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100 songs that changed history
Time Out explores the music that changed the course of world events
Breakdown of the songs that changed history
'Video Killed the Radio Star' – Buggles (1979)
Future super-producer Trevor Horn spent his prime as a jobbing sessions man and part of the house band at the Hammersmith Palais. He was 30 years old (which is like 99 in pop years) when he donned a pair of giant specs and wrote his Delphian masterpiece about how the rise of the pop video would spell doom for the less photogenic performer. It was, fittingly, the first video aired on the then new-fangled cable channel MTV, thereby fulfilling its own prophecy. Ironically, Horn had precisely the sort of radio-friendly look that would soon be edged out by the Milli Vanillis and New Kids On The Blocks of the new pop era. Although his colossal glasses would, these days, give him a chance at a comeback with a Shoreditch electropop outfit.
'The Big Hurt' – Miss Toni Fisher (1959)Chosen by The Horrors' Faris Badwan
Faris says: 'In 1959, Wayne Shanklin put out the first release on Signet Records, which was by his wife, Toni Fisher. "The Big Hurt" was recorded at Gold Star Studios (where Phil Spector developed his Wall of Sound technique) and was the first record to feature phasing. The record had been cut in mono with the vocals too low in the mix. To get around this the engineer made two tapes of the master and transferred them simultaneously onto a third recorder while altering the frequencies in an attempt to boost the vocal. As the two tracks were slightly out of sync, an accidental phasing effect was created, adding a swirling, ethereal twist to what had otherwise been a fairly ordinary pop track.'
'We Don't Have to Take Our Clothes Off' – Jermaine Stewart (1986)
First released in 1986, this soul-heavy, R&B/pop number, written by Narada Michael Walden and Preston Glass – was Stewart's biggest hit and detailed a need for modesty and reservation, especially in a time when Aids was rife – a disease that Stewart suffered with and later died from in 1997. 'We Don't Have to…' was the first pop song to raise awareness on the Aids issue and to present, Stewart noted in a TV interview in 1988 with US presenter Donnie Simpson, the realisation that there's no need to drink and drive or take drugs.
'1 /1' – Brian Eno (1978)Chosen by Brett Anderson
Brett says: 'This single is from 'Music for Airports', the album that might not have invented ambient music (John Cage and even Erik Satie might have something to say about that), but one that definitely popularised it. Hugely influential across dance, rock, techno and indie... and even more fascinating to think that it was made at the same time as the punk maelstrom was happening. If I had to listen to just one piece of music for the rest of my life, it would be this.'
'Know We' – Pay As U Go Cartel (2001)Chosen by Katy B
Katy says: 'This is the first song that took garage into grime. It made garage more of an MC-based genre. It completely changed the game. Before that, garage was all about champagne in the club, with lots of girls. Then after this, it turned into more of a vocal-led thing. It wasn't a chart thing; it was more of an underground thing. Pay As U Go also had "Champagne Dance", which did chart, but this was the one that started grime. It was a raw, real tune.'
'Things Can Only Get Better' – D:Ream (1997)
Never before and never since D:Ream's 'Things Can Only Get Better' has one song launched the career of both a particle physicist and a former British Prime Minister. When frontman Peter Cunnah started out his dance-pop outfit in 1992, he had no idea that his part-time keys man, Brian Cox, who was studying for his physics PhD at the time, would become more of a household name than D:Ream, and that a year later he would pen a track that Tony Blair, Britain's youngest prime minister in nearly two centuries, would utilise in his 1997 general election campaign. This was the song's third release, and it didn't get to number one again like it did after its re-release in 1993, but it did help send New Labour straight to victory and will forever be associated with that.
'Hip Hop' – Dead Prez (1999)Chosen by Sam Duckworth, aka Get Cape. Wear Cape. Fly.
Sam says: 'There's a real history of politics and hip hop going back to Gil Scott-Heron and Grandmaster Flash, but when this song came out, hip hop had lost its way big time. There was a lot of posturing, and this song was critical of that. There's the lyric: "You would rather have a Lexus, some justice, a dream or some substance? /A beamer, a necklace or freedom?" This song woke people up. It tipped its hat to Public Enemy and Grandmaster Flash, and it re-established hip hop as being the language of the streets. You can't go to a hip hop club or festival or a student dorm without hearing this tune. It's very raw, and I think it inspired people to realise there's more than cars and guns and money. That song ended up in mainstream media - it was the theme tune to "Chappelle's Show", which was one of the biggest shows in America at the time - and it re-engaged the political aspect of hip hop more than any song of the modern era has done.'
'San Francisco (Be Sure to Wear Flowers in Your Hair)' – Scott McKenzie (1967)Chosen by Howling Bells' Juanita Stein
Juanita says: 'This is one of those songs you intuitively equate with a profound sense of change and nostalgia. Perhaps it has to do with all those films, like "Forrest Gump", playing it during scenes of great turmoil and upheaval throughout the '60s. Written by John Phillips of The Mamas & Pappas for John McKenzie, it heralded something epic, and it played a crucial part in seeing the "mass exodus", as such, of thousands of lost and desperate hippies to San Francisco to be united in their vision for peace and harmony. So potent was its message that across Central Europe, it apparently became an anthem for freedom.'
'Ceremony' – New Order (1981)Chosen by Summer Camp's Jeremy Warmsley and Elizabeth Sankey
Jeremy and Elizabeth say: 'After the death of Ian Curtis it would have been understandable for the remaining members of Joy Division to give up, or try to carry on without their singer. They locked themselves away in Manchester and set about finding a new sound, each taking turns on vocals before Bernard Sumner settled into the role. When 'Ceremony', which featured Curtis's lyrics, was released in 1981, it bridged the gap between what Joy Division had been and what New Order would become. It marked a new era for both the city and the band, ushering in the birth of rave, The Haçienda, and a triumphant career for a band who had once lost everything.'
'God' – John Lennon (1970)Chosen by Emmy the Great
Emmy says: 'I consider 'God' John Lennon's freedom manifesto. He and Yoko had already performed the 1969 bed-in by the time it was released, and he'd already provided the anti-Vietnam War protestors with an anthem in 'Give Peace a Chance', but to me the lyrics "I don't believe in Beatles/ I just believe in me/ Yoko and me...I was the walrus/ But now I'm John" are the symbolic beginning of John Lennon the icon. After this he would move to New York, record "Imagine", and, with Yoko, push the boundaries of art and protest. He'd become such a professional agitator that the US government would actively try to deport him from their country. The Beatles defined an era. This song encapsulates Lennon's decision to step away from his past and focus on his life with Yoko Ono, after which he defined another era in his own right.'


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HOME marks 50th year battling housing discrimination
Scott Gehl, the longtime executive director of Housing Opportunities Made Equal, was only 10 years old when a group of local religious leaders and civil rights activists decided to formally take on the issue of fair housing in the Buffalo Niagara region.
The organization, which got its start in 1963, will host a 50th anniversary gala tonight at the Buffalo Niagara Convention Center, at which it will honor volunteers and supporters, including Janet Meiselman, who in the mid-1980s was a volunteer tester assisting in investigations for reports of housing discrimination.
"Home began at a time before it was illegal to discriminate in housing," said Gehl, who has been at the helm of the organization for 31 years.
"I joined HOME in 1981 and was a Buffalo councilman at the time. One of the things I wanted to do was to enact a fair housing ordinance in Buffalo," he said.
Unfortunately for Gehl, he got to serve only one year on the Common Council, having been elected to fill a vacancy after Eugene Fahey left the University District seat to become an at-large member of the Council.
"In that single year on the Council, I did not succeed in getting a fair housing law passed. Still, I had some background in housing and community planning, and also in community organizing," Gehl said.
While HOME started out as an all-volunteer organization, by the late 1970s it had garnered enough financial support to maintain a three-person staff, that operated on an annual budget of $55,000.
"The organization has remained a relatively small one over the years, but I also think that it has had an outsized impact over the years," Gehl said.
One of the organization's most significant achievements has been its role in the desegregation of Buffalo's largest landlord, the Buffalo Municipal Housing Authority. In 1986, the authority had 27 residential developments, nine of which were 90 percent African-American or Hispanic. Nine others were 92 percent or more white.
"There were white developments that had never had a tenant of color," Gehl recalled.
After the U.S. Department of Housing and Urban Development determined that the Housing Authority had discriminated against minority tenants, HOME was appointed to a committee to draft a remedial plan. The organization, along with others, even took on the federal government when it was determined that the remedial plan was not adequately funded.
Meiselman, president of Oxford Consulting, will receive the James Crawford Award, HOME's highest honor. Elizabeth Fox-Solomon, an attorney and senior vice president of HOME's board of directors, will receive the Director's Award.
email: email@example.com

subset: commoncrawl


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Elements by Durcon: Eco-Friendly & Recyclable Countertops
In the past ten years it seems that every single kitchen rehab saw the installation of granite countertops. Not only is granite getting a bit tired, it's also not a very eco-conscious option. Enter Elements to save the day.
Made of a mix post-consumer recycled glass (an average of three beer bottles per square foot), natural quartz minerals and resin, Elements countertops are an attractive, green option for kitchen renovations. In addition to its green properties, Elements is manufactured in Taylor, Texas.
Of course, being green is one thing; being attractive and durable is the really important part. Judging by these photos, the high-gloss finish, available in 12 colors, would fit with both modern and traditional kitchens. Unlike many non-granite options, Elements is heat- and stain-resistant, as well as being scratch resistant and non-porous. It requires no sealing and cleans up simply with soap and water.
Does anyone out in the community have experience with these countertops? We'd love to know how they install.
MORE INFORMATION: Elements by Durcon
Images: Elements by Durcon


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Style # 227421
With a v-neck and rhinestone logo, this bebe tee is a classic addition to your tshirt collection. Just pair with decorated denim and a quilted crossbody for a cool-girl edge.
- 94% rayon, 6% spandex
- Machine wash
- Made in USA
- Center back to hem: 23" (58 cm)
- Model is 5'9" and is wearing a US size S


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Nymbler is the smart baby name guide that responds to your personal taste.
Nymbler makes name connections with insights from baby-naming expert Laura Wattenberg, author of The Baby Name Wizard.
A girl's name of American and Spanish origin. Teina has never been a common name in the United States. Meaning: a short form of Augustine, Martina, Christina, Valentina.
U.S. popularity statistics:
|Peak year:
|Rank in 2008:
|3-year trend:


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Joined: 29 Nov 2002
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Posted: Thu Jun 02, 2005 5:26 am
Post subject: McSorley Departs Scorseses Departed
McSorley Departs Scorseses Departed
By Sean O' Driscoll [irish Abroad .com]
An award-winning Irish actor has been sent home after four days of shooting on Martin Scorseses new Irish American gangster movie The Departed.
Gerard McSorley, who starred in major Irish movies including In The Name of the Father, Veronica Guerin, Bloody Sunday and Omagh, expressed surprise this week after he was told that he was no longer down to play a senior police officer in the movie, which stars Leonardo DiCaprio, Matt Damon and Jack Nicholson.
McSorley was sent home to Dublin after four days of filming while speculation mounts that he may be replaced by Martin Sheen.
McSorley told the Irish Voice he had very, very interesting, very creative conversations with Scorsese. He had been filming in Brooklyn and had travelled to Boston to meet with members of the Boston Police Department as part of his research into the role.
I just dont know and I dont even know what Im going to do right now, McSorley said.
He said that his own obsession with promoting a film about the 1998 Omagh bombing in Northern Ireland, in which he played the leader of the victims group, may have cut into his preparation for the Scorsese movie.
For Omagh, I had about two months, for Veronica Guerin, I had about three months, but here I was rushed over in a week to get my visa in Toronto, go to Boston on the train, come back and start filming, he said.
While in Boston, McSorley taped and took photographs of senior police officers in preparation for his role. He also spoke with the films script writer, Bill Monahan, about expanding the characters profile.
McSorley believed that the character could be a Northern Ireland cop who became disillusioned during the Troubles and left for the U.S. about 1974.
They had yet to decide whether his character should be captain or similar rank, but he was to be a good guy who becomes a foil in the movies plot.
The Departed explores the lives of two police officers in south Boston. One, played by DiCaprio, goes undercover in an Irish American gang, while another, played by Damon, is a highway officer who gets corrupted by the same gang.
McSorley said that he had been treated spectacularly well by Scorsese, but felt that having an assistant on set would have been a great help.
Scorsese is amazing, he lives for film, for art, and he is so literate. He knows his Joyce and Irish literature and it was a joy to talk to him, he added.
McSorley said he believed that Scorsese was familiar with his work as the director spent so much timing watching films and learning about technique. Its what he lives for, McSorley said.
McSorley stayed at Manhattan accommodation the film company arranged for him and enjoyed his spare time cycling through Central Park.
He only heard that he had to go home through his agent. They didnt put anything in writing and I cant understand it. Im just very tired at the moment, he said.
McSorley, who is originally from Omagh in Co. Tyrone, said that filming the movie Omagh was such an intense experience that it may have overshadowed projects that followed.
He said that, before The Departed, he had taken a car to France to promote Omagh and had given everything to the movie because he felt an obligation to tell the story of the victims of the Real IRA bombing, which killed 29 people and injured over 200.
McSorley has much experience playing crime and police roles in Irish movies. He is known to many from In The Name of the Father, in which he played a corrupt cop who interrogated Daniel Day Lewiss Gerry Conlon and threatened to kill his father.
He also played a good cop who questioned the actions of the British Army in Bloody Sunday, and was highly praised for his role as crime boss John Gilligan in another biopic, Veronica Guerin, about the murdered Dublin journalist.
He also played Michael Gallagher, head of the Omagh Victims Group, in the movie about the bombing and its aftermath. The film won the press award at the Toronto Film Festival last year.
The Irish Voice was unable to reach the films publicist at the time of going to press.
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Posted: Fri Jun 03, 2005 1:03 am
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Thanks sylvie, wonder what made them decide to drop him?
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[deleted account] ( 2 moms have responded )
Since my ex left us in Feb, he has remained our financial go to person as he promised to continue paying our rent and utilites until our lease was up, thats this month. This is the second time he left me andmy daughter who is two and its for good now since he moved his first ex wife out here to where we live with their three kids from another state. they all live together and he hasnt seen ourlittle one in a month. this is no surprise as i have had to push her on him since the day i was pregnant. we divorced then reconcilled last year for it to last for only ten months and me to leave everything to move with him out of state for a better job. now that his past due child support of12k is written off and no longer a debt because we reconcilled and i signed with the courts to wash it away, he is on his feet witha good job and the family he has missed for six yrs. in the meantime i had started back to school to finish my BA and stay at home with my toddler at the age of 33. He decided to walk out for work one day to tell me by phone he wasn't coming home. i stuck it out here without family and friends because its beautiful place to live in the Ozark mtns and so much to do. i attend church and my little one goes to mothers day out programs and we have our own life without him. since he moved his ex out here im afraid he is going to fight for shared custody, idk, he never did it for his other kids when we were married it was me making him do it to see them more. i have sole legal custody and want to move away from them as the ex wife is psycho and spiteful. shed fight for my little one jus to make me mad since we hate eachother. he has a felony conviction from last year after his dad died he beat his mother with a bat and he went to jail. i dont want our baby to grow up knowing him. he has denied her all this time and when we were together i was always upset as he never played with her or hugged her or loved on her as his own child. our town is 77k ppl and if i move to a different apartment or town we can still enjoy this place we have been for a year. on the contrary, my mom wants us to move back to the state, five hrs away, we are from. im not close to my family as after my divorce and i was pregnant they kinda left me out on my own to figure things out though at one time i was withouta car since mine was repoed and i lost my home during the divorce. no one was to even offer a couch for me to stay. so i have been on my own the past two and half yrs. now that my little one is getting older and she misses her and doesnt know her she has found a duplex down the street from her. she lives with my brother and sister an dmy dad lives about 10min away. i went to visit last week to see my choices and i was so uncomfortable. my dad didnt come see us the whole week until we were about to leave, my brother and sister were so rude to my littleo ne an dme and my mom blames me for so much that happened ten yrs ago when my parents divorced. it was hard for me to not choose sides but she sees it that i did. i dont want to livea nervous wreck and getting my feelings hurt around them. i cant forget how they treated me when i was down at my worst and needed them. i told her this last week, i cried and had so much pain at how she always treated me different and would hit me all the time when i was little and never my brother and sister. theres an age gap of ten yrs from me to them. i always felt she didnt like me. now that i have this adorable little one she barely knows because she never comes to see us even after six months of my ex being gone who she didnt like, she wants us to be near. or me to be near so she can see my daughter. its tough. im a full time student and can live off of my loans and grants in the state i love, just the two of us. but i have to feat my ex and his revengeful woman will find out where we live or serve me papers for joint custody. if i move out of state, the only place i can get approved for and affordableis this one close to her and it is very nice as well. i dont know what to do, i dont know how to weigh out whats important. yould think i killed someone the way that my family ttreats me, but they dont want someone needy or someone in distress as it may mean they have to put out some money or a place to stay or loan out a car to me. I have everything I need now i dont need their help just their love and approval. i said that to my mom and she laughs and rolls her eyes at me when i cry and am upset at the pain i ahve carried from her and my family. she didnt even stay the night with me in the hospital when my baby was born. i was numb from the waste down and was there alone witha new baby. she went home because my brother wanted her to not get too attached to the baby. its messed up and it hurts. i dont know what to do. iforgave them all for shunning me and my sweet little one so that i could have some sort of relationship with my mom and dad and siblings. but i can't help but remember it. what do i do that is best for me and my little one?


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Had many disputes about this guy being over-the-top and patronising.
Personally, I think this guy is funny as hell! At the end of the day he gets paid for doing what he does, and he makes me giggle every show.
But this is spoof of him is even funnier.
Jeremy Kyle Spoof
If anyone hasn't seen Jeremy Kyle, search on YouTube for endless results.


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Date published: 2013-10-01


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Thank you for the very exaustive explanation.
However I'm doing a BASIC common list course at university...but the info you gave me will be useful (and I will save them on my PC) because I'm (and I will keep) studying A.I. .
(I don't well how to format the code..etc..I'm a "novice" of this forum (I suppose it is algo related to the functions on the top of the text area where I'm writing). )
However... I know there is an infinitive loop (I specified it). And I'm sure I have to save in a variable ** "difference between original list length and n" (or something similar) and use it as base base.
1) I don't have any idea if I can declare this variable ** inside the function and WHERE.
2) I'm not sure of the basic case. I mean... if I use "difference between original list length and n" I will have iterate (example: with a LOOP FOR) from 1 to variable value.... but how to do it with a (equal (...)) ? And how to do it in recursive move (told I know it is less efficent..) ?
Thank you


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"In space, no one can hear you scream." Although this line from the movie "Alien" packs a dramatic punch, the physics is wrong. Sound travels in space, even in vast regions where the density of matter is extremely low. And if you were inside a molecular cloud — regions where hydrogen is dense and stars are born — you'd experience deafening booms of hypersonic sound waves.
Clouds of gas crashing inward under their own gravity produce sonic booms, and an occasional exploding star would add to the acoustical mayhem. "The place where stars are formed is not in the least quiet," says University of California, San Diego (UCSD) astrophysicist Alexei Kritsuk.
Kritsuk and UCSD colleagues Michael Norman, Paolo Padoan and Rick Wagner have used a range of TeraGrid computing resources to simulate hypersonic shock waves. They are especially interested in how these violent phenomena induce turbulence — one of the most important factors in a complex of factors that lead to the birth of new stars. But accurate simulation poses exceptional challenges because, while most turbulence studies deal with "incompressible flow" — having uniform fluid density — the shock waves in molecular clouds produce huge contrasts in density and the turbulence is highly compressible.
In 2007, Kritsuk and colleagues used systems at SDSC and NCSA for a series of simulations of turbulent flow at Mach 6. Their results, reported in the Astrophysical Journal (August 2007), showed that well-established characteristics of incompressible turbulent flows do not hold for supersonic compressible turbulence, and they proposed a more general theory that encompasses both flow regimes.
This year, the researchers extended this work with simulations at PSC (BigBen) and TACC (Ranger). This newer work, involving 1.3-million hours of computing, produced 50 terabytes of data. With analysis still underway (using SDSC's DataStar and PSC's Pople), preliminary results show that the new data confirm the prior studies. Beyond what they tell us about star formation, these studies may shed new understanding on the hypersonic aerodynamics of high-speed aircraft and re-entry space vehicles.
The space between stars — the interstellar medium — for the most part contains cold, neutral (no electrical charge) hydrogen atoms. "If you want to create a star," says Kritsuk, "you need to cook up a cloud of the cold, neutral medium, then find a dark space and compress it further, so molecular hydrogen (H2) begins to form, and as it cools to lower temperatures and the densities go up, you will eventually get a collapsing protostellar core."
When shock waves occur in these clouds, they push the hydrogen molecules closer together, and at a certain critical density stars begin to form. It sounds simple enough, but much is unknown about these turbulent phenomena and their impact on star formation.
Most of what we know about turbulence is based on geophysical and engineering phenomena: mixing of hot and cold air in the atmosphere to form weather fronts, flow of oil through a pipeline, mixing of gas vapors and air in an engine's combustion chamber. The fluid is at virtually the same density throughout the turbulent region, with only a small amount of variation. Scientists call this uniform state an "incompressible fluid."
Shock waves moving at hypersonic speeds, however, create enormous density variations. One region of a gas cloud can be a million-times denser than a nearby region, and this "compressible" fluid behaves much differently than its incompressible cousin. "If you are sitting on a blob of gas that is a million-times denser than the surrounding medium," says Kritsuk, "you will just fly like a bullet."
To simulate gas clouds with such a density contrast, Kritsuk and his colleagues used ENZO, a program developed at the Laboratory for Computational Astrophysics at UCSD for simulations of cosmological structure. They modeled a cubic volume of space five parsecs (about 98-trillion miles) on a side, filled with hydrogen atoms at an initial density of 500 particles per cubic centimeter and a temperature of 10-degrees Kelvin. In the first round of simulations, they subdivided this volume with a grid (5123 points) and zoomed in to a finer resolution (20483 points) to get a closer look when the density in a particular area increased by a factor of two or more. In the latest simulation, they used the higher resolution throughout the run to take advantage of the Cray XT3's larger memory capacity and speed-up the calculations.
The shock waves produced in these simulations churned cold clouds of molecular hydrogen into compressed regions, and led to a new fundamental understanding of turbulence.
This graphic shows gas density in a thin slice through the simulation volume, increasing from very low to very high (black through red and yellow to white).
In 1941, Russian mathematician Andrei Kolmogorov developed equations that offered a new insight into turbulent flow. In Kolmogorov's view, large vortices or eddies occurred first in a fluid in which turbulence formed, and these large vortices then formed smaller vortices, leading to a conception of turbulent flow as "whirls within whirls."
Velocity and density are both part of Kolmogorov's equation, but for a long time researchers concentrated only on velocity. This made sense, says Kritsuk, because mostly they were concerned with solving engineering problems. But this concentration also led to a blind spot. People were working for so many years with incompressible turbulence that they almost completely forgot about density, and what we have done here is put the density variable back in place."
In restoring this forgotten variable, Kritsuk and his colleagues have extended turbulence theory to new levels. "We have shown that if you put density back in place you still get Kolmogorov's law, even for hypersonic flows," says Kritsuk. "When you have density contrasts of a million, it's really important to include density-velocity correlations— and then modeling turbulence becomes simple."
To make things even more simple, Kritsuk is analyzing the 50 terabytes of data using SDSC's DataStar and Pople, PSC's newest system whose shared memory and open multi-processing (OpenMP) architecture allows him to work with the huge 20483 data-cubes quickly and efficiently. Pople also shares a parallel file-system with BigBen that minimizes file-transfer time.
3D projections through the simulation volume represent density of the molecular cloud.
Besides demonstrating that Kolmogorov's theory applies universally to compressible and incompressible fluids, Kritsuk's work also confirmed that there is order in the apparent chaos of turbulence. Visual representations of the simulation reveal "coherent structures" in the molecular clouds. The most common structural elements are nested bow-shocks having a V-shaped structure, also known as "Mach cones." These cones form when supersonic shock waves coming from opposite directions collide in the molecular cloud. The large V-shaped bows are made up of sequentially smaller V-shaped bows to the current limits of resolution in these simulations, indicating the self-replicating, fractal nature of these structures.
Finally, in confirming that turbulence described by Kolmogorov's equation is universal, covering situations where the density of a fluid varies by a factor of a million, Kritsuk's group may also help astrophysicists explain another universal phenomenon: the uniform distribution of star masses in molecular clouds — called the "initial mass function."
"You basically have some small fraction of massive stars, then more stars of smaller masses," explains Kritsuk. "The peak of this mass distribution of newly formed stars is roughly one solar mass — the mass of our sun. Then there are brown dwarfs and such stars having very small masses." Everywhere you look in the universe this distribution is the same.
Kritsuk's collaborator Paolo Padoan and Åke Nordlund of the Neils Bohr Institute, Copenhagen have proposed that supersonic turbulence in dense molecular clouds is the process that underlies the initial mass function, fragmenting the interstellar medium and creating the initial conditions for star formation. Based on his latest simulations, Kritsuk tends to agree. "There are not that many candidates out there. We have high hopes that the universal process we all know —turbulence—will solve the mystery of the initial mass function."
Kritsuk next plans to collaborate with researchers at Purdue University who have a shock tube capable of achieving Mach 6 hypersonic flow — to validate the computational model experimentally. Then he wants to do a second study using BigBen to add magnetic fields to the model of star formation. "Of course, to really model star formation, you need to include magnetic fields," says Kritsuk. "Numerically it's a challenge, and there's a lot of new interesting physics there. Adding the magnetic field components is like opening a Pandora's box." It's a box for which Kritsuk and his colleagues are eager to start prying the lid.


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Warhead wrote:I'll need to get in touch with a few others, OneEye said he was interested as did Appolion IIRC.
I am certainly interested in taking part in a forum battle (of yours). But it is hard as it seems to be a good tradition here to give forum battle spots to members who have already played in or hosted a former battle. So eventually i will have to host my own i guess.
Also as stated above i definitely have to improve on my armies before others can adopt them for their own battles. Heck i do not even have a single hero unit yet!


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All News Releases By Date
Oregon Environmental Justice Task Force recognized by EPA
Release Date: 12/16/2011
Contact Information: Sheryl Stohs, EPA Region 10 Environmental Justice Liaison, 206-553-0250, firstname.lastname@example.com, Tony Brown, EPA Public Affairs, 206-553-1203, email@example.com
EPA also awards $50,000 Environmental Justice Grants to community-based organizations in Oregon
(Seattle – Dec. 16, 2011) U.S. Environmental Protection Agency Regional Administrator Dennis McLerran today presented an award for outstanding work to further environmental justice to the Oregon Environmental Justice Task Force (EJTF). EJTF is being recognized for their effective implementation of Oregon State legislation and Task Force initiatives which incorporate environmental justice considerations into State agencies' programs. Other significant milestones include:
- The creation of a "Your voice for Environmental Justice" document outlining citizens' rights to be involved in decisions that affect their quality of life
- Organizing a community event to introduce the Task Force and its work to the public
- Partnership with community-based groups to develop demographic maps of statewide environmental justice communities
"EPA is pleased to recognize Oregon's EJ Task Force for its ability to incorporate environmental justice considerations into State agencies' programs," said Dennis McLerran, EPA's Regional Administrator in Seattle. "Bringing communities and State agencies together when making decisions that affect their quality of life can only help our most overburdened communities to become healthier, and more sustainable."
EPA will also be awarding $25,000 Environmental Justice Grants to two community-based organizations in Oregon as part of the agency's Environmental Justice Small Grant Program. These grants will assist communities to address environmental and public health issues at the local level.
The recipients are:
Recipient: Beyond Toxics - $25,000
Project: The EJ in West Eugene: Families, Health and Air Pollution Project
Location: Eugene, OR
Issue: Air Quality
The "Families, Health and Air Pollution Project" seeks to reduce the asthma risk among West Eugene School District children. This project will conduct community health research of West Eugene, Oregon. The projects goals are to perform GIS mapping and conduct a toxic tour of the affected community area. Beyond Toxics will work to address the problems of disproportionate pollution exposure and poor health outcomes for children in low-income neighborhoods of the West Eugene School District and educate the community on asthma risk reduction. Beyond Toxics contact: Lisa Arkin, 541-465-8860 Email: email@example.com
Website: www.BeyondToxics.org
Recipient: Josiah Hill III Clinic - $25,000
Project: Green Steward Project
Location: Portland, OR
Issue: Toxic substances, Air Quality
The "Green Steward Project" will train faith based congregations to reduce exposure to toxics chemicals and indoor air pollutants. The project will train 120 congregants to reduce human environmental exposure to toxic chemicals and indoor air pollutants. Josiah Hill III Clinic will work with the congregations to deliver workshops and green cleaning parties to raise awareness of toxic chemicals and human health impacts. The Clinic will conduct blood screening clinics at each congregation and educate on lead poisoning and environmental hazards for young children. Josiah Hill III Clinic contact: Charles A. McGee, 503-334-9694 Email: firstname.lastname@example.com
Website: http://www.jhillclinic.org/
Nationally, EPA awarded 46 grants totaling more than $1 million to address environmental justice issues and concerns in communities throughout the United States.
For additional information about EJTF, visit: http://www.oregon.gov/Gov/GNRO/environmental_justice.shtml
For additional information about EJ award program, visit:
EPA's national news release on EJ Grants, visit: https://yosemite.epa.gov/opa/admpress.nsf/bd4379a92ceceeac8525735900400c27/5a44fdc15ec2c0aa85257960006459a7!OpenDocument
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Do you have a Cradle Swing that Caitlin can occupy herself with?
Whatever happened to those days when you could calm her with the hair dryer, eh, EofK?
It's a phase. Perhaps the first, second or third by now of the 101,000 phases to come!!
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Sr. Hilda Frost OSB - "Reflections"
Dear Benedictine Oblates, novices and friends,
Greetings and best wishes to all of you for this New Year. May 2003 be filled with blessings for each one of you.
For Benedict, everything takes place within the context of community. Whether he is talking about prayer, relationships, work, or whatever it may be, the disciple is reminded that he or she is part of a community.
This is particularly so in the case of Benedictine Oblates of the World Community for Christian Meditation. Benedict makes no reference to a specific place or location, but rather a way of life, based on the teaching of Jesus. Whether we live in a 'monastery without walls' or with other monastics, we are truly a part of a community and are united to one another. I will briefly mention three aspects of community that we find in the Rule: prayer, relationships, and work.
There are others, which I hope to comment on later.
Benedict puts prayer at the centre of everything. He devotes no less than 12 chapters of the Rule to what he calls the 'Opus Dei', or 'Work of God'.(RB 8-19) The psalms obviously meant a lot to him, since he includes psalmody in every part of the Divine Office - psalms for morning, midday, evening, Sundays, feasts etc. and how they are to be arranged according to the liturgical seasons. Similarly the reading of Scripture is recommended for the Office, together with other prayers including the 'Our Father' at every Office. However, with typical flexibility Benedict concludes with the words "we have no hesitation in urging that, if any are dissatisfied with this distribution of psalms they should re-arrange them in whatever way seems better." (RB 19). So we are all invited to adapt the Office according to our own needs and the circumstances of our lives.
By way of contrast Benedict says very little about contemplative prayer. He knew Cassian (RB 73) and advocated his teaching. Like him he insists on silence (RB 52) and using few words: 'we must know that God regards our purity of heart and tears of compunction, not our many words'.(RB 20). The 'Opus Dei' and silent personal prayer go together of course; we need both for a fruitful spiritual life.
John Main makes this clear: 'We urge you to begin your day with morning prayer and your morning meditation and to end the day with evening prayer and your evening meditation' (Joy of Being. p. 54)
In all his teaching Benedict keeps coming back to one essential truth: Christ is really present in each person we encounter - within our community, family, workplace or elsewhere. Everyone is to be loved, respected, honoured, (RB 4) listened to (RB 3) and welcomed as Christ (RB 53) Everyone without exception, is to be treated with gentleness and compassion (RB 64: 36). It is a matter of accepting ourselves and one another as we really are: forgiving each other, encouraging and supporting one another. This is not an easy path, and we will probably struggle with it all our lives.
John Main has this to say: 'The essence of the life of a monastic is to love Christ as you love your neighbour. That is the importance of the Rule for all of us. That openness to the divine mystery is the basis of our daily lives. ....When Benedict tells us to revere everyone, what he is telling us is to be aware of the mystery that another person is....'(Community of Love p. 48)
Benedict always teaches the importance of a balanced life-style. 'Community members should have specified periods for manual labour as well as for prayerful reading'. (RB 48) He calls moderation 'the mother of all virtues'. (RB 64 and 48). Benedict recognizes the dangers of overwork, stress and fatigue, and what that can do to family life, prayer, and so on. He makes provision for additional help to be given whenever it is needed (RB 31, 53). As well as that he recognises the giftedness of individuals and wants them to use their talents for the benefit of the community (RB 57). Balance and moderation are not easily achieved in our busy world of today, even within a monastery. It is often something we have to work at, and at times make decisions about, so that we work within our limitations and do not take on more than we can manage.
John Main has this to say: 'Monastic work.....leads the monk to find Christ everywhere and in everyone. Hence the spirit of love and perfection he brings to it.' (Community of Love p. 133)
These three elements of community are a part of the lives of all of us. At times we may think we are alone in the struggle, but that is not so. We are always part of a community. Whenever we meditate, we are part of the World Community. There is always someone, somewhere, meditating at the same time. The same is true of the life of Oblates of the World Community. There are others who may live near or far away, who are walking the same spiritual path. In a mysterious way we are all connected with one another. This gives us a sense of support, encouragement, and hope to persevere in the way of Benedict.
Let us then 'prefer nothing whatever to Christ, and may he bring us all together to everlasting life' (RB 72). With much love to you all,
Hilda OSB
Sr. Hilda is a Benedictine Sister at St. Benedict's Monastery, Winnipeg Canada. She comes from a very ecumenical background: with a Methodist father, a Congregationalist mother, who attended the Anglican Church in England. After attending a convent school Sr. Hilda became a Catholic, and entered the cloistered Benedictines in England. When the community became diminished and eventually had to close she came to Canada in l981. Sr. Hilda has a background in Scripture, monastic history etc. and has been a meditator for more than 20 years. She has given retreats and workshops on the Rule of Benedict, the mystics, as well as on Christian meditation. She is coordiantor of the WCCM Oblates in Canada, and also leads a meditation group in her own monastery.


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Performed by...
Caroll Spinney
First appearance...
Sesame Street Season 1 Episode 0001 (1969)
Most recent appearance...
Sesame Street Season 42 (2011)
Best known role...
Sesame Street's resident Grouch. Lover of trash, muck, and yuck. Denizen of a trash can.
First line...
"Don't bang on my can! Go away!"
Memorable quote...
Ever since he first appeared on the scene in 1969, Oscar has been one thing, and one thing only: a Grouch. Grouchy, grumpy, mean, musty; every day, Oscar represents everything that a Grouch is. He lives in a trash can in between 123 Sesame Street and Big Bird's Nest, surrounded by piles of trash. The one thing that annoys him the most is when someone bangs on his trash can and bugs him with some gooopy, yucky happiness. Yes, Oscar is truly the grouchiest of Grouches in our time.
Oscar's distinct green appearance was not always how he looked. In his very first appearance and throughout the first season of the show, Oscar was a bright orange color. It wasn't until just before the second season when Caroll Spinney was appearing with Oscar on The Flip Wilson Show that he and the rest of the world discovered Oscar's change of tone. Designers changed him to the green color he is today. Caroll, having to ad-lib on the fly, developed a storyline for Oscar involving his color change coming from a terrible weekend at the Grouch spa: Swamp Mushy Muddy. He has been the rotten green color ever since.
Oscar represents the opposite of everything else Sesame Street is. While the Street where he lives is sunny and cheerful, Oscar is grumpy and angry. Though he may seem to truly loath the Street, he does often show a sense "love" (or as close to love as Grouches can get) for his home. He has even struck up a few friendships in his 40 years on the happiest street in the world.
Perhaps Oscar's closest friend is his pet worm, Slimey. Slimey has appeared alongside Oscar many, many times. In the final clips of the show in recent seasons, Oscar has read "Trash Gordon" stories to Slimey to announce the sponsors of the show for that day. Oscar has even been seen showing compassion for the little worm, supporting him in sporting events, astronomical expeditions, and more.
Oscar has also developed an odd bond with Maria (Sonia Manzano). Maria has been known to fall victim to Oscar's pranks quite often, sometimes getting sprayed with water by his pet elephant, Fluffy. Oscar even has a ridiculing nickname for Maria: "Skinny." But despite all of this, Maria and Oscar still share a bond. After Maria and Luis were married, Oscar commissioned the Grouchketeers to make a sign reading "JUST MARRIED" for the newlyweds--he even let them drive his prized Sloppy Jalopy! Oscar was also the first person Maria called from the hospital after her daughter, Gabriella, was born on the show.
Oscar and Telly also have an interesting relationship. They have been paired numerous times; such as in Sing Yourself Sillier at the Movies. Telly also rode with Oscar in his Sloppy Jalopy on his search for Big Bird in Follow That Bird. They even had their own segment on the show called "Ask Oscar" in which Telly would field questions from kids wanting to ask the Grouch a question.
Through the years Oscar has become a vitally important part of Sesame Street. He even saved the Street once in Stars and Street Forever, the 25th Anniversary special. He has had a major role in both of the Sesame Street feature films, Follow That Bird and The Adventures of Elmo in Grouchland, and continues to play a crucial role in most of the episodes during the seasons of the show.
In order to truly understand Oscar, however, we turn to the Grouch himself who has often said, "Grouches don't like to be happy. If I'm happy I'm miserable—but I love to be miserable. So that makes me happy. But I don't like being happy. So that makes me miserable. But I love being miserable, so that makes me happy, but I don't like to be happy, so I get—you know, I'm a mess." Yes, he is a mess, but that's why we love him.
Caroll Spinney has performed Oscar from the very first episode of Sesame Street back in 1969, and continues to perform him in 2009, 40 years later. Caroll also performs Big Bird, who is the exact opposite of Oscar. Caroll has grown so fond of Oscar over the years, in fact, that he gave him a special section in his autobiography, The Wisdom of Big Bird (and the Dark Genius of Oscar the Grouch). Oscar was the character performed by Spinney in most of his live appearances touring for the book. Oscar also appeared with Caroll during Jim Henson's Memorial Service and at the Daytime Emmy Awards earlier this year.
Caroll has remarked that "[Oscar]'s not a villain, not horrible, not into spiders and ghoulish stuff, and although he can be rude and mean, he fundamentally has a heart of gold." It's obvious that Caroll cares a lot for his character and truly loves Oscar--even though he's a Grouch.
Even though he's a Grouch, Oscar still enjoys engaging in a song or two--as long as they're not sweet, and cute, and nice. Blech! Most of Oscar's songs sing the praises of trash, but some of them just sing the praises of being a Grouch.
- "I Love Trash"
- "The Grouch Song"
- "Honk, Bang, Whistle, and Crash"
- "I Hate Christmas"
- "I'm Sad Because I'm Happy"
- "Nasty Dan" (with Johnny Cash)
- "Just Throw it My Way"
- "Bein' Green"
- "Pigeons, Cookies, and Trash" (with Bert and Cookie Monster)
- "There's a Big Heap of Trash at the End of the Rainbow"
It's plain to see why Sesame Street needs Oscar. If they didn't, he wouldn't have been a lasting part of the show for 40 years. He has been there for all of the greatest moments: Maria and Luis' wedding, Gabriella's birth, Abby Cadabby's arrival (even greeting her with his trademark "SCRAM!"). Oscar's dichotomy of "Whenever I'm mad, I'm happy--but whenever I'm happy, I'm mad!" makes him a very deep character as well. Freud would have a heyday with the Grouch.
But Sesame Street needs him because he provides a balance. Oscar is the sour to the sweet, the rain to the sunny days--and everyone knows that the world can't survive without rain. Oscar shows children that it's okay to be grouchy. He proves that no matter how much of a grump you are, people will still love and accept you for who you are. He teaches understanding, he teaches personal satisfaction, and he teaches how to be a darn good grouch.
Oscar the Grouch is as much Sesame Street as Big Bird, Elmo, or Cookie Monster. He's just... the grouchier, dirtier side. And that's just the way he--and we--like it. There is a reason Oscar hasn't changed in 40 years, and that's because he is a nearly perfect character. So let's have a big "BOO!" for the Grouch, shall we?


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Clue: The Blues Brothers sang here: Abbr.
We have 1 answer for the clue The Blues Brothers sang here: Abbr.. See the results below.
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- Variety show since 1975, briefly
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- NBC prog. since 1975
- Sketch-based TV show, briefly
- Show with skits, for short
- Show that's launched many film careers: Abbr.
- Where the Blues Brothers debuted: Abbr.
- Skittish show?: Abbr.
- Venue for the Blues Brothers, for short
- Dan Aykroyd's old show, briefly
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Advanced Modified Mini-TightRope Bunion SurgeryThe treatment of hallux valgus deformity includes the assessment of the hallux valgus angle, the intermetatarsal angle and the contribution of an interphalageus deformity. Additionally, there must be an assessment of the presence or absence of arthritic involvement of both the first metatarsocuneiform joint and the first metatarsophalangeal joint. Other considerations are the orientation of the distal metatarsal articular angle and the orientation and stability of the first metatarsocuneiform joint.
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In the presence of more rigid deformities the intermetatarsal angle is reduced by using a distal or proximal osteotomy of the first metatarsal. Such osteotomies can be tec hnically challenging. A rather daunting list of consequences and potential complications include delayed union, malunion, nonunion, excessive shortening of the first metatarsal, avascular necrosis, hardware failure and prolonged protected ambulation.
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Dr. Zeetser can administer these injections in the office following a local anesthetic injection to numb the bottom of the foot. Many other physicians performing this procedure rely on topical creams or ice to numb the area, which is not sufficiently effective on the foot. The procedure is relatively quick and painless once anesthesia has been achieved. After the procedure, there is no significant restriction to activities. Mild temporary bruising and tenderness can occur. Nothing can completely cure hyperhidrosis and this procedure is designed to control the condition. Sweating may return gradually on average within 6 months. Further injections may be required to maintain the desired effect at intervals varying between 7-16 months, depending on the individual patient.
Diabetic Foot WoundsThere are over than 21 million known people with diabetes in the United States, and this staggering figure continues to grow by almost one-half million annually. It has been estimated that an equal number of persons with diabetes remain undiagnosed. A person develops diabetes when their body is unable to maintain a normal level of sugar in the blood. Insulin, the hormone that regulates the level of sugar, is either not used properly by the body or it is produced in inadequate amounts. When this occurs, diabetes is the result.
Diabetes wreaks havoc with many major organ systems in the human body. Among others, it tends to create some of the worst and life altering complications in the feet. Over one half of diabetic hospital admissions are foot related. This is typically due to the disease process' effect on the nerves and blood vessels. As a result, the main complications include neuropathy (altered sensations which can eventually lead to numbness), peripheral arterial disease, increased risk of infection, decrease in tissue integrity and compromised healing capacity.
Heel Pain, Plantar Fasciitis and Heel Spur Syndrome
This general category results in pain to the inside (medial aspect) of the heel which can occur suddenly or have a gradual onset. It occurs from excessive tension on the plantar fascia, the tendon attaching on the bottom of the heel bone, which results in microtearing and inflammation. With time and continued stress, the muscle pulls at its attachment to the heel bone and eventually produces a calcified spur visible on x-ray.
Typically described by patients as a very painful sensation upon arising in the morning and trying to make the first step of the day. After anywhere between 10-30 minutes, the pain subsides and the day progresses with a dull aching constant pain. Upon relaxing and being seated the pain tends to go away and then when the patient arises again to start walking the cycle starts all over again with very painful first step. Conservative treatment typically consists of injections, anti-inflammatory medications, stretching exercises, orthotics and sometimes physical therapy. For the 5-10% of patients that do not completely improve with conservative care, additional options remain. Prior to considering open surgery, a successful treatment called Extracorporeal Shock Wave Therapy (ESWT), first introduced as Ossatron, has been used for decades safely to procedure up to 92% success rates with one treatment.
Flat Foot DeformityThis condition can be congenital or acquired and typically results in hyperpronation of the subtalar joint in the foot. A variety of other causes occur as well. Gradually, the medial arch collapses and the foot becomes progressively flatter. As the deformity continues, the shape of the foot is drastically altered and the bones, joints and soft tissue structures deteriorate. If caught early in life, this can be corrected with relatively simple surgical procedures such as a subtalar joint implant. Later in life, this becomes more difficult and more extensive surgery may be required. Conservative care typically consists of high quality custom foot orthotics.
- Dr. Zeetser


text:
Design Flashback: The Colors of the 70s
The colors of the seventies were pretty drab in comparison to those of the psychedelic sixties. The country was recovering from the turmoil of the Vietnam War, and the desire for peace and calm was reflected in the dark wood and warm earth tones of the period.
Avocado Green and Harvest Gold were important colors (especially in appliances), and were frequently mixed with toned-down versions of sixties orange. Primary colors, often seen in the more futuristic pieces of the period (such as molded plastic furniture), added a playful element to the overall palette of the decade.
1. This poster by Sebastian Nordlund is a great example of the earth-toned graphics that were popular in the 1970s. From Society 6.
2. An iconic 70s television series if there ever was one, The Brady Bunch ran from 1969 to 1974, and has been in syndication ever since the series ended. Photo from IMDb.
3. A 1973 ad for Zomp shoes in Italian magazine Ars Sutoria highlights the bright and playful side of the seventies. Via Paddock.
4. Pierre Paulin said, "A chair should be more than simply functional. It should be friendly, fun and colorful." Designed in 1973, his F-598 chair is all that and more; epitomizing the body-hugging upholstered furniture representative of the time. From Hive Modern.
5. Interiors in the seventies were often cheerful and curvaceous, as evidenced by this dining room featuring Eero Saarinen's signature Tulip chairs and matching table. From a 1970's Better Homes & Garden book on decorating, via ultrafinepoint.
6. A Panosonic ad featuring colorful, futuristic transistor radios speaks to the whimsical side of 70s design. Via Idler's Corner.
7. This kitchen image from Expo Lounge highlights the wood and earth tone palette so prevalent in the seventies.
8. An assortment of colors available from Kohler's kitchen and bath collection during the 1970s (including Avocado Green and Harvest Gold, of course).
9. One can't reminisce about the seventies without mentioning disco! This soundtrack album cover from the wildly popular movie Saturday Night Fever uses black and primary colors as the perfect backdrop for John Travolta's swingin' white suit. Via Fran and Dave's Musical Adventure.
10. This catalog image of women's fashion circa 1974 pays homage to the sweater vest, in all of its groovy glory. From Retrospace.
(Images: as linked above.)


text:
The Bill Buckner ball is back in play.
The prize souvenir from the 1986 World Series will go on eBay this month with a $1 million price tag, put up for auction by the Grammy-nominated songwriter who once bought it from actor Charlie Sheen.
Seth Swirsky owns the ball, along with a bevy of bats, gloves and other mementos tied to the likes of Shoeless Joe Jackson, Johnny Vander Meer and Eddie Gaedel. He celebrates the game's lore, and has written three books based on his letters to and from ballplayers.
"I love my collection. I don't think I've ever sold anything from it," Swirsky told The Associated Press from his home in Los Angeles. "But that ball, it's time to pass it along, to let someone else enjoy it."
Swirsky plans to begin the online auction on Oct. 15, and it won't last long. He intends to close the bidding late on the night of Oct. 25 — at the exact minute of the 25th anniversary of Buckner's famous error.
Swirsky said he decided to part with a favorite piece while driving around last week, a day after watching Boston collapse on the final night of the regular season.
"The myth of Buckner continues. There he was on 'Curb Your Enthusiasm' last month. Everybody knows where they were when that play happened," he said. "I wasn't in a gloating mood. This isn't about, 'ha, ha, the Red Sox lost.' I'm not a Red Sox hater, I'm a baseball history lover.
"If anything, I want people to know how good Buckner was. You really wanted Billy Buck on your team. He got 2,715 hits — almost as many as Lou Gehrig," Swirsky said.
Buckner, however, is more noted for what happened in Game 6 of the '86 Series. Playing first base for Boston, he let Mookie Wilson's grounder roll through his legs, allowing the New York Mets to cap an incredible rally in the 10th inning. The Mets went on to win the title.
The ball was picked up by right field umpire Ed Montague, who put a tiny "x" near a seam to mark the real thing. Montague gave it to Mets executive Arthur Richman, who in turn presented it to Wilson. Then Wilson signed it to Richman — "The ball won it for us," he wrote — and the souvenir made its way around the clubhouse. Someone left a tobacco stain where he kissed it.
Sheen bought the ball for more than $93,000 in 1992 and Swirsky purchased it for nearly $64,000 in 2000. Auction houses handled those transactions, but Swirsky said he's going online because the anniversary date is fast approaching.
To Swirsky, the Buckner ball captures the heart of the sport.
"People ask, 'Why would you have a ball about sorrow?' To me, it's encompasses the two emotions of the game. The highs and lows, all encapsulated in one ball."
Raised in Long Island, the 51-year-old Swirsky gave the ball to the Mets Hall of Fame last year for display. He's also shown it to both Wilson and Buckner at different times. Buckner thought it was "cool" and Wilson's eyes "got real big," Swirsky said.
Swirsky's extensive collection is a combination of historical and hysterical.
He's got a ticket stub from Gehrig's last game, the ball Reggie Jackson hit for his third straight home run in the 1977 World Series and a letter Commissioner Kenesaw Mountain Landis wrote to Shoeless Joe after getting banned in the Black Sox scandal.
Swirsky also owns the cap that Jose Canseco was wearing when a ball bounced off his head for a home run, a bottle of champagne the Red Sox had in their clubhouse in anticipation of winning the '86 Series and a rare autograph from Gaedel, the dwarf who batted in a 1951 publicity stunt.
Baseball memorabilia is only a part of Swirsky's life. He co-wrote the hit "Tell It To My Heart" by Taylor Dayne, and has multiple hits with Celine Dion, Olivia Newton-John and Al Green. Swirsky also performs with The Red Button, his Beatles-oriented retro band that recently released a new album.
Swirsky thinks $1 million is a good starting point, based on previous ball sales. Mark McGwire's 70th homer went for over $3 million and Babe Ruth's homer from the 1933 All-Star game went for $850,000, as did Hank Aaron's last home run.
Swirsky plans to donate part of the proceeds to the Baseball Assistance Team, which helps those in the baseball family having financial hardship. He previously donated from his book sales to B.A.T.
"We should share this with the people who created these memories for us," he said.
Swirsky would sell the Buckner ball for a certain person in an instant.
Outspoken political commentator Keith Olbermann — an excellent baseball storyteller, too — came in second to Sheen when the ball initially went to auction. Olbermann then was second to Swirsky.
"If I got a call from Keith and he wanted it for a million, I'd do it. He deserves it," Swirsky said. "I'd rather have someone who really wants it to have it, y'know?"


text:
Knightriders (US - BD RA)
Gabe revisits George Romero's most challenging and personal film...
The members of a traveling Renaissance Faire, who saddle up on motorcycles instead of horses, ride from town to town to stage medieval jousting tournaments with combatants in suits of armor and wielding lances, battle-axes, maces and broadswords. The spectacle of this violent pageant soon garners national attention, much to the dismay of the current king of this Camelot. A challenger to his throne arises as they try to maintain their fairytale existence in a world wrought with corruption. (From Shout Factory's official synopsis)
George A. Romero is, of course, best known for his invention of the modern zombie myth. His name is synonymous with ironic, gory, politically-motivated horror movies. However, like most filmmakers that have found themselves tethered to the genre over the decades, he never really intended on being a horror-centric filmmaker. His non-horror work has proved problematic on both commercial and critical levels, but movies like Season of the Witch, The Crazies, and There's Always Vanilla offer a purer, more complete understanding of Romero as an artist. His best non-zombie movie, Martin, blends his genre sensibilities with gritty, emotionally-charged, and very personal drama. He touched upon these skills (in a larger arena) for Dawn of the Dead and much less successfully on Monkey Shines, but has otherwise embraced his pulpy roots for his post Martin work. His only other attempt at straight drama was Knightriders, an utter anomaly released between Dawn of the Dead and Creepshow.
Knightriders was, like almost all of Romero's films, produced independently, but it was well-funded with twice the budget of Dawn of the Dead. In interviews at the time, Romero referred to it as a 'commercial picture' and, apparently, intended it to be something of a mainstream crossover. But, Romero being Romero, Knightriders is among the most ironic 'commercial pictures' ever made. It's a straight-faced examination of fringe culture with no major stars, no studio backing, and a nearly two and a half hour long runtime. It's also ultimately a parable about the dangers and evils of commercialism and, because it's a George Romero movie, the allegory isn't exactly subtle. The distribution company didn't do Romero any favours when they created an ad campaign that implied a lot more action than the film delivers, but then, Romero didn't do himself any favours, either, when he extended his unusual concept to 145 minutes (it's the single longest movie in his entire filmography). There's no mistaking that the runtime is excessive, verging on numbing, but this kind of auteurist, uncompromising storytelling is also what we expect from Romero at his best. Even when trying to appeal to a mainstream market, he can't help but to poke fun at the establishment.
The concept originated when he wanted to make an Arthurian legend flick. After being turned down by AIP head Sam Arkoff, Romero made a joke that he probably could've sold it if he put the knights on motorcycles and cut the thing to rock and roll music (on this disc's special features, he claims it was Arkoff's idea in the first place). It's likely no coincidence that Arkoff's former associate, Roger Corman, ended up producing a post-apocalyptic motorcycle gladiator movie called Deathsport that beat Knightriders to theaters by three years. The comment was made in jest, but Romero mulled the idea over a while, during which time he was made aware of the Society for Creative Anachronism. He coupled these modern 'knights' with the motorcycle concept to tell an overloaded dramatic story about the futility of old-fashioned moral codes in the modern era, which is itself a very obvious metaphor for the state of motion picture filmmaking in the post-blockbuster era. In Romero's defense, he does paint his idealistic character, King Billy (Ed Harris) – a clear stand-in for himself – as an unreasonable man.
The character relationships depend on the audience buying into these anachronistic games as something genuinely important, but succeed the most when Romero is capturing moments in time that don't necessarily move the story forward. Scenes where people are just bein' folks stand out, like a subplot where the troupe's MC, Pippin (Warner Shook), and the grease monkey, Julie (Christine Forrest, who married Romero on-set), discuss Pippin's closeted homosexuality. This generates a unique situation where the sequences that would've been the easiest to cut end up being the best in the movie, aside from the extended final battle sequence, which occurs without any dramatic stakes. That speed bump aside, I suppose this explains the excessive runtime. The melodrama is typically over-wrought, because Romero operates on an EC comics-level of subtlety, but, even when he's slamming us over the head with his message, I can't help but appreciate his take on Americana more than something as undefined as Dennis Hopper's Easy Rider – a movie he was clearly indebted to. The motorcycle stunts are superbly executed and Romero shoots most of them with his camera firmly cemented in place. The process of creating cinematic action via rapid-fire editing instead of dynamic camera movement is a defining visual trait of the director's work during this era – something he started experimenting with during The Crazies and perfected during Dawn of the Dead. The compositions, made in conjunction with cinematographer Michael Gornick (who he worked with from Martin through Day of the Dead), are uncomplicated, yet thoughtfully structured.
Knightriders is more notable as being Ed Harris' first leading role, but fans will also appreciate that the cast is brimming with Romero regulars, more than any other film in his repertoire. The troupe's size makes it easy for the director to parade his friends through the movie as if they're being fed through an off-screen revolving door. Everyone gets a couple of lines too… well, except John Amplas ( Martin), who plays a mime.
Thanks to its cult reputation, Knightriders has enjoyed a nice life on DVD in both R1 and R2. Arrow also released a Blu-ray in the UK that included a new HD transfer, one our own Marcus Doidge gave a glowing review. In the past, Shout/Scream Factory has been willing to 'lease' solid HD transfers from already available discs (verification has eluded me, but I assume they reused transfers from Odeon Entertainment's Witchfinder General and Image Entertainment's Assault on Precinct 13). Whatever the source, this is a gorgeous transfer. The film's lack of budget and age show in occasional grain uptakes and fuzzy moments, but this usually coincides with purposefully soft focus. Otherwise, grit is minimized without being eliminated and artefacts are limited to odd white flecks and a handful of scenes that flicker with scanning lines (one scene a couple of minutes after the one-hour mark stands out in particular). Details are tight, assisted by Romero and Gornick's use of wide-angle lenses, which ensures background textures are just as crisp as their foreground counterparts. There are some slight edge haloes during the darkest scenes, leading me to believe that the people behind the transfer got a little heavy-handed with the sharpening and/or contrast (something also apparent during the infrequent bouts with black crush). The colours are mostly natural, plenty vivid, and consistent. A few of the foggier scenes show signs of DNR smoothing on skin tones in particular, but, again, I believe this is more the effect of soft focus than digital tinkering.
It's relatively easy to compare this Blu-ray's transfer to the UK release, based on Marcus' screencaps, but I have no way of comparing Scream Factory's DTS-HD Master Audio 2.0 mono soundtrack to Arrow's LPCM 2.0 mono. There's only so much to be done with such a track, so it's probably safe to assume the two tracks are at least similar. The sound quality is limited by the single channel source (Romero also notes that they had problems with production audio a couple of times throughout the commentary track). If I'm honest, I'm going to have to admit that most of Romero's earlier films weren't exactly audio design masterpieces. Some scenes have an effective sense of outdoor ambience, like a scene where a church bell rings in the background without overwhelming the discussion, while others are flattened by the roar of motorcycle engines. At worst the track is muddied enough that several engines sound more like one big one and the noise drowns out some of the more intricate foley effects. Donald Rubinstein's musical score (possibly the best non-Goblin score to ever accompany a George Romero film) is usually still plenty audible when used in conjunction with action moments and gives some of the dialogue-heavy sequences much-needed texture. Rubinstein also plays a part as the troupe's singer/songwriter.
The extras begin with a group commentary that features Romero, actors Tom Savini, Christine Romero and John Amplas, and is moderated by film historian Chris Stavrakis. This track has been making the rounds since the original Anchor Bay DVD release. Its tone is pleasant, like a storytelling session with old friends, and, though the subject matter is sometimes unfocused, there's a lot of information about the production that isn't otherwise available. Amplas doesn't have a whole lot to say, but everyone else is quite talkative and Stavrakis does a decent job steering the conversation back on track when it flips off the rails.
The new interviews start with Conscience of the King with Ed Harris (8:10, HD), This is shorter than the interview he did for Arrow's release, but is still a charming look back at the actor's career before he was famous. This is followed by Code of Honor with George Romero (17:20, HD), a nice companion piece to the commentary track and older interviews I had been reading in preparation for this review. It covers early pre-production/distribution deals, trying to cast a young Morgan Freeman in Brother Blue's part, Savini's performance, the redneck locals' reaction to Ken Foree's blackness, stunts, King Billy as an idealized representation of himself, and original marketing problems. The final new interview is Memories of Morgan with Tom Savini (10:20, HD) in which the actor/stuntman/special effects artist discusses his earliest experiences with Romero, finally landing a lead role in a film, making mischief on and off of the set, and the film's impact. The extras are wrapped up with Savini's behind-the-scenes footage of the stunts (8:20, HD encoded, VHS quality), trailers, and TV spots.
Knightriders might've made a better mini-series than a movie, but its episodic, sub-plot-riddled storytelling is the thing that makes it special. There's certainly no other film quite like it and, excessive runtime issues aside, it is among Romero's most well made movies. Prospective viewers just need to be made aware that it isn't the action movie the poster art has implied for three decades now. Shout Factory's Blu-ray features a wonderful transfer (likely the same one that adorns Arrow's UK disc), an effective, uncompressed mono soundtrack, and informative extras that include new interviews and the original DVD's group commentary track.
* Note: The above images are taken from the Blu-ray and resized for the page. Full-resolution captures are available by clicking the individual images, but due to .jpg compression, they are not necessarily representative of the quality of the transfer.
Review by Gabriel Powers
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 26th November 2013
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.85:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 2.0 Mono English
Subtitles: English
Extras: Director/Stars/Critic Commentary, George Romero Interview, Ed Harris Interview, Tom Savini Interview, Behind-the-Scenes Stunt Footage, Trailers, TV Spots
Easter Egg: No
Feature Details
Director: George A. Romero
Cast: Ed Harris, Gary Lahti, Tom Savini, Amy Ingersoll, Patricia Tallman, Scott H. Reiniger
Genre: Action, Drama and Romance
Length: 145 minutes
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text:
ReleasesBack to
Solomon Ilori
It seems strange that Blue Note, a label generally associated with bop, hard bop, and the early avant-garde, would have released an album like African High Life. It didn't really fit in with Blue Note's back catalog and -- perhaps as a result -- the label didn't tread these waters again for a number of years. Regardless, this is a very enjoyable if not essential album of traditional African highlife music set to dance tempos. Fans of Count Ossie (or other Pan-African musics that predate an outright American R&B influence) should know what to expect here. In other words, it doesn't sound as modern as Fela Kuti, so it won't supply the kinds of grooves expected on most dancefloors. This is a more traditional music and, despite its Blue Note affiliation, it should be appreciated on its own terms. ~ Brandon Burke


text:
ALBANY, N.Y.—It looks as though Article 6-E has reached the end of its journey—for now.
In a Feb. 15 email interview with Security Systems News, NYBFAA executive director Dale Eller said the New York state association's board of directors had a lot to think about after the Feb. 10 meeting at which two dozen security industry executives aired their opinions on the nascent central station licensing legislation. Eller said the board came to a decision late in the day Feb. 15.
© 2018 United Publications Inc. ALL RIGHTS RESERVED.


text:
Reality, as good writers know, is sometimes stranger than fiction.
SCO's recent performance in the U.S. District Court in Utah is a
perfect example. With years to prepare, SCO executives made some
remarkable statements in their attempt to show that SCO,
not Novell, owns Unix's copyright.
While this case is not about SCO's claims that IBM and other
companies placed Unix
IP (intellectual property) into Linux, Novell's attorneys decided
that they would address this issue as well. One presumes that, since
this may be their one and only chance to attack SCO's Linux claims in
a courtroom -- what with SCO facing
bankruptcy -- they decided to address this FUD once and for all.
Before getting to that, though, Novell
hammered on Christopher Sontag, one time head of SCOSource, the
division of SCO devoted to selling Unix's IP. Sontag, while dodging
around what code SCO was actually selling -- UnixWare code or the whole
Unix tree leading to UnixWare -- was finally cornered into admitting that
SCO had received $16,680,000 from Microsoft and $9,143,450.63 from Sun
and did not report these deals or income to Novell as it was required
to do under the
terms of the Novell/SCO APA (Asset Purchase Agreement).
On the second day of the hearing, April 30th, Sontag admitted that
he did not "know if there's any code that is unique to UnixWare that
is in Linux." He also admitted that he did not know of any analysis
that showed there was any "legacy SVRX [Unix] software' in
UnixWare." For someone who was in charge of SCO's Unix IP, who arranged
to license it to Sun and Microsoft, and whose company was suing IBM
for using Unix code in Linux, Sontag seemed remarkably ill-informed
about exactly what it was that he was selling.
Sontag was followed on the witness stand by SCO CEO Darl McBride. With
McBride on the stand, as can be seen in the trial's
transcript, things became somewhat surreal. McBride, only minutes
after Sontag said he didn't know if there was Unix or UnixWare code in
Linux, said, "We have evidence System V is in Linux." McBride's most
memorable moment came though when he claimed, after years of never
being able to demonstrate any direct copying of Unix material into
Linux that "Linux is a copy of UNIX, there is no difference [between
In regards to SCO's
May 2003 letter to companies that were using Linux and "Therefore,
legal liability that may arise from the Linux development process may
also rest with the end user," McBride claimed that "I don't see
anything in here that says you have to take a license from us."
From there, McBride went on to say that simply because SCO had stated in
this letter that "We intend to aggressively protect and enforce our
rights" and added that the company had already sued IBM, that SCO
didn't mean to imply that "we're going to go out and sue everybody
else." At the time, most observers agreed that SCO certainly sounded
like they were threatening to sue Linux end-users.
McBride then managed to entangle himself in how SCO accounted for
the revenue it had received from Microsoft and Sun. The implication,
which McBride vigorously denied, was that SCO had misled the
stock-buying public in SEC documents in 2003 and 2004.
In what may prove to be a problem for Sun in the future, McBride
also said that while SCO
felt Sun had the right to open-source Unix in OpenSolaris, its
most recent Sun contract was really about Sun "looking for ways to
take their Solaris operating system and make it more compliant with
the Intel chip set, which is what SCO has a deep history of
Greg Jones, Novell's VP of Technology Law, was then sworn in. Jones
testified that SCO's 2003 agreement with Sun "allows Sun, then, to
release Solaris as open source under an open source licensing model,
which they have done in a project called OpenSolaris. So it poses a
direct competitive challenge to Linux and, certainly, to Novell, given
that Linux is an important part of Novell's business. We are a Linux
Jones went on to say that if Novell had been aware of SCO making
this deal with Sun, it would not have allowed it because, "It simply
would not have been in Novell's commercial interests. In the fall of
2002, Novell had acquired Ximian, a Linux desktop company. We were
exploring ways to get into the Linux market so enabling a competitor
to Linux simply would not have been in Novell's interests. In the
manner in which they entered this agreement, when they did it, they
kept all the money. I assume that would have been their proposal but,
fundamentally, it simply would have been contrary to Novell's business
interests to enable something like this."
On the third
day of the case SCO stuck to its guns, but added little more to
their arguments.
On the case's final day, Novell simply stated that, when all was
said and done, the APA made it clear that Novell, and not SCO, had the
rights to Unix's IP. Therefore, SCO had no right to make these deals,
and certainly no rights whatsoever to keep the funds from such deal.
In Novell's closing arguments, Novell also hit again on the SCO/Sun
deal. Novell pointed out that "There's no question they (SCO) allowed
Sun to open-source Solaris," and that while SCO executives would have
you believe that giving Sun the right to open-source Solaris had no
market value, SCO's engineers believed that open-sourcing Solaris had great value.
So, as the case moves on, SCO still seems unable to make any
headway on its claims that the APA gave it the right to sell Unix's
IP. Novell attorney's also made a point of demonstrating that SCO
still has only naked claims, without any evidence, that there's
any Unix code inside Linux. The Judge is expected to rule on the case
in the near future.
Finally, Sun may yet have to contend with Novell's IP interests in
OpenSolaris. Novell clearly doesn't believe Sun had the rights to
open-source the System V code within OpenSolaris under its CDDL
(Common Development and Distribution License).