' work is included in the collections of notable institutions, among them the Dallas Museum of Art; the Walker Art Center, Minneapolis, MN; The Art Institute of Chicago; Fonds Régional des Pays de la Loire, Nantes, France; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Los Angeles County Museum of Art; Musée National d'Art Moderne, Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.
Born in 1957 in Spokane, Washington, Hodges received a BFA from Fort Wright College in Spokane and an MFA from the Pratt Institute. He lives and works in New York City.
Exhibition Organization and Tour
Jim Hodges: sometimes beauty was co-organized by the DMA and the Walker Art Center and co-curated by Jeffrey Grove, the DMA's Hoffman Family Senior Curator of Contemporary Art, and the Walker's Executive Director Olga Viso.
The exhibition tour includes:
- Dallas Museum of Art, Dallas, TX (October 6, 2013–January 12, 2014)
- Walker Art Center, Minneapolis, MN (February 14–May 11, 2014)
- Institute of Contemporary Art, Boston (June 3–September 1, 2014)
- UCLA Hammer Museum, Los Angeles, CA (October 5, 2014–January 2015)
Exhibition Catalogue
The exhibition is accompanied by a comprehensive, fully illustrated catalogue that traces the artist's development and provides essential documentation on Hodges' career as well as detailed exhibition and publication histories. The catalogue includes essays by Jeffrey Grove and Olga Viso, as well as a work by Pulitzer Prize finalist, playwright, and feminist philosopher Susan Griffin and texts by Bill Arning, Director of the Contemporary Arts Museum Houston, and Helen Molesworth, Barbara Lee Chief Curator, ICA, Boston.


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Smartphone Apps Every New Homeowner Should Have
Smartphone applications are meant to help us better manage our lives, and our home lives are no exception. As a new homeowner, you'll be extra busy moving in, getting organized, and fixing up and decorating your new space. Try using some of these homeowner phone apps to help streamline the moving process and to manage your new household by keeping on top of organization, home maintenance, and design ideas.
Apps for moving:
Moving Van by Glimmer Design Limited. Get organized before your move and help make the moving process seamless with Moving Van. This application lets you take a picture of the contents of each box and assign that box to a room in the new house, allowing users to easily look up and locate each item they're looking for after the move. This app works equally well for locating items in storage and well-packed closets or garages. Available for iOS only.
Moving Van by Glimmer Design Limited
Photo Measures Lite by Big Blue Pixel. This application uses photos to record measurements of spaces around the home. Simply snap a picture and then record the measurements you need right on top of the photo. Use your measurements to see if furniture will fit into the intended spaces, to order supplies for home improvement and repair projects, or to calculate and record the square footage of spaces. While this app was developed for iOS, there a similar app was created for Android by Mobile Software called My Measures and Dimensions Lite.
Photo Measures Lite by Big Blue Pixel


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The Train
Connected to: SCP-1489
Special Containment Procedures
Containment area is to be coated in lead shielding both inside and out. Should any section of the shielding become damaged, replacement plates are to be installed immediately. Chains and plates used to secure SCP-716 are to have lead shielding as well, and are to be replaced as soon as wear or corrosion is observed.
SCP-716 is to remain pointing at an external wall at all times. Should SCP-716 break containment and forcibly exit the containment area, recovery teams are to monitor SCP-716 and attempt recovery only when SCP-716 comes to rest. Recovery while still in motion may only be attempted with approval from O5 Command.
Areas with long-term exposure are to be sterilized after SCP-716 removal. Any biological organisms affected by SCP-716 are to be terminated unless required for testing. No humans are to enter R.E.M. sleep within two hundred meters of SCP-716 if uncontained, one hundred meters if contained. Anything exiting [DATA EXPUNGED]
No entry of SCP-716 is permitted at any time. Entry for testing purposes must be approved by Site Command.
SCP-716 is a large locomotive and a variable number of cars, between eight and twenty on average. Both the locomotive and cars appear to be in an advanced state of neglect. Physical damage dealt to SCP-716 appears to slowly "regenerate" over time; however, it maintains an appearance of extreme neglect and rust. SCP-716 can be physically moved with difficulty; however, the locomotive appears to be unable to function normally and appears to be missing many critical parts.
SCP-716 exhibits a select form of inconsistent topography. While appearing to have a set number of rail cars from outside observation, the train exhibits an apparently unlimited amount of cars when entered. Almost all of these cars are enclosed and appear to be of random types (passenger, tanker, animal transport, mail, etc.). Many of them exhibit other anomalous properties, such [DATA EXPUNGED]. Some notable and recurring cars are a horse transport car with horse corpses hanging from ropes made of sheep tendon, a tanker car filled with a mixture of crude oil and human bile, a large transport car filled with stacks of keys made of many different materials, [DATA EXPUNGED].
SCP-716 is also capable of two forms of transport/movement. To begin with, it can travel and move in a manner consistent with a locomotive of similar dimensions despite the lack of vital parts, any form of fuel, or conductor. SCP-716 is capable of reaching speeds in excess of ███ km/h and can do so in a very short period of time. While it appears to "prefer" traveling on current or former rail tracks, SCP-716 is capable of "over land" movement as well, in a manner similar to SCP-1489. Observation of SCP-716 engaging in this movement in a urban area shows that activities that would damage/disable a normal locomotive (such as penetrating a three meter thick brick wall) do not impair SCP-716 in any perceivable way.
The second transportation/movement form exhibited by SCP-716 has only been observed with human subjects on board. The probability of triggering this mode appears to be largely random, but is more common in cases of groups of five or more subjects. Subjects report that SCP-716 will suddenly "shift" and begin to move, rapidly accelerating to top speed. Outside observation will show that regardless of subject reports and received data, SCP-716 remains completely still. Once SCP-716 begins this form of transportation/movement, subjects become unrecoverable.
SCP-716 also exhibits properties [DATA EXPUNGED](1)
Subjects exiting SCP-716 during the second form of transportation/movement [DATA EXPUNGED] (2)
[DATA RECOVERY (1): Level 2 Clearance required]
Consistent with a form of unknown radiation. This effect appears to emanate from SCP-716, and appears to expand the longer SCP-716 remains stationary in a location. Effects include:
<Expanded list and definitions with cited examples available from Central Records by request>
- Alterations in the size/shape/behavior of local flora and fauna
- Mass "suicides" and die-offs of local flora and fauna
- Alteration in weather patterns and severity
- Genetic damage, behavior alteration, and physical deformity in humans
- Hallucinations (auditory, tactile, olfactory, visual)
Also of note is the behavior exhibited by individuals entering R.E.M. sleep within this "area of affect". Subjects, after entering R.E.M. sleep, will begin to "sleepwalk" in the direction of SCP-716, even in individuals with no history of nocturnal disturbance. Subjects allowed to enter SCP-716 will enter the fetal position on the floor of one of the train cars, and continue sleeping normally. Groups of people entering in this way have been shown to be capable of triggering the second form of transportation/movement exhibited by SCP-716.
[DATA RECOVERY (2): Level 4 Clearance required]
Report seeing a vast, empty plane of hard-packed earth. This plane appears almost totally featureless, and without any sort of border. The only feature of any kind is "a endless string of train cars, going from one horizon to the other." This is assumed to be SCP-716. Tests have shown the environment to be totally sterile, and lacking in any source of water. The plane appears to go through a 72 hour day-night cycle, with what is reported as a "too large sun" and no moon.
Subjects are still able to send and receive radio and other transmissions but they experience a progressive breakdown in clarity, with communication rendered impossible after approximately one month. This same property is exhibited by communication devices within SCP-716 itself.
Exploration and testing have raised [DATA EXPUNGED: RELEASE BY O5 ORDER ONLY]


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AlyaRose video. All videos (5)AlyaRose webcam
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Learn About the Law
Get help with your legal needs
FindLaw's Learn About the Law features thousands of informational articles to help you understand your options. And if you're ready to hire an attorney, find one in your area who can help.
In December 1982, respondent Burlington Northern, Inc., made a hostile tender offer for El Paso Gas Co. to which a majority of El Paso's shareholders ultimately subscribed. Burlington did not accept the tendered shares, and instead, in January 1983, after negotiations with El Paso, announced a new and friendly takeover agreement. Pursuant to this agreement, Burlington undertook to rescind the December tender offer and substitute a new tender offer. The January tender offer was soon oversubscribed. The rescission of the first tender offer caused a diminished payment to those shareholders who had tendered during the first offer, because those shareholders who retendered were subject to substantial proration. Petitioner filed suit in Federal District Court on behalf of herself and similarly situated shareholders, alleging that Burlington, El Paso, and members of El Paso's board of directors had violated 14(e) of the Securities Exchange Act of 1934, which prohibits "fraudulent, deceptive, or manipulative acts or practices . . . in connection with any tender offer." She claimed that Burlington's withdrawal of the December tender offer, coupled with the substitution of the January tender offer, was a "manipulative" distortion of the market for El Paso stock. The District Court dismissed the suit for failure to state a claim, holding that the alleged manipulation did not involve a misrepresentation, and so did not violate 14(e). The Court of Appeals affirmed. [472 U.S. 1, 2]
BURGER, C. J., delivered the opinion of the Court, in which all other Members joined, except POWELL, J., who took no part in the decision of the case, and O'CONNOR, J., who took no part in the consideration or decision of the case.
Irving Bizar argued the cause and filed briefs for petitioner.
Marc P. Cherno argued the cause for respondents. With him on the brief were Robert K. Payson, Harvey L. Pitt, Stephen D. Alexander, A. Gilchrist Sparks III, and Howard W. Goldstein.
CHIEF JUSTICE BURGER delivered the opinion of the Court.
We granted certiorari to resolve a conflict in the Circuits over whether misrepresentation or nondisclosure is a necessary element of a violation of 14(e) of the Securities Exchange Act of 1934, 15 U.S.C. 78n(e).
On December 21, 1982, Burlington Northern, Inc., made a hostile tender offer for El Paso Gas Co. Through a wholly [472 U.S. 1, 3] owned subsidiary, Burlington proposed to purchase 25.1 million El Paso shares at $24 per share. Burlington reserved the right to terminate the offer if any of several specified events occurred. El Paso management initially opposed the takeover, but its shareholders responded favorably, fully subscribing the offer by the December 30, 1982, deadline.
Burlington did not accept those tendered shares; instead, after negotiations with El Paso management, Burlington announced on January 10, 1983, the terms of a new and friendly takeover agreement. Pursuant to the new agreement, Burlington undertook, inter alia, to (1) rescind the December tender offer, (2) purchase 4,166,667 shares from El Paso at $24 per share, (3) substitute a new tender offer for only 21 million shares at $24 per share, (4) provide procedural protections against a squeeze-out merger 1 of the remaining El Paso shareholders, and (5) recognize "golden parachute" 2 contracts [472 U.S. 1, 4] between El Paso and four of its senior officers. By February 8, more than 40 million shares were tendered in response to Burlington's January offer, and the takeover was completed.
The rescission of the first tender offer caused a diminished payment to those shareholders who had tendered during the first offer. The January offer was greatly oversubscribed and consequently those shareholders who retendered were subject to substantial proration. Petitioner Barbara Schreiber filed suit on behalf of herself and similarly situated shareholders, alleging that Burlington, El Paso, and members of El Paso's board of directors violated 14(e)'s prohibition of "fraudulent, deceptive, or manipulative acts or practices . . . in connection with any tender offer." 15 U.S.C. 78n(e). She claimed that Burlington's withdrawal of the December tender offer coupled with the substitution of the January tender offer was a "manipulative" distortion of the market for El Paso stock. Schreiber also alleged that Burlington violated 14(e) by failing in the January offer to disclose the "golden parachutes" offered to four of El Paso's managers. She claims that this January nondisclosure was a deceptive act forbidden by 14(e).
The District Court dismissed the suit for failure to state a claim. 568 F. Supp. 197 (Del. 1983). The District Court reasoned that the alleged manipulation did not involve a misrepresentation, and so did not violate 14(e). The District Court relied on the fact that in cases involving alleged violations of 10(b) of the Securities Exchange Act, 15 U.S.C. 78j(b), this Court has required misrepresentation for there to be a "manipulative" violation of the section. 568 F. Supp., at 202.
The Court of Appeals for the Third Circuit affirmed. 731 F.2d 163 (1984). The Court of Appeals held that the acts [472 U.S. 1, 5] alleged did not violate the Williams Act, because " 14(e) was not intended to create a federal cause of action for all harms suffered because of the proffering or the withdrawal of tender offers." Id., at 165. The Court of Appeals reasoned that 14(e) was "enacted principally as a disclosure statute, designed to insure that fully-informed investors could intelligently decide how to respond to a tender offer." Id., at 165-166. It concluded that the "arguable breach of contract" alleged by petitioner was not a "manipulative act" under 14(e).
We granted certiorari to resolve the conflict, 3 469 U.S. 815 (1984). We affirm.
We are asked in this case to interpret 14(e) of the Securities Exchange Act, 82 Stat. 457, as amended, 15 U.S.C. 78n(e). The starting point is the language of the statute. Section 14(e) provides:
Petitioner's reading of the term "manipulative" conflicts with the normal meaning of the term. We have held in the context of an alleged violation of 10(b) of the Securities Exchange Act:
She argues, however, that the term "manipulative" takes on a meaning in 14(e) that is different from the meaning it has in 10(b). Petitioner claims that the use of the disjunctive "or" in 14(e) implies that acts need not be deceptive or fraudulent to be manipulative. But Congress used the phrase "manipulative or deceptive" in 10(b) as well, and we have interpreted "manipulative" in that context to require [472 U.S. 1, 8] misrepresentation. 6 Moreover, it is a "`familiar principle of statutory construction that words grouped in a list should be given related meaning.'" Securities Industry Assn. v. Board of Governors, FRS, 468 U.S. 207, 218 (1984). All three species of misconduct, i. e., "fraudulent, deceptive, or manipulative," listed by Congress are directed at failures to disclose. The use of the term "manipulative" provides emphasis and guidance to those who must determine which types of acts are reached by the statute; it does not suggest a deviation from the section's facial and primary concern with disclosure or congressional concern with disclosure which is the core of the Act.
Our conclusion that "manipulative" acts under 14(e) require misrepresentation or nondisclosure is buttressed by the purpose and legislative history of the provision. Section 14(e) was originally added to the Securities Exchange Act as part of the Williams Act, 82 Stat. 457. "The purpose of the Williams Act is to insure that public shareholders who are confronted by a cash tender offer for their stock will not be required to respond without adequate information." Rondeau v. Mosinee Paper Corp., 422 U.S. 49, 58 (1975). 7
It is clear that Congress relied primarily on disclosure to implement the purpose of the Williams Act. Senator Williams, the bill's Senate sponsor, stated in the debate:
Section 14(e) adds a "broad antifraud prohibition," Piper v. Chris-Craft Industries, Inc., 430 U.S. 1, 24 (1977), modeled on the antifraud provisions of 10(b) of the Act and Rule 10b-5, 17 CFR 240.10b-5 (1984). 10 It supplements the [472 U.S. 1, 11] more precise disclosure provisions found elsewhere in the Williams Act, while requiring disclosure more explicitly addressed to the tender offer context than that required by 10(b).
While legislative history specifically concerning 14(e) is sparse, the House and Senate Reports discuss the role of 14(e). Describing 14(e) as regulating "fraudulent transactions," and stating the thrust of the section:
To adopt the reading of the term "manipulative" urged by petitioner would not only be unwarranted in light of the legislative purpose but would be at odds with it. Inviting judges to read the term "manipulative" with their own sense of what constitutes "unfair" or "artificial" conduct would inject uncertainty into the tender offer process. An essential piece of information - whether the court would deem the fully disclosed actions of one side or the other to be "manipulative" - would not be available until after the tender offer had closed. This uncertainty would directly contradict the expressed congressional desire to give investors full information.
Congress' consistent emphasis on disclosure persuades us that it intended takeover contests to be addressed to shareholders. In pursuit of this goal, Congress, consistent with the core mechanism of the Securities Exchange Act, created sweeping disclosure requirements and narrow substantive safeguards. The same Congress that placed such emphasis on shareholder choice would not at the same time have required judges to oversee tender offers for substantive fairness. It is even less likely that a Congress implementing that intention would express it only through the use of a single word placed in the middle of a provision otherwise devoted to disclosure.
We hold that the term "manipulative" as used in 14(e) requires misrepresentation or nondisclosure. It connotes "conduct designed to deceive or defraud investors by controlling or artificially affecting the price of securities." Ernst & Ernst v. Hochfelder, 425 U.S., at 199 . Without misrepresentation or nondisclosure, 14(e) has not been violated.
Applying that definition to this case, we hold that the actions of respondents were not manipulative. The amended complaint fails to allege that the cancellation of the first [472 U.S. 1, 13] tender offer was accompanied by any misrepresentation, nondisclosure, or deception. The District Court correctly found: "All activity of the defendants that could have conceivably affected the price of El Paso shares was done openly." 568 F. Supp., at 203.
Petitioner also alleges that El Paso management and Burlington entered into certain undisclosed and deceptive agreements during the making of the second tender offer. The substance of the allegations is that, in return for certain undisclosed benefits, El Paso managers agreed to support the second tender offer. But both courts noted that petitioner's complaint seeks only redress for injuries related to the cancellation of the first tender offer. Since the deceptive and misleading acts alleged by petitioner all occurred with reference to the making of the second tender offer - when the injuries suffered by petitioner had already been sustained - these acts bear no possible causal relationship to petitioner's alleged injuries. The Court of Appeals dealt correctly with this claim.
The judgment of the Court of Appeals is
JUSTICE O'CONNOR took no part in the consideration or decision of this case.
[ Footnote 2 ] Petitioner alleged in her complaint that respondent Burlington failed to disclose that four officers of El Paso had entered into "golden parachute" agreements with El Paso for "extended employment benefits in the event El Paso should be taken over, which benefits would give them millions of dollars of extra compensation." The term "golden parachute" refers generally to agreements between a corporation and its top officers which guarantee those officers continued employment, payment of a lump sum, or other benefits in the event of a change of corporate ownership. As described in the Schedule 14D-9 filed by El Paso with the Securities and Exchange Commission on January 12, 1983, El Paso entered into "employment agreements" with two of its officers for a period of not less than five years, and with two other officers for a period of three years. The Schedule 14D-9 also disclosed that El Paso's Deferred Compensation Plan had [472 U.S. 1, 4] been amended "to provide that for the purposes of such Plan a participant shall be deemed to have retired at the instance of the Company if his duties as a director, officer or employee of the Company have been diminished or curtailed by the Company in any material respect."
[ Footnote 3 ] The Court of Appeals for the Sixth Circuit has held that manipulation does not always require an element of misrepresentation or nondisclosure. Mobil Corp. v. Marathon Oil Co., 669 F.2d 366 (1981), cert. denied, 455 U.S. 982 (1982). The Court of Appeals for the Second and Eighth Circuits have applied an analysis consistent with the one we apply today. Feldbaum v. Avon Products, Inc., 741 F.2d 234 (CA8 1984); Buffalo Forge Co. v. Ogden Corp., 717 F.2d 757 (CA2), cert. denied, 464 U.S. 1018 (1983); Data Probe Acquisition Corp. v. Datatab, Inc., 722 F.2d 1 (CA2 1983), cert. denied, 465 U.S. 1052 (1984).
[ Footnote 4 ] See generally L. Loss, Securities Regulation 984-989 (3d ed. 1983). For example, the seminal English case of Scott v. Brown, Doering, McNab & Co., 1892. 2 Q. B. 724 (C. A.), which broke new ground in recognizing that manipulation could occur without the dissemination of false statements, nonetheless placed emphasis on the presence of deception. As Lord Lopes stated in that case, "I can see no substantial distinction between false rumours and false and fictitious acts." Id., at 730. See also United States v. Brown, 5 F. Supp. 81, 85 (SDNY 1933) ("[E]ven a speculator is entitled not to have any present fact involving the subject matter of his speculative purchase or the price thereof misrepresented by word or act").
[ Footnote 5 ] See Webster's Third New International Dictionary 1376 (1971) (Manipulation is "management with use of unfair, scheming, or underhanded methods").
[ Footnote 6 ] Santa Fe Industries, Inc. v. Green, 430 U.S. 462, 476 -477 (1977); Piper v. Chris-Craft Industries, Inc., 430 U.S. 1, 43 (1977); Ernst & Ernst v. Hochfelder, 425 U.S. 185, 199 (1976).
[ Footnote 7 ] For a more thorough discussion of the legislative history of the Williams Act, see Piper v. Chris-Craft Industries, Inc., supra, at 24-37.
[ Footnote 8 ] The process through which Congress developed the Williams Act also suggests a calculated reliance on disclosure, rather than court-imposed principles of "fairness" or "artificiality," as the preferred method of market regulation. For example, as the bill progressed through hearings, both Houses of Congress became concerned that corporate stock repurchases could be used to distort the market for corporate control. Congress addressed this problem with 13(e), which imposes specific disclosure duties on corporations purchasing stock and grants broad regulatory power to the Securities and Exchange Commission to regulate such repurchases. Congress stopped short, however, of imposing specific substantive requirements forbidding corporations to trade in their own stock for the purpose of maintaining its price. The specific regulatory scheme set forth in 13(e) would be unnecessary if Congress at the same time had endowed the term "manipulative" in 14(e) with broad substantive significance.
[ Footnote 9 ] Section 13(d) requires those acquiring a certain threshold percentage of a company's stock to file reports disclosing such information as the purchaser's background and identity, the source of the funds to be used in making the purchase, the purpose of the purchase, and the extent of [472 U.S. 1, 10] the purchaser's holdings in the target company. 15 U.S.C. 78m(d). Section 13(e) imposes restrictions on certain repurchases of stock by corporate issuers. 15 U.S.C. 78m(e). Section 14(d) imposes specific disclosure requirements on those making a tender offer. 15 U.S.C. 78n(d) (1). Section 14(d) also imposes specific substantive requirements on those making a tender offer. These requirements include allowing shareholders to withdraw tendered shares at certain times during the bidding process, 15 U.S.C. 78n(d)(5), the proration of share purchases when the number of shares tendered exceeds the number of shares sought, 15 U.S.C. 78n(d)(6), and the payment of the same price to all those whose shares are purchased, 15 U.S.C. 78n(d)(7). Section 14(f) imposes disclosure requirements when new corporate directors are chosen as the result of a tender offer.
[ Footnote 10 ] Section 10(b) provides:
Similar terminology is also found in 15(c) of the Securities Exchange Act, 15 U.S.C. 78o(c), 17(a) of the Securities Act of 1933, 15 U.S.C. 77q(a), and 206 of the Investment Advisers Act of 1940, 15 U.S.C. 80b-6.
[ Footnote 11 ] The Act was amended in 1970, and Congress added to 14(e) the sentence, "The Commission shall, for the purposes of this subsection, by rules and regulations define, and prescribe means reasonably designed to prevent, such acts and practices as are fraudulent, deceptive, or manipulative." Petitioner argues that this phrase would be pointless if 14(e) was concerned with disclosure only.
We disagree. In adding the 1970 amendment, Congress simply provided a mechanism for defining and guarding against those acts and practices which involve material misrepresentation or nondisclosure. The amendment gives the Securities and Exchange Commission latitude to regulate nondeceptive activities as a "reasonably designed" means of preventing manipulative acts, without suggesting any change in the meaning of the term "manipulative" itself. [472 U.S. 1, 14]
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How can I connect TV and smarphone with tag-on function?
With data transfer function of smart phone (NFC), you can share the content of smart phone with smart TV by touching "tag on" sticker with the phone.
How to fix
Activate NFC, writing, reading and P2P
- Install LG TV Tag On and LG TV Remote applications by touching Tag On sticker on TV.
- Touch Tag On sticker on TV again, then the connected TV appears and enter the verification code on TV screen into the smartphone.
※ Smartphone and smart TV should be connected to the same Wi-Fi network or mirror cast of TV is turned on.


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Statement of intent
Kenneth Tyler on his collection
"A virtual-institute for fine art printmaking"
The Tyler website is an important tool for understanding the art of collaboration. Employing the body of work comprising my archive at NGA as its springboard, the website perpetuates advanced study, research, instruction, and the sharing of resources and ideas as a means to further stimulate the field far afield and well beyond the borders of Australia.
Like a virtual-institute for fine art printmaking, it is an interactive showcase shedding insight on the people and processes, the techniques and equipment, and the history of the multi-media environment of my workshops and, in a broader sense, creativity through innovation.
Without the website's ever-growing databank, an art portal allowing wide access to all manner of documentation would be largely inaccessible. Our goal is to continue adding images, photographs and film to this 'living' site, instilling it with in-depth material for any and all interested in my decades of printmaking and, collectively, the breadth and power of printmaking as an ever-expanding medium. The site complements exhibitions, both at NGA and elsewhere, and brings answers and insights into the hows and whys of art creation in an informative and exciting format.
Kenneth Tyler AO


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Focus On Middle School Astronomy Laboratory Notebook (3rd Edition)
|Item #:
Product Description:
Publisher Description:
The Focus On Middle School Astronomy Laboratory Notebook, 3rd Edition contains hands-on experiments that coincide with the 12 chapters of the Focus On Middle School Astronomy Student Textbook, 3rd Edition. The experiments include: observing constellations; using the triangulation method to measure the distance of faraway objects; modeling lunar and solar eclipses, the Moon, the planets, and the solar system; thought experiments; using star maps; using the internet to gather data; exploring globular clusters in the Milky Way; researching nebulae; and more.
The Focus On Middle School Astronomy Laboratory Notebook, 3rd Edition contains 12 black and white chapters. Grades 5-8.
140 pages.
Each 70-page student text is formatted similarly to a high-school text, with each chapter broken down into smaller segments on more specific topics. Although the text introduces concepts most children won't encounter in their elementary science curriculum, the explanations are clear and are presented in a way that they can understand. To give you an example of the types of topics covered, in Chemistry, chapters discuss matter, molecules, types of chemical reactions (including combination, decomposition and exchange reactions), acids, bases, neutralization, polymers, DNA, and more. Biology covers taxonomy, cells, photosynthesis, plants, protists, life cycles of the butterfly and frog, the water cycle, and more. Physics includes chapters on: force, work, potential and kinetic energy, motion, electrical energy and charges, electromagnetism, conservation of energy, and so on. Astronomy is the newest edition in this series and its 80+ pages include chapters on: What is astronomy, astronomer's toolbox (telescopes, Mars Rover, Hubble, etc.), earth, moon and sun, planets, solar system, other systems, our galaxy, other galaxies, and the universe. Each text contains ten chapters in all, split up into smaller segments on more specific sub-topics. Each segment focuses on one topic, and is short enough to read at one sitting without taxing short attention spans. The pages also incorporate colorful graphics and simple diagrams, and important words in the text areprinted in red. A summary wraps up each chapter, recapping the main points kids shouldtake from the reading, and a combined glossary index is included at the end of each book.
Twelve chapters covering early and modern astronomers, the changing views of the cosmos, technology in astronomy, earth in space, the moon, sun, eclipses, chemistry and physics of stars, planets, celestial clocks, star atlas, time, planetary position, planetary orbits, asteroids/meteorites/comets, stars, galaxies, the Milky Way, spiral galaxies, barred spiral galaxies, elliptical galaxies, exploding stars, super giant stars and super novae. Lab activities use commonly found items including a computer with internet access, modeling clay in several colors, flashlight etc. Contact us for full listing.
Explaining complex, advanced scientific concepts in a way that children will understand, this series takes children deeper into the topic compared to other grade level programs. Written for mastery, each topical course is one semester in length. Chemistry is the recommended starting point. Follow with Biology or sequence the courses to best fit your family. Offering thought-provoking discussion questions and home-friendly labs, children are taught scientific facts and philosophy, without referencing evolution or creationism. Elementary and Middle Science courses generally align and could be used simultaneously by families teaching multiple levels.
Each course requires: Student Text, Laboratory Notebook, and Teacher Guide. Texts offer larger font and engaging illustrations. Consumable lab notebooks complement the student text with hands on activities. Teacher Manuals support the lab activities. Available individually, in semester packages or as complete packages. Lesson plans that accompany these books are also included in the packages. These include weekly sheets with checkpoints to help parents record learning.
Textbooks are full color and provide larger font size with plentiful white space making these a nice option for the younger learner or one who is overwhelmed by dense textual information. But don't let the pleasing graphics and layout detract. The science teaching is solid, with fairly advanced topics presented in an exciting, easy to understand manner. If you are familiar with the previous edition of the Focus on Science, I think you will be excited with all the wonderful additions to this course! First, each book offers more content-additional chapters, expanded explanations, and some updated graphics. New vocabulary words are in red with an extensive glossary and index in the back of the book. Chapters conclude with a bullet summary of important concepts and a "Some things to think about" section which encourages students to think through the chapter and apply what they learned.
The consumable Laboratory Notebook is a very important part of the program. For each text chapter there are two lab activities: a main experiment and a second "Just For Fun Experiment" which is less formal and provides further exploration of concepts presented. Experiments are divided into sections: "Observe it" which focuses on making observations; "Think About It" questions; "What Did You Discover?" where students write down or draw what they observed from the experiment; and, "Why?" where they learn the reasons why they observed certain things during the experiment. Single lines are provided for answering questions, along with space for drawing observations. With a few black and white illustrations, the softcover lab notebook helps children develop their observation and analytic skills, which are vital to understanding the scientific process. Experiments take approximately one hour to complete.
The softcover Teacher Manual corresponds to the Laboratory Notebook and is necessary for success. Guiding students through the experiments in the lab notebook, it begins with an "at a glance" materials list by experiment; a complete listing of materials and quantities for all experiments. Each experiment begins with a materials list, objectives and instructions for each of the sections outlined above. Where appropriate answers to lab questions are included. While most labs use common household items, some specialized equipment is recommended. See individual product description or contact us for the complete list.
Families looking for a comprehensive, engaging science curriculum that teaches science without getting bogged down in ever-changing theories, will find much to appreciate in this well-done curriculum from Dr. Keller. Previous editions are not compatible with the new edition. ~ Deanne
Items listed in this section tend to be complete science programs with a teacher and student component, requiring few supplements besides science supplies.


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Air Force into bowl after ground game pounds Hawaii
AIR FORCE ACADEMY, Colo. -- On a night when the Air Force Falcons didn't pass, they received an offer they couldn't pass up.
Immediately after their 21-7 win over Hawaii on Friday night, the Falcons received an invitation to the Armed Forces Bowl.
They quickly accepted.
And so the Falcons (6-5, 5-2 Mountain West) will head to a postseason game for the sixth straight season under coach Troy Calhoun. They don't know whom they will play -- don't much care, really -- but were elated at the thought of extending their season.
"It's a pretty sweet way to go out," said quarterback Connor Dietz, who was one of 23 seniors playing in their final game at Falcon Stadium.
Dietz certainly didn't have to worry about icing his right arm after this one. For just the fifth time in school history, the Falcons didn't attempt a pass.
Instead, they relied on a ground game that's ranked second in the country. Wes Cobb scored twice on short runs and Cody Getz rushed for 125 yards as the Falcons snapped a two-game skid.
"It was a gutty, gritty win," Calhoun said. "An absolute gut-check of a win."
Jeremy Higgins made his first start for Hawaii and directed a scoring drive to open the game. But the Warriors (1-9, 0-7) struggled after that as they lost for an eighth straight time, the second-longest skid in school history. Hawaii's record is 19 straight losses from 1997 to '99.
"We weren't able to move the ball very well. We weren't able to run the ball as well as we thought we were going to," Higgins said. "We weren't good on third downs in the second half, and it was just a lot of mental errors on my part."
Getz had another big night, eclipsing the 100-yard mark for the sixth time this season. The diminutive back had a 5-yard TD run early in the third quarter to break a 7-all tie.
"That was a great run. Holy cow," Calhoun said. "Probably the best one he's ever had."
Getz looked more like his explosive self again, showing no lingering signs of an ankle injury that's hampered him the past few weeks.
"It feels good seeing those big holes open up again," Getz said. "But it feels better to get a win, most of all."
The Falcons stayed on the field after the game to accept the bid. The Armed Forces Bowl will be played Dec. 29 in Fort Worth, Texas, against a team from Conference USA.
"It feels amazing to know for sure where you're going," Cobb said.
Cobb added a pair of 2-yard TD bursts to help the Falcons win back the Kuter Trophy, a memento the team didn't really know existed since the two schools hadn't played since 2001.
Granted, it's not as prestigious as the Commander-in-Chief's Trophy that goes to the academy with the best record in the annual round-robin competition. But since the Falcons are out of that race after losses to Army and Navy, this one will have to suffice.
The tradition of awarding the Kuter Trophy to the Hawaii-Air Force winner began in 1980, when both teams were members of the Western Athletic Conference. The hardware was named after the late Gen. Laurence S. Kuter, who was the first head of the Pacific Air Forces Command. It was a symbol of the cooperation between the people of Hawaii and the Air Force.
The Falcons had the trophy in their possession, even though the Warriors should have been the rightful holders since they beat Air Force 52-30 in 2001. The academy dusted it off over the summer and shipped it back to Hawaii.
Now, the Falcons can legitimately place the keepsake in their trophy case.
Getz gave Air Force the lead for good early in the third quarter when he bounced off a Hawaii defender and dove into the end zone. He also had the big play on the drive, when he scampered 54 yards to set up the score.
Hawaii was in prime position to tie the game after Charles Clay recovered a muffed punt deep in Air Force territory. Three plays later, though, Hawaii running back Joey Iosefa turned it right back over to the Falcons.
Cobb plowed in from 2 yards out to tie the game at 7 early in the second quarter. The score would remain tied at halftime, as Tyler Hadden's 60-yard field goal attempt wound up well short as time expired.
The Warriors scored on their opening drive for the first time this season. Higgins avoided a blitz by rolling out to his left, then lofted a perfect strike to tight end Clark Evans for a 26-yard touchdown.
Higgins stepped in for Sean Schroeder, who's struggled to ignite the offense. Higgins finished 14-of-23 for 125 yards against Air Force before being relieved by Schroeder.
"That's a good football team," Hawaii coach Norm Chow said. "They have such a nice system for themselves. I'm sure they knew exactly what they were doing."
And they didn't even need to attempt a pass. However, it's not a recipe Calhoun wants to repeat all that often.
"That's not the way to do it," said Calhoun, whose offense didn't put the ball in the air for the first time since 1992 at Wyoming. "It's just not.
"It's been one challenging year, to say the least. And yet it's neat to see these guys be rewarded and play in another bowl game. We're not a splendid group or a beautiful group. But we have the makeup internally that you absolutely want in guys."
Game Information
2023 Mountain West Conference Standings
|Air Force
|Fresno State
|Boise State
|Colorado State
|New Mexico
|Utah State
|San José State
|San Diego State


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2013 SuperCar BMW Megacity
BMW released few details and photos with the new model called Megacity that will be an electric 4-seater also known as the "MCV".
This will be specially created for city traffic and will have a 100 kw electric engine.
The 2013 BMW Megacity uses light materials for the LifeDrive concept, that will help reduce the car's weight by 250 to 300 kg.
Press release:
"The BMW Group is once again breaking new ground with the Megacity Vehicle (MCV), due to come onto the market in 2013: "The Megacity Vehicle is a revolutionary automobile. It will be the world's first volume-produced vehicle with a passenger cell made from carbon. Our LifeDrive architecture is helping us to open a new chapter in automotive lightweight design. Indeed, this concept allows us to practically offset the extra 250 to 350 kilograms of weight typically found in electrically powered vehicles." says Klaus Draeger, Member of the Board of Management for Development.
"The drive system remains the heartbeat of a car, and that also applies to electric vehicles," said Draeger. "Powertrains also remain a core area of expertise of Bayerische Motoren Werke. Electromobility and the hallmark BMW driving pleasure make an excellent match, if you go about things the right way. For this reason we are developing the powertrain for the Megacity Vehicle in-house – that includes the electric motor, the power electronics and the battery system."
The electrification of a vehicle requires new concepts in vehicle architecture and body construction in order to exploit the potential of the new emission-free drive system to optimum effect. With the revolutionary LifeDrive concept, the BMW Group engineers are developing the car's architecture from scratch and adapting it to the demands and conditions of future mobility. The goal: to offset the additional weight of an electric vehicle – typically 250 to 350 kilograms. To this end, the BMW Group is focusing on the innovative high-tech material carbon fibre reinforced plastic (CFRP).
The LifeDrive concept consists of two horizontally separated, independent modules. The Drive module integrates the battery, drive system and structural and crash functions into a single construction within the chassis. Its partner, the Life module, consists primarily of a high-strength and extremely lightweight passenger cell made from CFRP. Furthermore, the new vehicle architecture opens the door to totally new production processes which are both simpler and more flexible, and use less energy.
The BMW Group is also aiming to be the force behind the best drive systems over the years ahead – systems boasting outstanding efficiency, performance and smoothness, even if it is electricity rather than fossil fuels that are converted into propulsion. To this end, the BMW Group is vigorously driving forward the technical development of electric powertrains. The BMW Group's centre of expertise for electric drive systems brings together development, manufacturing and procurement specialists under one roof. All their efforts are focused on the implementation and typically BMW interpretation of the new generation of drive systems. Ultimately, electric vehicles not only provide a zero-local-emission and low-noise form of propulsion; their ability to deliver a totally new and extremely agile driving experience is also impressive.
The new architecture of the MCV also gives the vehicle designers additional freedom when it comes to creating a new aesthetic for sustainable urban mobility solutions."
Source: TopSpeed
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The results of a new bipartisan poll show that public support for renewable energy continues to be strong in the Rocky Mountain region.
For the second year in a row, registered voters in the Western U.S. states of Arizona, Colorado, New Mexico, Utah, Wyoming and Montana prefer that renewable energy projects – rather than nuclear or fossil-fuel plants – be developed in their states, the poll found. In addition, 56% of those surveyed said that environmentally sensitive public lands should be permanently protected from oil and gas drilling.
The poll was conducted by Republican pollster Lori Weigel of Public Opinion Strategies and Democratic pollster Dave Metz of Fairbank, Maslin, Maullin, Metz and Associates of 2,400 register voters in Western U.S. states (400 registered voters each in Arizona, Colorado, New Mexico, Utah, Wyoming and Montana).
The full survey results can be viewed here.


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Ain't Misbehavin2013 Documentary
18 years after his last film, (The Troubles We've Seen), Marcel Ophuls emerges from retirement as one of our last masters, the most corrosive, the funniest as well. And the most forceful. The director of The Sorrow and the Pity shares with us stories of his exceptionally rich life in this light-hearted yet bitter escapade though the century and the movies. Son of the great Max Ophuls, he is generous in his admiration. We also meet Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and of course François Truffaut. There are no great filmmakers without a memory, so here is the memory shop of Marcel Ophuls.


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With not a lot of time to make up ground thanks to a shortened schedule, the St. Louis Blues are turning back to a rookie to solve their goaltending issues.
The Blues are expected to start Jake Allen in net on Thursday night when they try to avoid a third straight setback in a meeting with the Phoenix Coyotes.
St. Louis led the NHL with a 1.89 goals-against average in 2011-12 en route to winning the Central Division, but despite returning the same duo of Jaroslav Halak and Brian Elliott, currently sit 24th this season with a 3.00 GAA.
An All-Star last season, Elliott teamed with Halak to set a franchise record with 15 combined shutouts, but the 27-year-old is just 3-6-1 in 11 games (8 starts) this season with a 3.65 GAA and .851 save percentage.
Halak, meanwhile, has gone a respectable 5-2-1 with a 2.31 GAA in 10 starts this season, but his save percentage is down to .884 and he also missed time with a groin injury.
That and Elliott's struggles opened the door for Allen to make his NHL debut in a relief effort on Feb. 5 and he then made four straight starts from Feb. 13-19. He won the first three -- all on the road -- before dropping a decision to San Jose. He was then sent back to the minors as Halak returned from injury.
Halak, though, was pulled in the third period of Tuesday's 6-4 setback in Los Angeles after giving up five goals on 21 shots as St. Louis blew a 4-1 second- period lead. Elliott gave up a goal on eight shots in relief.
"Even after they scored the first one in third, we all thought we were okay," said Blues winger Ryan Reaves. "Things started to slip when they tied it up. We started to panicking then. It kind of seems like we do a lot of that lately -- hitting too much of a panic button when things start to look bad. We just have to stick to our game plan and grind away."
Chris Stewart, Alex Pietrangelo and David Perron each posted a goal and an assist and Vladimir Sobotka also scored for the Blues, who have lost five of their last seven, including the first two of a five-game road trip.
Allen was recalled from Peoria of the AHL following the loss and he'll try to get the Blues back into the playoff picture. They currently sit 21 points back of the dominating first-place Chicago Blackhawks in the Central Division and are tied with Dallas and Minnesota for the eighth spot in the West, one point back of the Coyotes.
Phoenix is holding onto the seventh spot despite Wednesday night's 2-0 setback to the hosting Anaheim Ducks. It wrapped a span of three games in five nights between the Pacific Division rivals, with the Coyotes having taken the first two at home in a shootout by identical 5-4 scores.
The Coyotes had no answer on Wednesday, failing to put any of their 18 shots past Jonas Hiller. Jason LaBarbera was solid for Phoenix, stopping 22-of-23 shots, including one on a penalty shot by Anaheim's Andrew Cogliano early in the second period to keep it a one-goal game.
"We got a solid game from him," Coyotes coach Dave Tippett said. "He stopped a penalty shot and another breakaway. He gave us a chance to win and we just needed a little more push on the offensive side."
Tippett is likely to go back to No. 1 Mike Smith in net for this game. Smith is 3-3-0 with a 2.99 GAA and .898 save percentage in six career meetings with the Blues.
St. Louis outscored Phoenix 11-3 in taking the first three meetings between the teams last season, but the Coyotes capped the series with a 4-1 win in St. Louis on April 6.


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Big Idea: The (Distinctively) Christian View of Marriage
So one reason for LIBERAL EDUCATION is to give students some sense of the genealogy of our ideas.
It seems as if everyone believes in free persons these days. Not only that, we tend to believe that the PERSON is the bottom line. Nothing trumps the security and freedom of the persons alive right now. Certainly that's the TRANSHUMANIST view. But it's also the view of the atheistic nonfoundationalist, who believes that various forms of foundationalism have gotten persons repressed and killed for no good reason.
In my view, the idea of the free person actually came into the world with Christianity. We find it, for example, in St. Augustine's denial that the NATURAL and CIVIL theologies of the Greeks and Romans could possibly be true. That's because each of us is not merely part of nature or part of some political community or city. Each of us has an irreducible personal identity. That's because each of us is made in the image of the personal and relational God.
It seems to me that you wouldn't necessarily have to believe in the personal God of the Bible to affirm irreducible personal identity. Consider, for example, these comments I made at a recent conference about the distinctively Christian contributions to our understanding of marriage:
The Christian view of marriage and the family doesn't negate the merely natural and political purposes of marriage. Marriage is for propagation of the species—a natural function that we share with the other animals. Marriage is also for perpetuating political order; it has the civil function of producing citizens. But Christians put this natural good and this political good in their proper places by denying that they have a theological foundation. Serving the species and serving one's country are not the highest purposes of marriage, and so marriage, and children, too, can't be understood to exist for the species or the country. We aren't in fact made in the image of the God as merely natural—in the sense of biological—or political beings.
True theology, as St. Augustine says, is personal—and so not civil or natural. And so the high or sacramental purpose of marriage is for the uniting of persons for the procreation of persons—beings who can know and love each other and God. The institution that corresponds to our personal purposes is the church. That means, of course, the authority of the state is limited by both the family and the church, and the education of children is to be more than for being citizens.
Our biological and political existences—our location in a particular body and in a particular place—are, in fact, part of being personal. The person is—but is more than—a part of nature and a part of his country. A liberated woman is not liberated from either the longing for or the responsibility to have children, but she doesn't understand that personal responsibility the way a Darwinian or a Spartan would.
With the coming of Christianity, the city could no longer command men and women to have children to replenish the human cannon fodder that had been lost in the last war, as it apparently it even commanded Socrates. And it could no longer be understood to be allowed to treat persons like animals to be bred for improving the species or the city. The objection we have to the eugenics schemes of Socrates in the Republic or those of the 20th century fascists in decisively personal or Christian.
That's why Christians have dissented from any theology that reduces persons to less than they really are. The early Christians seemed like dangerous atheists to the Romans, and that why even or especially the most philosophic emperors—such as Julian and Marcus Aurelius—were so big on wiping them out before it was too late.
The Christians denied the very existence of the gods of the city, the divine foundation that secured the political community. Their atheism, in fact, seemed more dangerous than that of the philosophers who exempted only themselves—because of their liberated minds—from the commands of the Laws. For the Christian, every person is liberated from the degrading cave that was the ancient city. No person—or not just philosophers—should submit to political domination. We're all liberated by virtue of who each of us most deeply is.
The Christians are, in fact, political atheists because they know are made in the image of the personal God. They are, above all,members of the City of God that transcends every political distinction by encompassing us all—Jew and gentile, Roman and barbarian, man and woman, black and white, smart and not-so-smart, and so forth.
So Christian marriage is more personal than the civil marriage of the Greeks and Romans. It's less political or less distorted by arbitrary patriarchal considerations. Every innovation associated with Christian marriage aimed to elevate women to equality with men as free, relational persons, to reflect the truth, which we so readily deny with pride, that we are all equal as sinful persons under God.
The prohibition of divorce—a New Testament innovation—was for women, because divorce was rarely really available for them. The sanctification of monogamy is all about the uniting of two equal persons for shared responsibilities. Monogamy together with chastity were for locating sexual desire in a deeply relational or loving context, and so men could no longer exploit women as mere bodies. Polygamy, found for example, in the Old Testament, was more a political than a relational institution, one that necessarily subordinates women to the will of men.
The Greeks and Romans, of course, were big on distinguishing between the joys of liberated erotic satisfaction and the civil and reproductive necessities that generated the institution of marriage. That distinction, of course, degraded women in many ways, making them instruments for the satisfaction of male erotic and political desire. It also led, in some cases, to the privileging of homoerotic over heterosexual or merely reproductive sex. It was good personal news for women that chastity is a virtue for both men and women equally. It certainly was news to men.


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U.S. military observers can have trouble identifying satellites whizzing overheard in Earth's crowded space lanes. A new Pentagon effort aims to find the unique visual signatures of individual satellites for quick identification, regardless of whether such satellites belong to friend or foe.
The Defense Advanced Research Projects Agency hopes such signatures — remotely seen from ground or space sensors — could even help identify different satellites made by the same manufacturer. But it's not easy. Satellites' orbits may often change between overhead passes, and it's getting more difficult to spot individual satellites in a space becoming more crowded with vehicles, satellites and pieces of leftover space junk.
The DARPA solicitation for an innovative solution from small business, issued April 27, noted, "Some objects are frequently lost, and sometimes serendipitously reacquired without recognition of its previous catalog existence, unless manpower-intensive analysis intervenes."
Any effort to reliably track "active payloads and tumbling objects" and the like would focus on finding each satellite's physical or "operational" signatures (perhaps signals or movements unique to a certain satellite). Timeliness and speed would be crucial for helping military observers quickly identify satellites that had gone missing and possibly reappeared.
The technology needed here likely would involve some sort of software algorithms that can do automated identification based on satellite signatures. Once such software is created, DARPA envisions passing the testing along to the Joint Space Operations Center, the U.S. military's center for coordinating space forces and directing space power to support global operations.
DARPA's focus on satellites also includes the recently launched "SeeMe" effort to deploy dozens of cheap satellites that can provide overhead battlefield surveillance for the U.S. military. The Pentagon afency also has the ongoing "Phoenix" project to try to cannibalize dead satellites and use the parts for new "Frankenstein" satellites.
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Find Us
The Triumph Visitor Experience is at Triumph's main factory site at Normandy Way, Hinckley, Leicestershire, LE10 3BZ. Follow the directional road signs that say "Motorcycle Factory" as you approach the roundabout where Normandy Way, Dodwells Road (A47) and Roston Drive all meet. The site is within easy reach from the M1, M6 and M69 motorways.
Once you've parked, see if your Triumph motorcycling hero has been featured on our 'Avenue of Legends', which is the path that leads to the Triumph Visitor Experience entrance.
The Triumph Visitor Experience is free and everyone is welcome to this family-friendly experience. In addition, we have a Triumph merchandise store and café facilities. An optional Factory Tour is also available, and this is priced at £15 per person (age restrictions apply).
opening times
The Visitor Experience exhibition, the 1902 Café, Triumph Store (including triumph clothing) are all free to access and open during the following times:
| Closed
| 10:00h - 16:30h
| 10:00h - 16:30h
| 10:00h - 19:00h
| 10:00h - 16:30h
|10:00h - 16:30h
Factory Tour
A guided Factory Tour is available and priced at £15 per person which must be booked in advance of your visit. This is a guided tour that will commence and finish at the Visitor Experience's 1902 cafe, and will take approximately 90 minutes. Children aged 10-16 must be accompanied by an adult, but unfortunately the tour is not suitable for children under 10 years of age due to the manufacturing and engineering environment.
Each Factory Tour has a maximum group number of 15. If your group exceeds 15 in number, then please call us on 01455 453088 and we'll advise on how we can accommodate everyone as conveniently as possible.
As you've taken the time to visit us, we're not going to rush you; which is why our café has free wi-fi for all guests to use.
The Triumph Visitor Experience Store is the only place you can find this exclusive collection of clothing, merchandise and memorabilia.
The free Visitor Experience is located on both the ground floor and first floor, with both stair access and lift access for accessibility and convenience.
If you have any additional requirements, please call us in advance on 01455 453088.
There's ample parking for bikes and cars at the Triumph Visitor Experience, including disabled bays close to the entrance.
Ground floor male, female and disabled restrooms are available and free to use for visitors. Baby changing facilities are available.
Frequently Asked Questions
Bags. There is a designated locker area for bags and belongings for the duration of your Factory Tour. Please note that you will need to keep cameras and phones in a secure locker during your tour.
Carers. Full-time carers may accompany a paying registered disabled visitor free of charge. Please bring your proof of carer status when you arrive: carer's ID badge, signed letter from employer on headed notepaper indicating your carer status, or letter from the Department for Work and Pensions (DWP) are all fine.
Children. Visitors aged 10-17 must be accompanied by an adult at all times during the Factory Tour. Children under the age of 10 are not permitted on the Factory Tour, however they are more than welcome to visit the Visitor Experience.
Dogs. Accredited assistance and guide dogs are welcome in the Visitor Experience, including the Café and Factory Tour.
Factory Tour times. From time to time, our available Factory Tour times may change. See the Admissions section above for full details.
Footwear. We highly recommend all visitors wear flat, closed-toe shoes during their Factory Tour for comfort and safety.
Helmets and rider wear. Factory Tour visitors will have a secure locker in which to place helmets, rider wear and other personal items for the duration of their tour.
Refunds. We're sorry, but once a Factory Tour is booked, we're unable to arrange a refund if you cancel. We will however endeavour to rearrange your booking, subject to availability. Please call us on 01455 453088 as soon as you can so we can rearrange your visit for another day.
Parking. Free parking is available onsite, including designated disabled parking bays.
Rest rooms. Ground floor male, female and disabled restrooms are available and free to use for visitors. Baby changing facilities are available.
Photography. Unfortunately, taking pictures is not permitted on the Factory Tour but is allowed everywhere else within the Visitor Experience. Postcard pictures of the factory are available in the Store.
To celebrate our association with the National Motorcycle Museum we are delighted to offer every Triumph Factory Tour customer a half price admission voucher to the stunning National Motorcycle Museum collection. Please collect your voucher at the end of your tour and present this at the National Motorcycle Museum admission desk.


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Mandolin Mondays #350 w/ Special Guest Matt Norman
by, Sep-19-2022 at 7:00am (4746 Views)
This week on Mandolin Mondays we've got UK classical mandolinist Matt Norman with us to share a compelling performance of the classic Raffaele Calace piece "Piccola Gavota."
Matt is a multi-instrumentalist and singer best know for his mandolin playing. He regularly performs in the folk scene with his band Gadarene, at Ceilidhs and social dances as well as Matt's own classical mandolin performances. This past May, Matt released a brand new album called Mr Onions Serenade--a record that celebrates the second golden age of the mandolin when every major town would have had a mandolin orchestra and mandolin virtuosos were celebrities. The little known repertoire from this time is full of character and sparkle so definitely check out this fun new project of Matt's here: www.mandolinmattnorman.bandcamp.com
Be sure to connect with Matt at the following links below for more information about his music:
And as always, tune in next week for more Mandolin Mondays! Until then...
Happy Picking!


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FULLERTON, CA – Yokohama Tire Corporation's latest installment of its education-focused video series – "Tire Tips" – features an updated version of how to read a tire's sidewall. The video, posted below and available on youtube, is the seventh edition in the series that began in 2010.
"Understanding the information on the sidewall of a tire is very important for selecting the appropriate replacement tire," said Fred Koplin, Yokohama director of marketing communications. "However, many consumers are not familiar with what the sidewall markings mean. By explaining them, the video educates viewers so they can more confidently make informed tire purchases."
Koplin said future Tire Tips videos will continue to provide suggestions to consumers on ways to get the most out of their tires.
Yokohama Tire Corporation is the North American manufacturing and marketing arm of Tokyo, Japan-based The Yokohama Rubber Co., Ltd., a global manufacturing and sales company of premium tires since 1917. Servicing a network of more than 4,500 points of sale in the U.S., Yokohama Tire Corporation is a leader in technology and innovation. The company's complete product line includes the all-new AVID Ascend® – the first mass-market tire using Yokohama's breakthrough orange oil technology – as well as tires for high-performance, light truck, passenger car, commercial truck and bus, and off-the-road mining and construction applications. For more information on Yokohama's extensive product line, visit www.yokohamatire.com.
Connect with Yokohama Tire Corporation:
Yokohama is a strong supporter of the tire care and safety guidelines established by the Rubber Manufacturers Association and the National Highway Transportation and Safety Administration. Details can be found at the "Tire Safety" section at www.yokohamatire.com
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|Home ▸ Catalog ▸ |Greek Coins| ▸ |Greek Bulk Lots||View Options: | | |
Wholesale and Collector Bulk Lots of Ancient Greek Coins
Arrangement of the coins for the photographs is random - we do not pick the best coins and put them on top. Unless otherwise noted, the coins offered are the actual coins in the photograph, coins are unattributed, without tags or flips, and no additional information is available about the coins. Bulk lots are offered with only a small mark-up over our cost and many are lots we have purchases for our retail store. When we have time, we may withdraw an unsold bulk lot, photograph the coins, and add them to the store individually at retail. LARGE LOTS ARE AS IS, NO RETURN.


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Title: Lisa and the Devil (1974)
Director: Mario Bava
Starring: Elke Sommer, Telly Savalas, Alessio Orano
I've only recently discovered Mario Bava movies by watching two of his best and earliest efforts. Black Sabbath (1963) and Black Sunday (1960) both of which I immediately fell in love with. Two great gothic Italian horror mastepieces that I urge everyone out there who hasn't had the pleasure of seeing to do so as soon as possible. Your missing out on some spooky good fun! So here I am, on my journey to see all of Mario Bava's films. Lisa and the Devil caught my attention because of its premise. A girl being harassed by Satan, Telly Savalas playing the devil, a spooky mansion in the middle of nowhere, intrigue, murder, suspense, all the proper ingredients for a night of spooky fun. So how was Lisa and the Devil?
The story for this film is about Lisa, a tourist visiting Italy. Her tour guide takes her to see a fresco of The Devil. A painting depicting Satan carrying a dead guy off to the afterlife. She seems transfixed by the painting. Suddenly, she decides to abandon her tour group and starts to wonder off through the city. Her wandering leads her to an antique shop of sorts where she encounters a man. A strange man dressed in black who carries around a very life like mannequin. Is it a mannequin? Or could this possibly be the devil carrying off the dead to the afterlife? Suddenly, Lisa finds herself lost in the middle of the labyrinthine city streets! She cant find her way back to her tourist group! Day turns to night and she's still wondering through the city streets, so she decides to hitch a ride with some strangers, who's car unfortunately breaks down in the middle of nowhere! Now Lisa is forced to spend the night in a spooky old mansion, with the mansions Contessa and her son. Will they survive the night? Will Lisa ever get back to her normal life?
Right from the get go, you get the vibe that this movie isn't going to be your regular run of the mill Bava movie. There's just something off about the movie, something strange about it. Once you start seeing Lisa and the Devil, you kind of notice right away that Bava was purposely going for something different. I tried to pin point exactly what it was that was making this movie such a strange and challenging experience to watch and I came to a couple of conclusions. Number one, Bava was trying to tell this story in a very off kilter fashion, he was shooting for something different. The angles and the takes are never what you might expect; you really have to focus on this movie to stick to its story line. At times, it feels like Bava is deliberately trying to confuse you or catch you off guard. If you don't pay attention, you might get lost during Lisa and the Devil. This is one of those movies were you have to try and notice and remember certain key visual references in order to keep up with the story. The movie does not spell things out for you.
Dream sequences get extremely trippy on Lisa and the Devil
Another thing I noticed was that Bava was aiming to make a film that felt very much like a dream. Once Lisa gets lost in that maze of Italian streets and ends up in the spooky old mansion, it's all weirdsville from there on in. You are never really sure of anything that you are watching. At times I wasn't sure if a certain character was a ghost, or not. If a certain character was evil or not. This movie had that strange uncertainty to it, and ambiguity to it that I must admit I enjoyed. Kind of felt like an episode of The Twilight Zone in that way.
After a while, I felt like Bava was trying to make a romanticized version of Alfred Hitchcocks Psycho (1960). Once Lisa arrives at the mansion, she meets Max, the one and only son of the Contessa, the owner of the mansion. The relationship between mother and son echoed that of the one seen in Hitchcock's Psycho. You know, where the mother is the one in control over the son's life. She's very jealous of her son, even to the point where she doesn't want him to fall in love with anyone. The fact that Mario Bava offered the role of Max to Anthony Perkins, who played Norman Bates in Hitchcock's Psycho lets us know that this is partly what Bava was aiming for. But this movie wasn't just going to be Bava's version of Psycho. There is a lot more to Lisa and the Devil then that. It's also about a family cursed with death, darkness and despair and in this sense the film also reminded me of those old Roger Corman movies like The Fall of the House of Usher (1960). That was a film about a cursed family with a dark past living in an isolated mansion, just like the one seen in Lisa and the Devil.
Bava had a two punch of success with Baron Blood and Twitch of the Death Nerve, both of which made money at the box office. So producer Alfred Leone gave Bava free reigns to do whatever the hell he wanted with Lisa and The Devil. The problem with this movie was that once it was finished, producers thought it was just too weird. No one wanted to buy and distribute the movie because it was deemed a hard sell. I get it. It's true. The film is weird, and maybe its not a straight forward horror movie. But the film also has its attributes. It's a beautiful film to look at. Its different, surreal, nightmarish, and it still remains its horror element. Maybe it didn't really have enough horror to it. Producers were probably expecting some sort of blood bath they could sell, instead what they got was a horror film that focuses more on romance and melodrama. So be ready for that. Lisa and the Devil has a lot of romance for a horror film, which kind of brings the horror element down a couple of notches. But it never stops being weird and surreal. It certainly is a strange film to try and categorize, and I can see why it gave producers a hard time. Its slow paced, its weird, its horror elements are toned down a bit, and these are really not negative points in my book.
Bava was just trying to do something different. It felt to me like a very atmospheric, romantic, strange horror movie. But studios don't care for strange and unusual, they want something that the masses can consume easily. Spoon feed them with stupidity. As a result, Alfred Leone, this films producer took the film, re-edited it, shot some new scenes with a new story involving Lisa possessed by the devil and released it under the new title The House of Exorcism. This version of the film changes the story completely, and makes it about Lisa getting possessed after she looks at the devils fresco in the streets of Italy. It has scenes of Lisa tied up to a hospital bed, being examined by doctors and priests. Ultimately, the film has an exorcism scene. It's quite obvious from looking at this new version that they were just trying to cash in on the success of The Exorcist (1973) a film that as we all know also dealt with a girl possessed by the devil and which was met with incredible success at the box office.
The re-edit of the film made it into a cheap rip off of The Exorcist (1973)
House of Exorcism is not a film that I recommend watching. It takes everything that Bava tried to make with Lisa and the Devil and destroys it. Where Bava was trying to do something different, surreal and at the same time beautiful with Lisa and the Devil; The House of Exorcism went in the complete opposite direction and tried to make it into a cheap rip off of The Exorcist. Right down to having Lisa spewing all sorts of profanity at a priest after she vomits on him. I mean, honestly, House of Exorcism is a travesty in my book. I'm not gonna say that Lisa and the Devil is for everyone, because it isn't. It's a strange film with a strange vibe to it. Its kind of hard to follow, and becomes a bit convoluted at times. But I enjoyed it, its like a puzzle you have to try and figure out, and if you enjoy this kind of film, you will more then likely feel compelled to see it more then once. As for the films weirdness, what a boring world it would be if there were no daring filmmakers out there trying to do something different!
Rating: 3 ½ out of 5


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(HealthDay News) — The mitogen-activated protein kinase (MAPK) p90 ribosomal S6 kinase (RSK) appears to play a role in the poor response of melanoma cells to DNA-damaging agents, according to research published online Oct. 29 in Oncogene.
Hind Ray-David, Ph.D., from the Université de Montréal, and colleagues studied the Ras/MAPK-signaling pathway, which is often deregulated in melanoma.
The researchers found that MAPK-activated protein kinase RSK played a role in melanoma chemoresistance by altering the response to chemotherapeutic agents. In in-vivo and in-vitro experiments, RSK phosphorylated checkpoint kinase 1 (Chk1) at Ser280, an inhibitory site. RSK was found to be the main protein kinase operating downstream of mitogens and oncogenes of the Ras/MAPK pathway, and, in melanoma, RSK constitutively phosphorylated Chk1. In response to DNA-damaging agents, RSK inhibition increased Chk1 activity. RSK promoted silencing of the G2 DNA damage checkpoint in a Chk1-dependent manner. Furthermore, RSK inhibitors were found to sensitize melanoma cells to agents which induce DNA damage.
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"Together, our results identify a novel link between the Ras/MAPK pathway and the DNA damage response, and suggest that RSK inhibitors may be used to modulate chemosensitivity, which is one of the major obstacles to melanoma treatment," Ray-David and colleagues conclude.