text:
UltraVNC 184.108.40.206
Downloads: 179996
File size: 2.04MB
Requirements: Windows 2000 / XP / 2003 / Vista / Windows7 / XP64
License: Open Source
UltraVNC 184.108.40.206 Change Log
# Server + Viewer:
- Integrated support for SecureVNC plugin.
- Fix recursive clipboard issues when several VNC, RDP, VM, etc sessions are nested.
- Fix hangs in clipboard handling.
- Support for HTML and RTF clipboard formats.
- Support for Unicode clipboard text.
- Clipboard text is compressed when transferring.
- libjpeg library replaced with libjpeg-turbo which includes optimized assembly code for both x86 and x64.
- Zlib updated to latest version.
- DSM plugins no longer cause the server/viewer to send any additional messages or prefix bytes. This eliminates 41 bytes of network traffic per message.
- Immediately subsequent socket writes are coalesced to minimize unnecessary packets. This eliminates 40 bytes of network overhead for most messages, and more in other cases.
# Viewer only:
- Fix crash when changing framebuffer dimensions with cache encoding enabled.
- Fix disconnect when changing framebuffer dimensions.
- Some menu reorganization.
- Throttling for mouse move messages to prevent saturating output buffer with pointer updates.
- Queueing implemented for outgoing writes; this eliminates some overhead from every message.
- Preemptive update requests.
- Enable cache encoding from commandline, /enablecache
- Fixed stability issue in Tight encoding (merged from TightVNC)
- Fixed recovery / resynchronization attempts in update handler due to bypassing DSM plugin when flushing input buffer, leading to unsynchronized encryption states.


text:
Software Engineer, Core Team – Digital Domain Vancouver
Location: Vancouver
Reports To: Global Pipeline Supervisor
Position Summary:
The Core Software Team at Digital Domain is responsible for core tools and distributed services for use across the facility including: asset, task, and software management; dailies, render submission, analytics, cross site data transfer, and core Python libraries.
The Core Software Engineer is responsible for collaborating with the team to design, implement, and deploy one or more of the aforementioned systems, working closely with the Lead Software Engineer, the Global Pipeline Supervisor, Artists, and Technical Directors to ensure that software meets the needs of the facility. This challenging position requires good coding skills, experience writing database-aware applications in Python and/or C++, and experience crafting user interfaces in PyQt and/or Qt. Knowledge of distributed computing design patterns and web technologies is a plus.
Principal Duties and Responsibilities:
Work with the team to evolve core APIs in use throughout the company to improve efficiency and extend capabilities.
Participate in the planning, design, and development of Core Software.
Take point on one or more products in the Core Software Portfolio.
Respond to production requests for support, enhancements, and bug fixes.
Participate in code reviews with team members
Maintain documentation for one or more products
Maintain suite of tests for one or more products
B.S. or higher degree in Computer Science
3+ years Python programming experience
2+ years C++, Java, or equivalent programming experience
Firm grasp of Object Oriented Design principles and Design Patterns
Experience developing database interfacing applications
Experience crafting UIs with Qt and/or PyQt
Good communication skills
Ability to work in a dynamic environment
Experience with web technologies
Experience with message-oriented middleware and SOA design patterns.
Experience with NoSql databases, such as MongoDb, ElasticSearch, Redis, etc
Experience designing and implementing APIs for end users
To apply for this position please select Vancouver from the drop down location menu and submit an application at http://careers.digitaldomain.com/application.php?job_id=14_2_0679
Digital Domain Recruiting Software Engineer, Core Team, Digital Domain, Digital Domain hiring, Digital Domain VFX, Digital Domain Jobs, Animation Jobs, VFX Jobs, CG Jobs, 3D Jobs, CGI, Jobs, Recruiting, Recruitment, Digital Domain Recruiting, Digital Domain Recruiting Software Engineer, Core Team

subset: commoncrawl


text:
Feds Wait Until Late Friday To Release Details Of Criminal Case That Used NSA Surveillance, Which They'd Kept Secret
from the friday-night:-where-news-goes-to-die dept
Of course, this allowed the feds to cherry pick their case... and the date and time to release the "news." So, of course they chose Friday night, which is when the government always tries to release bad news. So we're taking that news and discussing it the following Monday, because this is big and it deserves serious attention. Late Friday, the government admitted that it had used information gleaned via programs under the FISA Amendments Act in the criminal case against Jamshid Muhtorov, who was charged in January 2012 with "providing material support to the Islamic Jihad Union, a designated terrorist organization based in Uzbekistan." Much of the original complaint against Muhtorov involves discussions about intercepted calls and emails, though it's unclear how many (if any) of those were done under the FAA or other law enforcement authorities.
The new notice in the case doesn't reveal very much at all, other than that the government intends to "offer into evidence or otherwise use or disclose in proceedings... information obtained or derived from acquisition of foreign intelligence information conducted pursuant to the" FAA. Basically, this case now is very likely to become the key case in testing the constitutionality of at least some aspects of the FISA Amendments Act surveillance efforts (which include the "upstream" tapping of the internet backbone via telcos, though it's not clear if that was used in this particular case).
In other words, this case just got a lot more interesting -- though it's clear that the feds tried very carefully to pick a case where the facts work strongly in their favor. I would imagine, however, that various public interest and civil liberties groups are gearing up to see how they might help out in the case.


text:
Rowan Atkinson 'cheats death'
Actor Rowan Atkinson cheated death last night after careering off the road in his 240mph supercar.
The £650,000 McLaren F1 spun several times, smashing into a tree and ploughing into a road sign before catching fire on the opposite side of the carriageway.
The Mr Bean star, 56, pulled himself free from the wreck and was looked after by a passing motorist until emergency services arrived on the A605 at Haddon
Just two weeks ago Rowan Atkinson appeared on Top Gear, talking about the miles he travelled in his McLaren F1


text:
DATATRAK Attends January Healthcare Events
Jan 02, 2013, 07:30 ET
CLEVELAND, Jan. 2, 2013 /PRNewswire/ -- DATATRAK International, Inc. (OTCQX: DATA), a leader in developing cloud-based, unified eClinical® technologies and delivering related services for the clinical trials industry, today announced its participation at industry events during the month of January.
The 6th Annual OneMedForum
San Francisco, CA
January 7 – 9, 2013
The 6th Annual OneMedForum is a gathering of leading investors and management of emerging life sciences companies in Asia and North America to explore strategies for company growth finance with healthcare investors.
Biotech Showcase
San Francisco, CA
January 7 – 9, 2013
Biotech Showcase™ is an investor and partnering conference devoted to providing private and public biotechnology and life sciences companies an opportunity to present to, and meet with, investors and pharmaceutical executives.
About DATATRAK
DATATRAK is the leader of unified eClinical® technologies and related services for the clinical trials industry. Using the DATATRAK ONE™ multi-product, cloud-based clinical research platform, DATATRAK's Clinical and Consulting Services™ group assists clients in conducting Phase I-IV drug and device studies in multiple languages throughout the world. DATATRAK has offices located in Cleveland, Ohio; Bryan, Texas; and Cary (RTP), North Carolina. For more information, visit www.datatrak.net.
Except for the historical information contained in this press release, the statements made in this release are forward-looking statements. These forward-looking statements are made based on management's expectations, assumptions, estimates and current beliefs concerning the operations, future results and prospects of the Company and are subject to uncertainties and factors which are difficult to predict and, in many instances, are beyond the control of the Company, and which could cause actual results to differ materially from those contemplated in these forward-looking statements. For a list of certain factors that may cause actual results to differ materially from those contemplated in these forward looking statements, please see the Company's report filed with the OTCQX Market on November 14, 2012 announcing its results for the three-month period ending September 30, 2012. The Company undertakes no obligation to update publicly or revise any forward-looking statement whether as a result of new information, future events or otherwise.
SOURCE DATATRAK International, Inc.


text:
Hamas Preachers Link "Victory" Over Israel To "Prophet" Mohammed's Slaughter Of Jews
(Friday, Nov 23, 2012) — When they finally emerged from their houses after eight days of Israeli bombardment, the people of Gaza seemed to have only one desire: to satisfy their craving for sugar.
Sweet shops and pastry makers were over-run with customers on Thursday morning, the day after an Egyptian-brokered ceasefire entered into effect.
"People rushed to the shop as soon as it opened," said Abu Wassim, the owner of Alqadi Famous Sweets in Jabalya. His store sold four times more baklava, knaffeh and other sugary delights than on normal days. "In your country, when you celebrate a victory, you open a bottle of alcohol," he said. "Here, we go and buy sweets."
In Gaza, they have been treating the end of the latest bloody clash between Israel and Hamas as a Palestinian victory. Of that they have no doubt.
On Wednesday night, thousands celebrated spontaneously in the streets, minutes after the ceasefire announcement. On Thursday, declared a national holiday by the Gaza authorities, there were victory parades and rallies. On Friday, the midday prayers were dominated by declarations of victory, with some preachers drawing a line between the latest conflict and the Prophet Mohammed's victory over the infidels.


text:
I have figured out how to get Bible Analyzer on Fedora 20 and CentOS 6.5 in a way that is easy for others to do!
So... to get BA on Fedora do this:
1. Download the script attached below to your "Downloads" folder.
2. Open a terminal and type(and press enter):
chmod +x ~/Downloads/iba; ~/Downloads/iba
3. Type your password when it asks for it.
4. Open Bible Analyzer.
5. Start studying God's Word!
NOTE:: If you open it and it seems unresponsive, then minimize the first start introduction window (on GNOME 3 press super+h or right click the window and click minimize.) then click "OK" on the window that is complaining about an error.
On CentOS you need to first enable EPEL. So here is the procedure:
1. Download and install http://download.fedoraproject.org/pub/e ... noarch.rpm
2. Make sure you a member of the sudoers file(if you don't know what this is then you probably aren't so search Google for 'centos adding user to sudoers file' or something).
3. Download the script attached below to your "Downloads" folder.
4. Open a terminal and type(and press enter):
chmod +x ~/Downloads/iba; ~/Downloads/iba
5. Type your password when it asks for it.
6. Open Bible Analyzer.
7. Start studying God's Word!
Hope that helps someone study God's Word on Fedora and CentOS.
I have tested it on the default x86_64 install on both Fedora 20 and CentOS 6.5 (they are both GNOME installs). I hope to get time to see if I can get BA 4.8 bata running. If you have problems or any comments/questions please post!
Oh, and one thing. There is curruntly no uninstall script. If I get time I'll see what I can do about that too.
I just noticed that the script is not here, so I tried to add it and phpBB wont let me so here is a link to the script (right click it and save): http://linux.christopherbayliss.com.au/download/iba
Christopher Bayliss


text:
|Birth Date:
|Sept. 10, 1994
|Nashville, Tenn.
|High School:
|Brentwood Academy
|Physical Therapy
Radir Annoor made the Athletic Director's Honor Roll both semesters of his freshman year... also appeared in five games for the purple and gold... four consecutive games in the middle of the season and returned a kick in the season-ender at Austin Peay on Nov. 17.
(AT TECH IN 2012): Annoor played in five games for the Golden Eagles in his freshman season...accumulated 57 yards on 19 carries... returned a kick 19 yards in the final game of the season at Austin Peay on Nov. 17.
HIGH SCHOOL: An outstanding two-sport competitor at Brentwood Academy, Radir had just completed an award-winning junior season on the football field and on the track when a summer injury forced him to the sidelines for his senior football season for the Eagles. As a junior for coach Ralph Potter, Radir was a scoring machine from his runningback position, scoring 21 touchdowns for a team-leading 126 total points. He rushed for 1,044 yards on 154 carries and added five catches for 54 yards. Following his football season, he used his speed to help the Brentwood Academy track & field team capture the TSSAA state championship. He was named all-state in both track and football, and has numerous All-America laurels in track from AAU and USATF.
PERSONAL: Born September 10, 1994, he is the son of Radir and Tamala Annoor... Intends to major in pre-physical therapy.


text:
|2008-03-21, 18:08
|Link #61
Join Date: Mar 2008
Location: Canada, but sometimes in La La-Land hanging out with Midori-chan89
Age: 30
I think I'll wait for a box set to come out. I wonder if they will find someone that will give Flora that soft voice of her's, because if they don't I'll be very angry. XD
|2008-08-23, 12:43
|Link #66
Follower of Claymorerism
Join Date: Dec 2004
Location: the Netherlands
Woot. It appears that the first DVD set will be released on 14-10-2008.
I have already placed an pre-order at my favourite online store.
Here is the box shot which probably is going to be used.
I can hardly wait :-)
Last edited by dutchman; 2008-08-24 at 03:10.
|2008-09-20, 02:38
|Link #68
Just call me Ojisan
Join Date: Jan 2003
Location: U.K. Hampshire
Given the price, I would say that it is just the standard DVD along with a box to hold the complete series. This sort of "starter set" is standard for Funimation, you normally only get extras if it is a "Limited Edition" release.
First DVD release is due 14th October
Claymore, Vol. 1 $17.25
Claymore: Starter Set $22.79
|2008-09-23, 00:55
|Link #69
Yoruichi Biased! ^_^
Whoa! October?? Yes, that is sooooooo super awesome!!!
When I was at the Funi booth at San Diego Comic Con, I asked someone when Claymore was coming out, and they said they didn't think it would come out until sometime in 2009. So an October release is very exciting! Having an anime version will make it easier to convert my friends into Claymore fans (I haven't been able to get them to read the manga, those slackers!)
|2008-10-02, 15:31
|Link #71
Join Date: Sep 2007
Location: AZ - USA
Age: 46
Not interested in DVDs too much anymore, Animation on Blu Ray HD is just .. wow.
Already planning on getting the Macross Frontier ones when funds permit (imports).
If Funimation was to release Claymore on BR, I'd work extra hours to get it
|2008-10-04, 02:08
|Link #72
Yoruichi Biased! ^_^
Ok so I finally have some information on the English dub VAs, courtesy of Wikipedia.
Clare: Stephanie Young
Raki: Todd Kaberkorn
Teresa: Christine Auten
To be honest, I've never heard the VAs for Clare and Raki, so I hope they do a good job. Especially Clare's VA, given that she's the main character.
Christine Auten, however, I've heard, and I am a fan. She did a great job as Limelda Jorg in the Madlax English dub. I'm pretty confident she'll do Teresa justice. Hopefully. *waits for rabid Teresa fans to kill me*
No listed VAs for any of the other characters yet, however.
|2008-10-07, 00:23
|Link #74
Let's play a game!
Join Date: Sep 2006
Well, I got my copy of the first volume w/box a couple days ago, but have been bad and haven't watched it yet. The box is nice sturdy chipboard, and it includes a little booklet that reviews most of the major Claymores (just leaving out Helen and Deneve), plus has a couple interviews, one with the director and animation director, one with the sound directory and the seiyuus for Clare and Raki.
The character descrips are rife with spoilers (eg: Priscilla awakening), which is unfortunate for first-time viewers. The interviews are very interesting, though.
And as a side note, I'm trying to decide what to do with the box insert (the little cardboard thingy that fills the empty space). It has a couple of very pretty images of Clare and Teresa (one on each side), but is hardly a display item...
I'm gonna watch it tonight or tomorrow to see how the dub sounds. Will report back on that.
Last edited by Kinematics; 2008-10-07 at 04:18.
|2008-10-07, 04:18
|Link #77
Let's play a game!
Join Date: Sep 2006
Ok, just finished watching the first disc.
Visually, as beautiful as I remember, and incredibly clear. The wonderful detailing and lush backgrounds and colors were always one of my favorite things about the show. The sound actually wasn't as bad as I remember; it probably only got repetitive towards the middle. At the beginning it works quite well.
Trivia: Apparently the plural of "yoma" is "yomi". Or at least that's the label for the extras section where they have a handful of the voice auditions. Nothing particularly amazing, but a cute bit in Rubel's clip.
Script: There were several places where a bit of rewriting was done that seemed inappropriate. The most blatant that I remember was Clare telling Raki about Claymores not aging during their little talk in the desert where she originally was just describing a bit about when she became a Claymore (and dodging the question).
Another is when, at the end of the first episode, Clare asks Raki if his village threw him out. In the Japanese he says "No." In English he says "Of course.", and the dialog of the flashback is more blatant about pushing the fact that the village did indeed throw him out. In this case, despite it shifting Raki's attitude slightly, it was nice not to have to figure out whether he actually meant what he said. That particular scene really bugged me in the manga, and somewhat in the anime, because I was never quite sure whether he was just being stubborn about denying the events, or he really did mean what he said and that he actually ran off on his own.
For people who have studied the source religiously and have as many debates about things as we do on this forum, the rewrites stand out as big greasy thumbprints. For someone not as familiar, it will be barely noticeable. The question is about how much it changes the characters. For the most part, almost none. The one I'm least certain on at the moment is Teresa.
For the dub voices:
Clare - Very good. While there are a number of moments where her voice seems to 'stumble' a bit against the character, for the most part she held Clare's emotional wall quite well. The bits that grabbed my attention the most (in a bad way) were also the bits where it felt like they were trying to rewrite the story flow a bit. When she can just have the character to herself and run with it as in the original story, she does great.
Raki - I'm sure you'll be happy to know that he's as annoying as ever. Actually, given the character, the voice seems to fit quite well, and I have no problems with the dub of it (abstracted away from the character itself). One nice thing is that they did some good rewrites of his speech so that he wasn't always mindlessly repeating whatever someone just said ("half human, half yoma"... "brains....") As opposed to Clare, I think his voice came out better due to the rewrites.
Zaki and the Impersonator Yoma - Both had good voices, and they did some interesting things with the vocal mixes for the monster effects. The impersonator was done as a female; every time I listen to the Japanese I can't quite decide whether it sounds like a deep female voice or a moderate male voice.
From the commentary, apparently they tried to put together a number of unique variations on how the voices were done throughout the show to give the various yoma and awakened beings their own distinctive flavor, as opposed to just generic pitch shifts. I'll be interested in hearing what they did with Priscilla, who should be on the next disc.
Elena - Not much to say. A competent performance.
Rubel - Absolute dead on. A creepy, vaguely wheezy, edging towards Emperor (Star Wars) voice without sounding old and frail. Cute bit from the voice audition for his voice where he said, "The Emperor is not as forgiving as I am."
Galk & Cid - Solid. While I wouldn't go quite so far as to say perfect, they both did a very good job, and I have no complaints.
Father Vincent - Quite good. Honestly, a lot less to go by than I remembered, but he still sounded good.
Teresa - The biggie. This is the one I'm having the hardest time on. The rewrites for her made her far more serious. Rather than the whimsical wondering if she'd be able to find the 7th yoma in the town, it's more of an "Oh. There you are." Her treatment of Clare seems more antagonistic than merely annoyed.
There's a general deep tone to her voice that makes it so that I just can't hear the "Faint Smile" appelation come through. There's less of the feel of "I'm so good I can play games just to amuse myself", and more of the dead-serious vibe of the Terminator saying "Come with me if you want to live."
Despite the complaints, it's not actually a bad job, just a somewhat different take on the character. The voice acting itself is excellent, and really stands out in the brief moments in this episode where her mood lightens slightly.
Orsay - Teresa's handler. Not as dead-on as Rubel, but decent enough.
Miscellaneous dudes - General riff-raff, so nothing special, but notably none that scream "amateur!" One thing that grates on me to no end is having a wonderful dub interspersed by awful instances of "Villager C".
Extras, Commentary track: generally boring patting-each-other-on-the-back stuff. A couple interesting points, but not particularly worth the time.
Last edited by Kinematics; 2008-10-07 at 04:56.
|2008-10-07, 12:43
|Link #79
Let's play a game!
Join Date: Sep 2006
To be fair, I'm not comparing the two actresses in the review above. In terms of actual acting performance I'd say Christine Auten (VA for Teresa) does an excellent job, and is likely on par with Romi Paku. The problem is the choice of the performance given doesn't quite match the character I believe she should be presenting, and that's more of a directing issue.
|Thread Tools


text:
New York's First Osama Bin Laden Death Related Street Art
Photo by G.
This was now. This is the first Osama Bin Laden's death street art that I've come across (not withstanding the patriotic yahoos who took to the streets – who in and amongst themselves are certainly pieces of work).
Does it signify the exact time when so many future redneck babies of America were conceived?
Don't be so easily led, for your own sake!


text:
HAMBURG, Germany, July 15 (UPI) -- Daniel Brands won in straight sets Monday and advanced to a second-round match against top-seeded Roger Federer at the German Tennis Championships.
Brands defeated Paolo Lorenzi 7-5, 6-3 while losing 12 points over his 10 games serving. He was able to finish off three of his 10 break opportunities.
That put him in the second round and Federer, the world No. 5. It will be the first time the two have played each other. Federer and the other top 16 seeds had first-round byes in the tournament.
Dmitry Tursunov beat Pablo Andujar 6-7 (5-7), 7-6 (7-4), 6-2 in the only match Monday to go three sets. Tursunov ended up with six breaks, half of which came in the third set.
Tobias Kamke ran over Lukas Rosol 6-3, 6-0. He saved five break points in the first set and then took 72 percent of the second-set points, allowing Rosol just three points on serve.
Roberto Bautista-Agut topped Alexander Zverev 6-3, 6-2 and Florian Mayer stopped Nikolay Davydenko 6-1, 6-3 in other first-round matches. Also Monday, Albert Montanes got by Paul-Henri Mathieu 6-4, 6-4 and Jan Hajek rolled past Lukasz Kubot 6-3, 6-2.
The formal name of the tournament is the bet-at-home Open-German Tennis Championships.


text:
Wanted Fhh
Elchapo, in Falconry & Equipment
Recommended Posts
Recently Browsing 0 members
No registered users viewing this page.
Similar Content
By NeillNI
Looking to get back into it, and was wondering if there are any out there that wouldn't mind having company?
By saundo1977
Looking for 2 syndicate places for 2018/2019 season. Happy to travel around Staffordshire but anything around Staffordshire, Cheshire, Derbyshire, North Wales. 2 x very experienced shooters, really easy going and friendly. Just looking for a syndicate to get involved with to add to some driven days we do. Ideally all types of game and the ability to shoot during the summer months too.... but not essential.
or any rough shooting opportunities
By SammG
Good evening all,
Please find my details below, available at short notice. I have worked round farms/estates for years and am looking to secure permissions for rough shooting - a hobby of mine in and around Winchester/Hampshire, i´m willing to travel a little. Land has become hard to find, so am offering my services to those who can help open a few doors for me or help me with the right introductions. Young (32) Fit, skilled with my hands and not scared of a bit of hard work, trustworthy and intelligent. If you need a hand or a bit of labor fire me an email and i´ll respond asap. All the best, Sam email - firstname.lastname@example.com
By Ethan davies
Just wondering if any ones up for going out with the terriers or ferreting Im based in South Wales willing to travel or drive cheers
By MAIN MAN
looking to get one any out there for sale? gloucestershire


text:
Solar Freakin' Roadways Could Solve a Multitude of Problems and They're Totally Cool!
Everybody knows we've got lots of problems in this great nation of ours, like developing new sources of energy, improving infrastructure, creating jobs, reducing pollution and increasing safety on our highways.
What if someone developed a way to address all those problems, and then some? Would the technology get buried by big oil and other special interests? This video shows how a new way of using solar technology could go a long, long way in dealing with a whole lot of problems. We'd be crazy not to embrace this idea. It's simply amazing!
You tube


text:
Have any of you been diagnosed with either tethered cord or occult tethered cord, and have the symptom of persistent bottom pain?
I have a toddler, who is constantly in pain with her bottom (she explains "my hiney hurts" and points to her tailbone area).
We have been diagnosed (as best as possible) with OTC syndrome already...but I just wonder does anyone else experience this pain?
There seems to be nothing I can do for her, except give her tylenol which helps some it seems.
Carseat rides are torture, because she starts hurting, which leads to terrible tantrums (you can imagine the frustration).
(also, she has been diagnosed with Chiari Type 1 malformation since February, also has CCI and Basilar impression).
She has chronic constipation...however this is currently completely resolved. She has been on a laxative regularly.
Can ANYONE relate to this?? I guess I just want to make sure this symptom is bc/ of tethered cord...just to give it a 'reason'.
If so, is there anything you can do to help pain with car rides, or prolonged sitting?
Thank you for your advice/help.


text:
Allentown native Tim Heidecker is having a great year.
He recently finished up a successful tour with comedy partner Eric Wareheim and completed "Entertainment," a 2015 movie about a washed-up comedian (Gregg Turkington) attempting to revive his career with a series of gigs in the Mojave desert.
Michael Cera, John C. Reilly and Dean Stockwell co-star in the dramedy, which was directed by Rick Alverson, who also directed "The Comedy," in which Heidecker starred. "Entertainment" was written by Turkington, Alverson and Heidecker.
On the TV front, Heidecker and Wareheim recently unveiled the Adult Swim series "Tim and Eric's Bedtime...


text: USC was the strong, early leader for DL Poona Ford of Hilton Head, and while the Gamecocks are still very much in the hunt, at least three others have caught the fancy of the talented run stuffer. "I think there are still a lot of schools still in play," said his coach BJ Payne. "The top three he's listing are Tennessee, Ohio State and Louisville. A lot of people ask me does that mean South Carolina's out and I don't think so." USC visited Ford last Monday and Ford set plans to camp at USC. He will also camp at Ohio State and Tennessee and some other places according to his coach. USC was Ford's first major offer and that put the Gamecocks in the early lead. But exposure to these other programs has given Ford more options to consider. "I know when he went to Tennessee he really enjoyed their staff," Payne said. "I know he fell in love with their facilities. And he's always had Ohio State in his top five, even before Ohio State offered. He went to camp there last year. If you look at his top three or four schools, they've all produced multiple defensive linemen, very good defensive linemen. Ohio State, Tennessee, and South Carolina, those three schools are top of the line as far as defensive linemen." Arizona is another school Ford wants to see this summer. He has 25 offers but Payne says Ford has shrunk the list to eight and will get down to three after camps. Those eight are USC, Ohio State, Tennessee, Louisville, Arizona, Kansas State, NC State and Toledo. Payne said Florida could become a factor with an offer. Ford was going to wait until Signing Day for an announcement but his coach wants him to decide earlier than that so the schools that don't get him can recruit other defensive linemen. Payne would like him to decide before his senior season but he doesn't expect that. Ford has told him he wants to take some official visits and go from there.


text:
posted by Thom Holwerda on Tue 14th Feb 2006 17:32 UTC, submitted by jeanmarc
As one can already see by the activity of the mailing lists, Haiku seems to be moving forward in a serious pace. Studio-33 takes a look at the latest build (many screenshots included, boys and girls), and concludes: "I was pretty impressed by this build. Deskbar and espacially Tracker seemed much more stable and Haiku didn't crash every four or five minutes like previous builds I tested. Work on Haiku seems to go pretty fast lately and more and more pieces are getting finished. Offcourse Haiku still needs a lot of work to become somewhat useable, but it is definately going in the right direction."


text:
From teeming Times Square to an Asian capital hosting its first public New Year's Eve countdown in decades, the world looked to the start of 2013 with hope for renewal after a year of economic turmoil, searing violence and natural disasters. Fireworks, concerts and celebrations unfolded around the globe to ring in the new year and, for some, to wring out the old.
NEW YORK | From teeming Times Square to an Asian capital hosting its first public New Year's Eve countdown in decades, the world looked to the start of 2013 with hope for renewal after a year of economic turmoil, searing violence and natural disasters.
Fireworks, concerts and celebrations unfolded around the globe to ring in the new year and, for some, to wring out the old.
"With all the sadness in the country, we're looking for some good changes in 2013," Laura Concannon, of Hingham, Mass., said as she, her husband, Kevin, and his parents took in the scene in bustling Times Square on Monday.
A blocks-long line of bundled-up revelers with New Year's hats and sunglasses boasting "2013" formed hours before the first ball drop in decades without Dick Clark, who died in April and was to be honored with a tribute concert and his name printed on pieces of confetti.
Security in Times Square was tight, with a mass of uniformed police and plainclothes officers assigned to blend into the crowd. With police Commissioner Raymond Kelly proclaiming that Times Square would be the "safest place in the world on New Year's Eve," officers used barriers to prevent overcrowding and checkpoints to inspect vehicles, enforce a ban on alcohol and check handbags.
Elsewhere hours earlier, lavish fireworks displays lit up skylines in Sydney, Hong Kong and Shanghai. The United Arab Emirates city of Dubai then took up the baton with a spectacular display featuring multicolored fireworks dancing up and down the world's tallest building, the Burj Khalifa. In Russia, Moscow's iconic Red Square was filled with spectators as fireworks exploded near the Kremlin.
Organizers said about 90,000 people gathered in a large field Yangon, Myanmar, for their first chance to do what much of the world does every Dec. 31 — watch a countdown. The reformist government that took office last year in the country, long under military rule, threw its first public New Year's celebration in decades.
"We feel like we are in a different world," said Yu Thawda, a university student who went with three of her friends.
The atmosphere of celebration was muted in some places with concern.
Europe planned scaled-back festivities and street parties, the mood restrained — if hopeful — for a 2013 that is projected to be a sixth straight year of recession amid Greece's worst economic crisis since World War II. Hotels, clubs and other sites in New Delhi, the Indian capital, canceled festivities after the death of a rape victim on Saturday touched off days of mourning and reflection about women's safety. In the Philippines, where many are recovering from devastation from a recent typhoon, a health official danced to South Korean rapper Psy's "Gangnam Style" video in an effort to stop revelers from setting off huge illegal firecrackers, which maim and injure hundreds of Filipinos each year.
And even in Times Square, some revelers checked their cellphones to keep up with news of lawmakers' efforts to skirt the fiscal cliff combination of expiring tax cuts and across-the-board spending cuts that threatened to reverberate globally. And the elementary school massacre in Newtown, Conn., and Superstorm Sandy mingled into the memories of 2012.
"This has been a very eventful year, on many levels," Denise Norris said as she and her husband, the Rev. Urie Norris, surveyed the crowd seeking to jam Times Square for a countdown show with Ryan Seacrest as host and musical acts including Taylor Swift, Carly Rae Jepsen, Neon Trees, Flo Rida and Pitbull.
The Norrises usually spend New Year's Eve at the suburban Pittsburgh church where he's an associate pastor. But they'd booked a night at a Times Square hotel "just to experience this energy," she said. To her, that energy is a pulse of "putting behind the past and pressing ahead to the high calling."
About a block away, Army Sgt. Clint Evanoff waited in a black suit, red vest and red tie to get into Times Square with a couple of his friends from his unit at Fort Drum, N.Y. Evanoff, 20, is scheduled to leave for Afghanistan, his first deployment, in about two weeks.
Looking ahead to the new year, "I'm just hoping to make it back," he said.
Also in Times Square, Elvis Rivera, of Manhattan, was taking photos to capture the moment. He wasn't planning to ring in the new year there but went by to take pictures.
How did he feel about the end of 2012?
"Relieved," Rivera said, adding that there had been a death and job losses in his family last year.
His hopes for 2013?
"A better life" and more money, he said


text:
Mercedes-Benz Approved Used
Used, but not what you're used to.
With the latest models now available across the entire range, you wouldn't expect a used car to look like this.
Find your perfect Mercedes-Benz Approved Used on our Used Car Locator today:
Why Mercedes-Benz Approved Used?
Drive with confidence, knowing you're covered with the following complimentary benefits:
One year unlimited mileage warranty
No matter how many miles you travel, Mercedes-Benz has you covered every step of the way, including up to £100 per day (incl. VAT) towards a replacement vehicle during repairs.
Comprehensive multipoint check
Mercedes-Benz Certified Technicians check all Approved Used vehicles inside and out before you commit to buying.
Complimentary Roadside Assistance
12 months' free Roadside Assistance gives you 24/7 emergency breakdown and recovery wherever you are in the UK.
History and mileage checks
At Mercedes-Benz, we ensure all of our cars are independently checked and verified by Experian, HPI and The National Mileage Register, making your concerns a thing of the past.
Key Insurance
All Approved Used cars come with Key Insurance. If you are unfortunate enough to lose or damage your keys, a claim can be submitted to recover the cost of a replacement (T&Cs apply).
Complimentary cover
Enjoy 7 days' complimentary insurance cover when you purchase your new Approved Used Mercedes-Benz.
Service Cover
If your vehicle is due a service in the first 3,000 miles or 3 months of ownership (whichever comes first), we will happily cover the costs of the service.
MOT test failure cover
If your Approved Used Mercedes-Benz fails its next MOT, you're covered for the cost of replacing, repairing or altering parts (up to the purchase price of the car).
Take advantage of our other benefits and services
We pride ourselves on offering a range of additional benefits to our customers, making purchasing a Mercedes-Benz even easier.
Flexible finance
Whatever your lifestyle, trust in Mercedes-Benz to offer a range of packages, allowing you to spend less time worrying about the figures and more time on the road.
My Service
Know the full cost of your service from start to finish with My Service. No hidden costs. No extra charges. What's more, work is only ever carried out by certified Mercedes-Benz Technicians.
Motor insurance benefits
Comprehensive motor insurance includes 24/7 accident recovery and guaranteed repairs using Mercedes-Benz GenuineParts.
Used Car Locator
Latest Offers
Approved Used Programme
Discover the benefits and services here with the Mercedes-Benz Approved Used programme


text:
Monroe Library hosts presentation on historic newspapers
Subscribe to our Newsroom RSS feed | What is RSS?
Follow Loyola University New Orleans on Twitter
Loyola press release - October 1, 2012
The J. Edgar and Louise S. Monroe Library at Loyola University New Orleans hosts a presentation on the history and digitization of newspapers in Louisiana on Thursday, Oct. 11, 12:30 – 2 p.m. in Multimedia Room 2 of the library. It is free and open to the public.
Laura Charney, project manager of the Digitizing Louisiana Newspapers Project at LSU Libraries Special Collections, will lead the presentation about the project, part of the Library of Congress' Chronicling America program, which makes historic newspapers available online. The project provides access to more than 50 titles published between 1860-1922 in Louisiana, a total of 100,000 pages. Attendees will also learn about using the newspapers for teaching and research.
Started in 2009, the Digitizing Louisiana Newspapers Project was made possible by a grant from the National Digital Newspaper Program, a partnership between the National Endowment of the Humanities and the Library of Congress, which provides free access to United States newspapers.
For more information, contact Malia Willey at 504-864-7138 or email@example.com.
For the latest updates about Loyola University New Orleans, follow us on Twitter @LoyolaNOLANews or become a fan on Facebook at www.facebook.com/loyno.
LoyNews is an e-newswire produced by the Loyola University New Orleans Office of Public Affairs. LoyNews is distributed weekly to local, regional and national news media outlets, communicating the latest news and accomplishments of the university and its community.


text:
Contact Lens Care & Compliance
Hydrogen Peroxide Contact Lens Disinfection, Part 2
By Susan J. Gromacki, OD, MS, FAAO
In my May 2012 column, I discussed the mechanism of action and neutralization of ophthalmic hydrogen peroxide (H2O2). This month I will present additional information on H2O2 systems.
What's in the "Brown Bottle"?
Contact lens care system hydrogen peroxide is different from that found in "brown bottles" at a pharmacy or retail outlet. First of all, it is specifically cleared by the U.S. Food and Drug Administration (FDA) for ophthalmic use. The "brown bottle" peroxide is not micro-filtered, purified, or sterile. It may also contain heavy metals or stabilizers that are not suitable for ophthalmic use. Additionally, "brown bottle" peroxides may vary in percentage of hydrogen peroxide from bottle to bottle, do not provide a method for neutralization, and are hypotonic, which may cause lenses to bind to the cornea upon application. Furthermore, "brown bottle" H2O2 is not buffered and can have pH as low as 3.5, quite different from the pH of the tears (7.4 to 7.6).
Lastly, ophthalmic hydrogen peroxide may contain surfactants, which aid in the cleaning and comfort of contact lenses.
Specific Formulations
All of the currently available hydrogen peroxide-based systems in the United States are defined as "one-step": disinfection and neutralization occur simultaneously. In addition to AOSept (Alcon), the original one-step system, there are three distinct formulations (other labels do exist for some solutions, including the OcuSoft Lens Care System [Ocu-Soft], launched in April).
Clear Care (Alcon) combines a cleaner (Pluronic 17R4) and disinfectant (H2O2) in one bottle. With a five-second rinse, it is FDA-approved for no-rub. It has a six-hour neutralization period and is approved for seven days of storage. It is the only H2O2 system indicated by the FDA for silicone hydrogel lenses. Lastly, Clear Care is approved for use with GP lenses, with which a digital rubbing step is required.
Oxysept UltraCare (Abbott Medical Optics [AMO]) is the hydrogen peroxide component of a three-bottle system. AMO requires cleaning with a separately purchased daily cleaner and then rinsing with saline prior to placing lenses in the basket lens holder. An advantage to this system is the presence of a wetting agent (hydroxypropyl methylcellulose) in the neutralization tablet. It is recommended that lenses be placed directly onto the eyes in the morning so as not to rinse off the lubricant. The catalase tablet also includes cyanocobalamin (vitamin B12), which creates a pink hue just before total neutralization (six hours) to indicate that the tablet was placed into the solution. Maximum storage time is seven days. The package insert contains a contraindication with Illusions (tefilcon) lenses (Alcon), as it may cause lens damage.
Sauflon One-Step (Sauflon) contains a built-in cleaner and has no-rub approval with a five-second per side (20 seconds total) rinse prior to disinfection. It is the only one-bottle H2O2 system with a rewetting agent and is "Eyecare Professional Specific:" it is not available through retailers. This may aid in monitoring patient compliance with lens care. Neutralization with the catalytic disc takes six hours; storage time should not exceed 24 hours before re-disinfecting.
Peroxide System Case Care
For all of these systems, turning the lens case upside down can neutralize any remaining H2O2 on the inside of the cap. After removing the lenses, inverting the lens case with fresh, un-neutralized peroxide will disinfect the inside cap. CLS
For references, please visit www.clspectrum.com/references.asp and click on document #202.
|Dr. Gromacki is a diplomate in the American Academy of Optometry's Section on Cornea, Contact Lenses and Refractive Technologies and practices in Lutherville, Md.


text:
Milwaukee Art Museum Family Sunday for JCC Families
April 25, 2013
By Stacy Mitchell, Gan Ami Curriculum & Staff Development Director
The next few week marks an exciting opportunity for us to work through the artistic process with our Gan Ami Preschool children and Kid Center after school program – with the culmination featuring their art work will on display at the Milwaukee Art Museum on May 19th. All JCC families and staff will receive free admission between 10 am - 4 pm on this day explore the Art Museum, create projects, and see their art work on display (professionally hung by the museum's education team!)
In addition to their individual art pieces, Gan Ami and Kids Center are excited to work together on one collaborative piece which focuses on the theme of "Around the World". This project will bridge our early childhood programs and our school age programs and allow all our students the opportunity to work side by side, creating masterpieces and building relationships throughout the JCC community.
We will incorporate a number of our Jewish values into this project, including:
D'rash - inquiry, interpretation or transmission
Hit'orerut - awe, awakening and gratitude
B'tzelem Elohim - divine image, we are all made in the image of G-d.
How does this artistic pricess incorporate our values? What are the children learning from this experience that can be found in these basic human values? These questions will be answered throughout the next few weeks as we create an experience which is a beautiful example of our Jewish identity. We can see, regardless of our traditions, the strong connection between these values and the art that we create.
The JCC has an amazing partnership with the Milwaukee Art Museum and this is the perfect way to continue our work together. We are so thrilled to see what we create as a community, a kehillah. Please join us at the Milwaukee Art Museum on Sunday May 19th from 10 a.m. to 4 p.m. for the Kohl's Art Generation Family Sunday. Simply mention that you are with the JCC and you'll receive free admission all day. In addition to being able to view the exhibits, there will be child-friendly art projects at stations throughout the museum and other multi-cultural fine art performances. You'll kvell over your child's masterpiece and know that the JCC is providing exceptional opportunities for our family of members to explore, learn, and create.


text:
A friend and I were talking last night (also a .Net member) about the longevity of our companies and the issue of .Net popped up.
The question he asked me was "How many more years does .Net have left in her"?
After going over the matter, the answer was pretty complex I felt It comes down to 7 options.
1) The internet/Seahawks for some reason no longer exist.
2) Someone buys it, just to shut it down (Happens all the time in business)
3) Some smart person who has plenty of time gets pissed and trolls it (with 100ish memberships using 100ish different PCs) until no one wants to be here.
4) People get bored with it and .Net drys out
5) Lack of funds to operate.
6) .Net changes websites again
7) Some odd government takeover of websites (Example...China)
Every member and their dog will say ".Net will last forever" but that is not realistic.
Due to history I am thinking a website change could be the answer, in 10 years.
So how many more years do you think .Net has and how will it be brought down?


text:
Barber Motorsports Park
Posted 19 October 2007 - 08:41 PM
(We needed a LOT of gas stops: my brother's VTR1000 only carries 3 gallons!)
Anyway, we rode a bit north, then west to get behind the storm front. Very hard rain for the first hour or so, then drizzly for a couple more, then it cleared up nicely.
We took back roads up through Selma, Camden, etc, I don't even know the exact route, I was just following Steve. We approached Birmingham, and he wanted to show me his favorite road here, SR 25. We took it north, I'm taking it easy, he's playing in spurts and then waiting for me. On the way back south, I was collected by the turn they call The Collector.
For some reason known only to God and the governor of Alabama the shoulder of this road is "paved" with gravel. Of course, this gravel washes down onto the surface when it rains, and it had rained hard several hours before we got there. First pass was the inside lane, but the second was the outside.
OK, Basic Rider Course review:
What is the biggest factor in single-vehicle motorcycle accidents?
Failure to negotiate a curve.
Why was the curve not negotiated?
Eyeballs going the wrong direction.
Back to our story: I was OK in the turn, nearly through it actually, when I saw the gravel. In my mind I'm thinking, "Gee, I need to not go there," but I couldn't look away. Front wheel lost grip and I low-sided hard on the left side, at about 10 miles an hour.
I clearly remember my face hitting the ground, and feeling the bump on the bony part of my hip. My Right thumbnail was torn off about halfway down on the left and halfway across, the top corner, in other words. Glove was not torn. My thumb was jammed, too, as evidenced by the 1/8-inch round bruise on the end of it which appeared today (day after the crash.) Throttle work is difficult and not precise as I would like, as my grip suffers. (Yay cruise control!)
What I do not remember is apparently cushioning the bike with my left ankle, which is sprained, but not broken. My boot has a pinch mark just above the ankle protector, and my foot is black and blue and swollen.
I slid maybe 5 feet. My rain suit is toast, or maybe nothing a bit of duct tape can't handle. My jacket has a very small scrape on my elbow, exactly on the armor. My helmet and face shield are scraped but good. I have no rash, but there's a mark on each kneecap and a bruise on my left hip. There's a set of tiny marks on my left forehead.
Somebody called 911 and every EMT for 3 counties came to work it. My brother says a rider down on this road was reported on the floribama riders forum, and I think it was me. Anyway, I was feeling bad, sick from the adrenaline, and not having eaten more than a snack for 6 hours. They had me lie in the grass and fed me oxygen, which was fun. When I sat up, I got light-headed, and they started talking flashy-bus ride. No, I said I'm OK. They asked me all the brain questions, which I passed. Once they let me stand up, I was actually better than sitting up. Probably just couldn't breathe with my gut folded up.
The bike ended up against the guard rail, with the front wheel under the rail. It was jammed so that the front wheel behind it was higher than the bottom of the rail, and it took four guys to get the bike out. It has some scrapes, a folded slider and a folded Wild Bill peg (which I just got, damnit!!!) and the left mirror was bent down. Otherwise fine, ridable, my brother rode it off the road.
The plan was for my brother to continue to the friend's house we were staying at and return with a car and an extra body, drive me home and he'd ride my bike home. Friend is not to be found.
The man who lives at that corner (Charles) invited me in to watch the Rutgers/USF game, and we had a nice chat about things for the 90 minutes it took my brother to decide no help was to be found and to return. By this time I was feeling OK, no more adrenaline, and we decided I could ride home. We stopped for supper (STILL hadn't eaten) and went home.
I took a shower and went to bed.
Today we did what we came to do, work a corner station at the historics. I got some pics I'll post when I can, but I don't have time to dick with that right now, everything's nearly dead and needs recharging. Just let me say that this is some cool stuff, and some very cool old bikes. Pictures coming, I promise, but probably not till Mon or Tue.
Anybody in the area, come to the track. My bike will be parked in the paddock immediately behind the main building on the front straight. Leave a note, put new parts on, whatever you like. PM me for a phone if you like.
Today after the racing, we visited 29 Dreams motorcycle resort, on Hwy 25, went through The Collector southbound safely, easily. Had a decent barbecue pork sandwich. There was a BMW there that I think had an Iron Butt tag frame, but he was leaving and I didn't get to chat.
More racing tomorrow and Sunday, and a LONG ride home Sunday night, back to the ol' grind Monday.
Pictures then, I promise, but first, witness my new sig graphic:
Posted 20 October 2007 - 04:50 AM
Posted 20 October 2007 - 06:36 AM
Sorry to hear about that get off. If you need anything in town, I'm about 45 min away from track/29dreams.
pming with my contact info.
"Win if you can, Lose if you must, But ALWAYS cheat" - Jesse THE GOVNA Ventura
"If you POKE it, You Own It" - Man Law
Just because you've always done it that way, doesn't mean you've been doing it correctly, just go ask your wife!
Posted 20 October 2007 - 06:38 AM
Pavement surfing is no fun.
Posted 20 October 2007 - 10:25 AM
RIP, Don Stanley.
Posted 20 October 2007 - 04:46 PM
Ankle is sore, thumb hurts, bike runs great, and old bikes on a racetrack is just effing kewl!!!!
They had a Century race today, bikes no later than 1907. 5 bikes ran, all but one finished their single lap. Pics of those too, any day now. Riders were in period clothes, too.
Posted 20 October 2007 - 08:16 PM
There were, however 2 sheriffs and a trooper sitting at the post office a 1/2 mile from 29 dreams. Also a sheriff at the bottom of 25 sitting in the Vincent school parking lot.
I ran into a GA contengent at 29 dreams. An 04 and an 85 fj1100, who also owns an 04.
Have a safe trip back everyone.
"Win if you can, Lose if you must, But ALWAYS cheat" - Jesse THE GOVNA Ventura
"If you POKE it, You Own It" - Man Law
Just because you've always done it that way, doesn't mean you've been doing it correctly, just go ask your wife!
Posted 20 October 2007 - 09:33 PM
2006 Suzuki C50C
1979 Yamaha 650 Special
1973 Yamaha 80
Posted 21 October 2007 - 10:48 PM
Had a drizzle about a half hour south of Montgomery, stopped to check the weather on my new connected phone, and saw it was raining at home. My shoes got wet, but not much else, stayed at speed behind the windshield. (Couldn't get my boots on when we left Barber.)
See, this really sucked, because guess what I was wearing in The Collector, and which now had gravel gouges on the pants leg and left sleeve and shoulder? I almost threw my rain suit away, but then realized that Progressive might need to see it to be satisfied that it was actually destroyed. I figure it's better than nothin', so I dug it out and installed it upon myself. Also was able to get my boots on, no trouble at all. (Must be hours of sitting instead of standing, or something.)
Of course, I saw not another drop all the way home!!! Would have been a monsoon if I hadn't donned it, though, that's just how it is for me.
Anyway, I'm home, bike is unloaded, dog doesn't remember me, wife is at work, stepdaughter is asleep, so you guys are all I have right now. . . . [sniff]
BTW, total mileage for the trip, including where we stayed to track and back 3 times, was a bit over 850 miles.
Teaser set of pics: Way more to come, probably as a link to hosting site. Took digitals today until the card filled up but haven't looked at (much less edited) them yet, and haven't processed the 5 rolls of film yet. These are some of Saturday's shots, and a couple from the crash scene.
Couple shots of the bike. I was able to bend the mirror back up last night to be able to use it correctly and safely coming home, and I was also able to flatten the bent Will Bill bracket. The peg has lost its spring lock so it won't stay up, but it's usable anyway! Stator cover took a scrape on the bottom, despite the slider saving the YAMAHA logo, and both main fairings took a hit from the wedging action under the armco.
Guard rail did this:
A fine lid, if'n ah says so m'self: HJC AC-12. Had absolutely no head pain, no impact feel, no headache, no crossed eyes, no stars. Fits like it was molded to me, and liners removable for laundering.
At this turn, there's a smaller road that runs out from the "point" of the hairpin, goes to a couple of houses, I think. That's the pavement you see outside the white line. The good pavement doesn't go very far onto that road, which is a hard surface, but it's like gravel-embedded pavement, if you know what I mean. It's paved, but washes down into 25, and I think some of its mess is what got me (other than being look-there-go-there stupid.) Picture is out of focus, I think motion blur from slow shutter, it was getting dark. My brother did the camera work, I was occupied. The dent in the rail is not mine. The bike ended up between the 3rd and 4th posts from the right, the gap the black slider mark leads to.
Other blurry shot is responders. They got a 911 call for "motorcycle wreck" and were looking for the worst. I hope they were happy to be disappointed. The road in this pic is the one that comes off the hairpin. The house is the one I stayed at waiting for a ride home that never happened, where Charles (mentioned in my first post above) lives. Again, he was extremely hospitable, we enjoyed the game for a while, and I just can't say enough about how well he treated me and my brother.
Gross pictures of self-parts taken Friday, 24 hours post-boom. That yuckie edge of my thumbnail is actually missing, like ground away, broken off, whatever. It throbs sometimes. My glove has a scuff mark, but is not torn. And how about that dot-bruise on the end?
Ankle after bike attempted to crush it:
Now for what everybody really wants - old bikes: First a few from a lunch-time [slow] paddock walk:
Not all the bikes were "ancient." they had 80's and 90's GP bikes of 125, 250, 350, and 500 cc, and some Superbikes.
My brother told me that the guy running this bike is the same guy that ran it at Daytona when it was new - on the sand!
And on track, from our corner stations on Friday and Saturday. The camera is a Sony point-and-shoot, capable of 5 megapix but I shot at 3 to save memory, and these are cropped from those shots. (Only 3x zoom.)
Interesting groupings, huh? These bikes ran together, but not against each other:
Posted 22 October 2007 - 04:14 PM
RIP, Don Stanley.
Posted 24 October 2007 - 03:10 PM
FWIW, these came from the CD provided by Walgreen's. I asked for CD, no prints, so their machine did all the scanning for me. I'm gonna scan a couple of the negatives myself to see if they're really that bad. but for now, here's a sampling.
Got to my bike after another paddock walk and found this beast parked next to mine. Check out that front suspension!
This sidecar only ran one session, but it was the only non-BMW sidecar entry at the event. It's the only one I found in the paddock, though, with the other levels out of range of my gimping gait.
For bigger (and more) pics, Click ME! What pics I've cropped and fixed are on this link, as of this post only about 1 in 5 of what I shot has been posted there. Working on it!!
Posted 24 October 2007 - 03:50 PM
and got off at exit 228 then took 25 all the way to Barber. Great ride. Stopped in 29D, had lunch then proceeded to Barber. I was suppossed to work a
morning shift but the WX canxed that plan. The volunteer coordinator at the museum gave me a free museum pass anyway (great gal). The event was a
blast, I camped out Sat (despite the massive flu symptoms I was having) and left @ noon Sunday. I also saw "the collector" but I was trailing 2 Victory
cruisers and taking it easy. The gravel was very evident and I'm glad for the reduced speed. Ride Safe.
Posted 25 October 2007 - 04:39 AM
Posted 26 October 2007 - 09:07 PM
I wonder which weighs more, the bike or the rider? (at 270, I can talk how I like about somebody's weight!)
A couple of CBXs ran. I have always loved this bike, but I've never seen one run in competition. If you've never heard one of these running in anger, I can only say that it is a wonderful sound! Just lookit all dem pipes!!!!
So how much does it cost to lean one of those bimmers just a bit too far???
Honda CB400, I think. I first saw this bike in, of all places, the PS2 game Tourist Trophy. I love the pipes all going to the right side.
The color of this one doesn't come out digitally - it was a luscious candy color.
A panoramic I made by stitching 4 or 5 frames on the PC. This was late Saturday, from station 13 at the SW end of the track, my brother's ugly but recognizable (and known to the crew) headgear.
Your mother was right: motorcycles are the work of the devil, and his beast races them! He even wears a scarlett hat!
(Scarlett is corner-worker talk for red - you're not allowed to say red except for the flag.)
This rider is Rob McClendon from Pensacola. My brother is aquainted with him, and he's apparently pretty good at his little motorcycle hobby. He ran several bikes this weekend.
Here he's seen my brother with the camera (and hat) and gave a little wave on his way to a win.
He was on this bike (I think it's a 750, going by my brother's rambling preaching) in second place for most of one particular race, just about able to keep up with a street Ducatti 1-liter twin, which had lights and mirrors on it (taped up.) The Duke pulled into the pits on the final lap, being a non-member, did not want to take trophies from anyone. Rob went on for the win.
We were told that the guest rider he almost caught on the bigger (albeit street) bike was Doug Polen!! My Man was riding with Doug Polen!!!
As for my own bike, I have to say that Progressive ROCKS!!!!! Adjuster came and looked at it Tuesday, cut me a check on Wednesday. Upper and lower fairing both sides, front fender, stator cover and gasket, left mirror, windshield, left bag. (He mentioned that the bag may no longer be available - waiting to see what University has to say.) Also paid from my receipts and Paypal history for my helmet, gloves, rain suit, boots, sliders, and bar ends. (I didn't even see, or care about, the bar end scuff.) He literally went all over the bike looking for stuff to pay me for.
He wanted to include my jacket, but being afraid I'd have to give it to him I declined. It has a scuff on the elbow, no torn stitches, and the shoulder blow was exactly on the external hard pad of the jacket, minor scuff there. They used the local stealer for a price reference (heh-heh) and I called University Motors for my order. I told him clearly since it was only plastic, the bike wasn't going in, and the check still had payment for labor. I'm getting paid to fix my bike!!!!
Slider ALMOST saved the left side lower fairing, some deep gouges right on the bottom. If it hadn't bent, it would have saved the stator cover. Again, just the bottom of it rashed. The upper left plastic was torn open, and both right side pieces, the windshield and the fender took licks from the bottom of the armco. I was able to pound the Wild Bill peg bracket flat, and used it on the ride home comfortably.
Posted 05 November 2007 - 09:30 PM
IBA 21684 FarRider #4 Also known as David1300
2008 FJR (Now departed - 2001 FJR Australia) 2008 FJRA (USA) 2009 FZ1 (Australia)
I may die in an accident but I will never die by accident
Posted 15 November 2007 - 10:16 PM
Nice pics from Barbers.


text:
You have no items in your shopping cart.
Call Us
(877) 462-6700
(760) 208-6500
Don't want to call?
Service Questions
Visit our Questions and Answers page
Air Storage Systems from Amron International a premier manufacturer and stocking distributor for brand name commercial diving equipment.
2 Item(s)
View as:
Currently Shopping by:
Shopping Options
Did you know?
Give us feedback


text:
Bovine IL-21 ELISA
This Kit is for research use only. Not for diagnostic or therapeutic procedures.
The kit uses a sandwich ELISA format to quantify the target cytokine between two layers of antibodies (i.e. capture and detection antibody). The cytokine to be measured contains at least two antigenic epitope capable of binding to antibody, since at least two antibodies act in the sandwich. The advantage of Sandwich ELISA is that the sample does not have to be purified before analysis, and the assay can be very sensitive upto pg/ml levels (more sensitive than direct or indirect ELISA). A highly efficient blocking and stabilizing proprietary solution is used in the kit. All KRISHGEN cytokine ELISA kits are optimized to give the best possible noise:signal ratios.
KRISHGEN BIOSYSTEMS is a leading manufacturer of immunoassay kits including ELISA. KRISHGEN has over 200 publications and citations to its credit which speaks of its quality and accuracy. Leaders in many areas of research, ELISAs manufactured by KRISHGEN are used for quality research and reproduceability at competitive prices. Diverse product range includes ELISA for diagnostics, cytokines, biopharmaceuticals, HCP, downstream contamination, PK studies for Mabs, immunogenicity, vaccine, animal health testing, plant pathology, GMO and food safety.
Additional information
|Pack Size
ELISA 96 wells
The product has not yet been referenced specifically in any publications.
Publishing research using this product? Please let us know so that we can cite the reference for this product.
Our Inside Sales Team is available to assist, should a problem arise with your order. Please inspect your packages/goods immediately upon receipt and notify us promptly of any damage or discrepancies. Should an item be shipped to you incorrectly, as the result of an error on our part, we will take quick and appropriate action to correct the problem.
Before returning any reagents or goods, please contact us to obtain an authorization and shipping instructions. A return authorization will ensure the safe and proper handling of material and enable us to expedite a resolution. Items returned without prior authorization may not be accepted. Kindly note for certain specific products like primary cell lines, hepatocytes, microsomes, tissues where the storage is below -20°C, we reserve the right not to accept any returns. Shipment of authorized returns should be made within 3 days of confirmation received from us.
We will do our best to fulfil requests to return material. However, in order to maintain the quality of our products and continue to provide competitive prices, certain items may not be returned. These items include: diagnostic reagents; refrigerated or frozen products; reagents and standards which have passed their expiration dates; custom products or special offers; products missing labels, parts, or instruction manuals; and books, computer software and equipment removed from their original packaging. Returns accepted for items ordered in error may be subject to a 30% processing fee and all returns must be returned within 10 days of purchase.


text:
A Fiddler's Tale
by Louis Kaufman with Annette Kaufman
The sweet violin voice of more than 400 golden-age film scores shares his memories
From Kaufman, Louis, with Annette Kaufman. A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me. Copyright 2003. Reprinted by permission of The University of Wisconsin Press.
In the 1930s and '40s, violinist Louis Kaufman served as concertmaster for hundreds of classic American movie scores, lending his uniquely expressive musicianship to virtually every violin solo from films of that period: Gone with the Wind, Casablanca, and The Grapes of Wrath are just a handful of the most famous.
Arriving in Los Angeles in 1934, Kaufman and his wife Annette, a pianist, got their first break performing a weekly fifteen-minute radio recital. Their efforts soon caught the ear of an influential film director, and immediately Louis Kaufman was playing solos created by the legends of film-scoring history. As radio personality Jim Svejda notes in his introduction to A Fiddler's Tale--the memoir from which these excerpts are drawn--"If one were to judge solely on the basis of how many people actually heard his playing, then Louis Kaufman should be the most famous violinist who ever lived...It was Louis Kaufman, perhaps more than any other single performer, who gave American film music its voice."
After fourteen years in Hollywood, Kaufman moved on to a successful concert career. He was among the first violinists to rediscover the concertos of Vivaldi; premiered works by Copland, Milhaud, and Martinu; and made the premiere recording of Barber's Violin Concerto. Along the way, he set down his memoirs with Annette's help. In them he recounted lively details of the personalities and working methods of Hollywood's greatest composers and directors. Kaufman died in 1994. A Fiddler's Tale was published in August of this year by The University of Wisconsin Press.
Word traveled fast in the film-music industry that I was capable, adaptable, and dependable. For about fourteen years, I recorded film scores for Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Erich Wolfgang Korngold, Victor Young, Roy Webb, Hugo Friedhofer, and others. With this work I juggled yearly solo recitals in Los Angeles and Pacific Coast cities, and from 1938 on annual recitals at New York's Town Hall. Annette and I prepared new concert programs each year, which we played in transcontinental tours during March and April, the studio's quiet time.
Max Steiner, a most charming and witty Viennese composer-conductor, had arrived in Hollywood in 1929, after success in English theaters, often under pseudonyms. He requested me for one of his first RKO scores, The Life of Vergie Minters, then for his compelling, Oscar-winning score for John Ford's masterpiece, The Informer.
Max, an extraordinarily gifted composer, created film music which intertwined thematic cues for actors, their moods and motivation, in rather Wagnerian fashion, manipulating his beautiful Lehár-inspired melodies to great effect. I always enjoyed working with him. He was invariably polite and good-natured, exceedingly meticulous, and knew exactly what orchestral color fitted each scene. Time pressures did not permit him to orchestrate, so he carefully prepared notes for orchestrators. If they did not achieve the effects that Max envisioned, he would call out corrections on the recording stage, such as "Woodwinds play at bar B to D, horns tacet." Or "Flutes play that phrase instead of oboes." Orchestrators and copyists on the set hurriedly copied out parts for waiting players.
Among the Steiner scores I played were The Gay Divorcee and Shall We Dance with Fred Astaire, I Dream Too Much (featuring operatic solos by soprano Lily Pons), and a daring score for She, from H. Rider Haggard's fantastic novel about an Egyptian princess, eternally young for centuries, discovered by a young archeologist. Max's exotic, inventive music enhanced that sci-fi "hocus-pocus." I played solos in Max's scores for The Treasure of the Sierra Madre and his Oscar-winning Since You Went Away.
Another unforgettable Steiner score I played at RKO, the first version of Of Human Bondage, dramatically demonstrated how skillfully Max saved that film: RKO had previewed the film, starring British actor Leslie Howard and a young Bette Davis, without a musical score; technicians fitted it with prerecorded sound tracks. A complete disaster! Each time Miss Davis raged at lame Mr. Howard, the audience roared with laughter. It was impossible to sympathize with the actors' plight, and the audience left with a total misunderstanding of Maugham's tale. The producers, foreseeing box office disaster, called Max, who composed a remarkable, psychologically poignant score that placed audiences in an emotional vise. The film won outstanding success, stardom for Miss Davis, and artistic recognition for Mr. Howard and Mr. Maugham.
Other outstanding Steiner scores I played included Selznick's A Star Is Born (with Fredric March and Janet Gaynor), The Charge of the Light Brigade, Now, Voyager, Casablanca, The Life of Emile Zola, and Intermezzo (which introduced Ingrid Bergman to Hollywood, with Leslie Howard as the concert violinist). I was concertmaster and soloist for the entire score, while Toscha Seidel was engaged to record the theme used for the main and end titles. Miss Bergman was shown listening to that theme in an emotionally charged scene. What a challenge for me to try to match Toscha's unusually beautiful sound! Max's great musical gifts made all these films unforgettable. I still remember many of his inspired themes. He had a delicious sense of humor, once commenting on the behavior of some Hollywood character, "He is every other inch a gentleman."
One Sunday morning, Max called unexpectedly. "Louis, are you free today?" "Yes, Max." "Come right over with your violin. I have some themes to submit to Selznick for Gone with the Wind. He wants to hear them. It's not very interesting with just piano." Annette and I drove to Max's home, where he had set up a small recording machine. Max and I tried out and played over the themes for Scarlett, Rhett, Melanie, Tara, etc. Selznick enthusiastically approved these samples. I recorded this poignant score with Max and consider it a historical achievement in film music. Even today, excerpts of Max's compelling score are widely recorded.
Alfred Newman came to California from New England. He was an excellent conductor and accomplished pianist. Alfred conducted Gershwin musicals on Broadway while in his teens. Fritz Reiner thought that young Alfred might achieve a career as a symphony conductor. Alfred was the sole support of his mother, two sisters, and three brothers (Papa Newman had abandoned the family). He was always interested in the finest possible performance of his scores and his orchestra and music were of virtuoso quality.
Among many of his scores I played in were Dodsworth (for one scene I performed Debussy's "La fille aux cheveux de lin" as a violin solo with staff pianist Urban Thielmann; visually the music floated across a lake) and Wuthering Heights. Alfred was so pleased with my solos for that score, virtually a nonstop series of solos, with occasional obbligatos by cellist Nicolas Lhevienne, that he expressed his appreciation by paying us triple scale. I also played orchestral solos for They Shall Have Music, which featured Jascha Heifetz playing a concert to benefit a neighborhood music school, and for The Rains Came and Stella Dallas.
We Live Again, a version of Tolstoy's Resurrection, directed by Rouben Mamoulian, was an epic Goldwyn chose to launch the ill-fated Russian actress Anna Sten, hoping she would become another Garbo. The film's climax was a Russian Easter service composed by Newman for orchestra, chorus, and solo soprano, sung by an enormous Russian coloratura, Nina Koshetz. (Mamoulian told me that Koshetz, who was thin and glamorous in Russia, attracted Sergey Rachmaninoff, who occasionally played her piano accompaniments.) It was tonally overwhelming--Madame Koshetz's beautiful soprano soaring over a splendid chorus and orchestral performance under Newman's masterly baton. Ecstatic praise from Mamoulian immediately brought Goldwyn to the set.
Due to the sound engineer's inattention (his wife was in labor and he called the hospital at every break), the Easter service emerged in reverse from the loudspeakers. The entire orchestra, Newman, and Madame Koshetz, realizing the engineer's error, remained frozen in silence as Goldwyn enthusiastically declared, "It's the greatest thing I've ever heard!" But even the glorious recording (played in proper sequence) could not save that film and star from disaster! Alfred, who always spoke in the English manner of Ronald Colman, stated, "We can dress up a corpse but we can't make it live!"
Among other Newman scores I played were The Little Foxes (Alfred conducted Meredith Willson's score), These Three (based on Lillian Hellman's play The Children's Hour), Captain from Castile, Dark Victory, Foreign Correspondent, Blood and Sand, and The Greatest Story Ever Told. I also played in Alfred's scores for Young Mr. Lincoln and Gentleman's Agreement.
For The Hunchback of Notre Dame Alfred had the collaboration of Robert Russell Bennett and Ernst Toch. Toch composed a vivid contrapuntal sequence underlining Charles Laughton's (the hunchback) vertiginous climb to the great cathedral's tower. Newman, delighted with this exciting sequence, achieved an impressive performance, stressing Laughton's extreme anxiety and fear. At a preview, Laughton, outraged that his groans and grunts for this scene were obscured, demanded the music be eliminated. Later when Annette and I saw the film, we were dismayed that the silent climb, except for Laughton's groans, was so completely ineffective without the music.
When Arnold Schoenberg arrived in Hollywood, Newman briefly studied composition with him. It became fashionable to study with this great master. For a limited period, he had such unlikely pupils as orchestrator Edward Powell, composer David Raksin (I played in Raksin's score for Laura), and acid-tongued pianist Oscar Levant. The Schoenbergs lived in our area. He taught composition at nearby UCLA, and Annette and I often encountered them while shopping for groceries or at our bank, and we would briefly discuss his music.
Alfred asked me to organize a string group to perform Schoenberg's sextet Verklärte Nacht when the Schoenbergs attended our next chamber music soirée at Newman's Beverly Hills home. We worked assiduously to prepare the work as we assumed it would please the composer. To my surprise, when we finished, Schoenberg approached me and said, "Let yourself go. Be more free, Kaufman, play it more romantically!"
I played for Newman's scores for Charles Chaplin's Modern Times, his French satire, Monsieur Verdoux, and The Great Dictator. Chaplin supervised every detail of his masterpieces, creating little tunes and perfect themes for his films, as well as simulated languages for French or Italian. In Modern Times, Newman usually agreed with Chaplin's suggestions; however, for one sequence where Chaplin described to the girl, Paulette Goddard, what their future dream house would be, he wanted the music "Mickey Moused" for laughs.
Alfred insisted this would destroy the mood of the dream and convinced Chaplin to accept a lyric passage. Alfred placed me with muted violin very close to a microphone, separated from the orchestra by a large screen for greater clarity, which permitted the muted violin to soar over the orchestral texture. He used this device for many solo passages in this score. Chaplin, who knew how to play violin backwards, fingering with the right hand, was delighted with the results. I greatly enjoyed my rare encounters with that unique film genius.
Franz Waxman arrived from Germany's Universum Film AG films, after being brutally attacked by Nazi thugs. Waxman fled Berlin in 1933, with his wife, Alice. After a brief Paris sojourn, they reached Los Angeles in 1935, where they made a large contribution to the city's musical life. Franz saved his father and mother from the Holocaust, bringing them to Hollywood, somewhat reluctantly on their part, as they so loved their fatherland.
I played in Franz's first American score, Bride of Frankenstein, a seminal work which influenced many later horror-film composers. There were many solos in his MGM score for Boom Town. Other effective Waxman scores I played in were Suspicion, Rebecca, and Magnificent Obsession, where he introduced the theremin to film music, which added an ominous intensity to the plot. Clara Rockmore, who had been a colleague of mine in Kniesel's class, became devoted to popularizing this eerie-sounding instrument.
For Sayonara, Franz wanted an exotic sonority for the Japanese American love story. I suggested a muted viola, and then recorded solos on my small French viola, which provided the desired color. In Franz's score for To Have and Have Not, the film that introduced Lauren Bacall (supposed to be a singer--a Hollywood convention of that period, everybody sang), I softly played a "sweetener track" close to her ear to keep her on pitch. I frequently recorded such inaudible "sweeteners" at Fox for Sonja Henie's singing during her film career. Her skating expertise was not matched by a tonal sense. However, she had a great eye for painting and collected a splendid group of French modern masterpieces, now the core collection of a museum in her native Norway.
Annette and I spent many pleasant evenings with Franz and Alice at their Hollywood hillside home or ours. Sometimes we played music together, discussing art, music, composers, and conductors. A mutual pleasure was listening to Toscanini's and Koussevitzky's symphonic programs, broadcast nationally each week. Koussevitzky's innovative programs introduced works of Sibelius, Britten, Martinu, Bart—k, Copland, Roussel, etc. Toscanini's performances of traditional symphonic and operatic great works were infinitely superior to what was generally heard in America and Europe. We still remember his thrilling performance of Verdi's Requiem, then rarely heard.
We admired Franz's unflagging devotion to classic music. He founded (and partly funded) the Los Angeles Music Festival, which presented unusual modern and classical repertoire at UCLA's Royce Hall for many years. He was the only conductor to program major Stravinsky works during that composer's residence in Beverly Hills, while the Los Angeles Philharmonic virtually ignored his compositions. I vividly remember Franz's eloquent and stirring performance of Stravinsky's Oedipus Rex.
In spring 1952, Franz invited me to play and conduct baroque concerti of Bach, Bonporti, Telemann, and Vivaldi with a chamber orchestra, which received gratifying praise from the audience and press.
Franz had most unusual courage and integrity in his personal and musical life. He composed excellent concert music and used a baton expertly. His masterly orchestrations were influenced by Mahler, then unfamiliar to most musicians. He was invariably pleasant and polite to musicians and colleagues, and his scores were always interesting to play. Our friendship continued in Europe and America (he conducted in the Soviet Union and Israel), until the premature death of Alice from cancer, followed a few years later by Franz, who suffered from the same malady.
Orson Welles's masterpiece Citizen Kane, with Bernard Herrmann's innovative score, greatly impressed Annette and me, so I was especially pleased to meet and work with Herrmann, an enthusiastic young conductor, on his score for Welles's next film, The Magnificent Ambersons. A highlight of the score was a nine-minute violin solo with only woodwind accompaniment to underline Richard Bennett's long soliloquy about the Ambersons' decline, which we recorded in one take. (However, later the scene and its music were eliminated, and the film was dramatically cut and given a "happy ending." Herrmann protested this mutilation of his score by removing his name from the screen credits. Roy Webb was hired to patch up a musical conclusion to close this botched production.)
After that first encounter, I reported to Annette how stimulating the day's session had been and how fascinating Bernard's comments about music, composers, and conductors had been during orchestral breaks. About 10 p.m. that evening, Bernard was walking in our neighborhood (he had rented a house nearby) and observed our lights on. He knocked at the door and entered to say how very pleased he was with my performance of the long solo (he, too, played violin). Attracted by our paintings, sculptures, and books, he became engrossed in speaking about music, art, and books, only departing about 2 a.m. We were equally entranced by his conversation and thoughts about the vast universe. He mused, "Imagine an ant in this living roomÉcould it envisage the size of your house with many rooms, on a block with several houses, in a city containing hundreds of thousands of buildings, the extent of Los Angeles County, the state of California, the entire United States, Canada, Mexico, Latin and South America, the Pacific and Atlantic Oceans, Asia, Africa, and Europe?" Benny continued, "Whenever I am annoyed that some music isn't well played, I think of the universe's infinity and how insignificant such matters are!"
We became close friends of Benny and his wife, the screenwriter Lucille Fletcher, and admired their adorable little girl Dorothy (Taffy) and baby Wendy, who arrived a year later. With Lucille and Benny we browsed in bookstores and visited the Huntington Library and Art Collections. The museum's impressive collection of English paintings delighted Bernard and Lucille, who greatly loved England and its arts. They introduced us to the delights of travel, painting, and musical books of the Sitwells.
Bernard became obsessed with composing an opera based on Emily Brontë's Wuthering Heights, and over many years would perform excerpts for us, playing on a small rented upright piano, and singing all the roles in his hoarse, cracked smoker's voice. Lucille had created a libretto using Bront''s own words as much as possible. Benny couldn't bear the idea of any cuts being made in the completed work, so he refused several opportunities for its production, including one with Julius Rudel conducting the New York City Opera.
I found it bracing to work on Benny's next score, All That Money Can Buy, based on Stephen Vincent Benet's The Devil and Daniel Webster. This inventive score featured a reel that no one violinist could perform. I played "Pop Goes the Weasel" with a few virtuoso tricks several times. Benny then imposed these sound tracks on top of each other, creating a dynamic sonic montage for the violinistic Beezelbub, Mr. Scratch! This effective score won the coveted Academy Award for Herrmann. Jascha Heifetz asked Benny, "Who was that violinist?" Amused, Benny replied, "Oh, a Hungarian fiddler I picked up."
Working under the baton of Erich Wolfgang Korngold, a splendid composer, conductor, and virtuoso pianist of winning modesty, fascinated me. He arrived in Hollywood in 1934, accompanied by his wife, Luzi, and two sons, Ernest and George, exact images of their father. By good fortune the Korngolds had escaped the horrors of the German takeover of their Austrian homeland. The close-knit family eventually occupied three adjoining homes in North Hollywood.
Max Reinhardt, engaged to mount and direct Shakespeare's A Midsummer Night's Dream at the Hollywood Bowl, transformed the hillside into a wondrous fairyland. He invited Korngold to compose a score for his production.
Warner Brothers seized the opportunity to have this world-famous composer write scores for their Burbank studio productions. His extraordinary melodic gifts and masterly orchestras enhanced Warner's historic and daring adventure films.
Working with Korngold was pleasant. His Viennese tact and charm made him a devoted friend of everyone he encountered. He was exceptionally modest, and his bons mots became legendary. When someone at the Hollywood Bowl complained that airplanes flew over the site during the softest music, he quipped, "All the pilots have scores." My favorite was, "Even a great performance can't spoil a fine composition."
I played in his scores for Juarez and all the swashbuckling films of Errol Flynn: Captain Blood, The Sea Hawk, The Adventures of Robin Hood, Anthony Adverse, and The Private Lives of Elizabeth and Essex, among others. He was invariably polite and good-natured at recording sessions, although meticulous in achieving precisely what he wanted. He was unfailingly cheerful, and always inquired after our morning break, "How was the lunch, boys?" (there were also women players in Warner's orchestra).
Korngold, Steiner, Waxman, R—zsa, and Herrmann all shared a comprehensive knowledge of music and orchestration, which their scores reflected. Many of today's musicians and composers lack understanding of the orchestra's capabilities, which accounts for the monotony of their sonority. Korngold, sitting at the piano, could approximate the range and color of an entire orchestral score and with a few gestures achieve exactly the performance he envisioned.
The Nazi political and cultural blight, which forced Franz Werfel, Thomas Mann, Arnold Schoenberg, Ernst Toch, Bruno Walter, Darius Milhaud, Otto Klemperer, Lion Feuchtwanger, and many others into the New World, cruelly cut Korngold off from the European opera houses that competed for his premieres. His opera Die tote Stadt was simultaneously premiered on the same night by opera houses in Hamburg, Cologne, and Vienna with great success.
Unfortunately, American critics were merciless in their contempt for composers, conductors, and performers who had "sold out" to Hollywood. This caused Korngold much sorrow. When Heifetz premiered the Korngold violin concerto, it received great acclaim from the public and press, with the sole exception of one New York critic who couldn't resist a cheap-shot headline, dubbing the work, "more Korn than gold," which was widely repeated. This lyric concerto will long outlast many arid twelve-tone concertos now praised by self-styled "Beckmessers." Time alone will sort out the music and art worthy of enduring admiration.
My final recording under Korngold's direction was his score for the unfortunate Warner Brothers remake of Somerset Maugham's Of Human Bondage. I remarked to Annette, "This is where we came in; it's time to leave."


text:
Bernard Pierce's last carry in the Ravens' 38-35 win in double overtime against the Denver Broncos in Saturday's AFC Divisional round occurred in the third quarter, but the rookie running back said he will not miss Sunday's AFC championship at the New England Patriots.
Pierce injured his knee, gaining just 14 yards on five carries after leading the offense in rushing in each of the previous three contests. But Pierce assured reporters before Wednesday's practice that he would be available to complement starter Ray Rice.
"I'm feeling good," he said. "A lot of people have questioned me about going into the game, but I'm looking forward to it. I'm going to count my blessings and prepare for it the best I can."