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American Physical Society Sites|APS|Journals|PhysicsCentral|Physics
- American Physical Society Sites
- Publications
- Meetings & Events
- Programs
- Membership
- Policy & Advocacy
- Careers In Physics
- Newsroom
- About APS
- Become a Member
Peter Blair is a rising junior at Duke University, where he is pursing a BS degree in Physics. He is an honors student, having been named to the Deans List for the past four semesters. As a Mellon Mays Undergraduate Fellow, Peter is conducting research with Professor Arlie O. Petters in the field of gravitational lensing. His research this summer with Dr. Petters took him to the 10th annual Conference of African-American Researchers in the Mathematical Sciences (CAARMS), which was held at the Lawrence Berkeley National Laboratory and the Mathematical Sciences Research Institute (MSRI). At CAARMS, he presented a poster entitled, "Modeling Flux Ratio Anomalies due to a Chang- Refsdal Lens," for which he was awarded an honorable mention from among a competitive group of graduate-student posters. This upcoming academic year, Peter will become the first African-American to serve as President of the Duke chapter of the Society of Physics Students (SPS): one of his major goals is to foster undergraduate research and participation at professional conferences. Peter's long-term aspiration is to become a leading research physicist at a university, where he hopes to serve as a mentor and role model for minority students. His extracurricular interests include peer tutoring, church-related activities, tennis and music.


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Barazite makes Utrecht switch
Utrecht have completed the signing of midfielder Nacer Barazite from Monaco on a three-year deal.
The former Netherlands Under-21 international has returned to his homeland after a frustrating spell with Ligue 1 side Monaco.
Barazite, 24, is relishing the opportunity to get his career back on track at Utrecht after finding first-team opportunities hard to come by in France.
He told the Eredivisie club's official website: "It feels good to be back in the Netherlands.
"I've always aspired to play for a great club. Utrecht is a beautiful city, the club has a beautiful history and [Utrecht's stadium] Galgenwaard is fantastic."
Barazite started out at NEC Nijmegen before Arsenal offered him professional terms, but he failed to establish himself at the London club and spent loans spells with Derby County and Vitesse before joining Austria Vienna and then moving on to Monaco.

subset: commoncrawl


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Designs and Ideas Come To Life
My name is Cricket. Yes, like the insect, and no, I am not a girl. I have been addicted to design since I was a kid, and have been making websites and laying out print work ever since. I am not a fan of doodling and I can barely draw a dog, or even a bear — I am a product of the new age and have been doing my designs straight from my computer ever since.
I hope you like my themes. If ever you do use one of them, I would very much appreciate that you send me a link to your site so that I can see how they're being used.


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The computing facilities of the Department of Mathematics, Statistics and Computer Science are made available at no charge to students and faculty in support of the educational and research mission of the department. All computer use must be consistent with university policies and codes of conduct, and must not violate international, federal, state, or local laws.
The privilege of computer access is given only to persons whom the department knows to be entitled to such access, and is not transferable. Users must not give access to their accounts to any other users, by divulging user names and passwords, even for entirely innocent uses.
Department staff routinely monitor the use of the department's computer resources and will issue warnings or take other appropriate action if they observe misuse. The privilege of computer access may be limited or denied to any user who violates the policies described in the MSCS Account Information and Policies statement or the mission of the department.
I agree to abide by the MSCS policies for responsible use of my computer account.
Name (Please print)


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The costs of managing invasive alien species and their impacts are not well understood in the Pacific. IUCN Member, Landcare Research, recently completed a first-of-its-kind economic survey of the impacts of five key invasive species in eastern Viti Levu, Fiji's main island.
Invasive species pose an enormous threat in the Pacific: not only do they strongly affect biodiversity, but they also potentially affect the economic, social, and cultural wellbeing of Pacific people.
Speaking at a lecture organized by IUCN Oceania yesterday, Pike Brown and Adam Daigneault, economists from Landcare Research, elaborated on the surveys and their findings.
Brown and Daigneault found that the most cost-effective management option varies by species, precluding a universal solution. Nevertheless, the benefits of management often exceed the costs of management by a wide margin, arguing for a more concerted effort to control the spread of invasive species in the Pacific.
They looked at Spathodea campanulata (African tulip tree), Herpestus javanicus (small Asian mongoose), Papuana uninodis (taro beetle), Pycnonotus cafer (red-vented bulbul), and Merremia peltata (merremia vine).
The African tulip tree and taro beetle were found to be the worst invasives, both in terms of their popular perceptions and their economic impacts. In both cases, the benefits of managing these species far outweighed the costs of doing so.
Brown says that for the African tulip tree, an integrated approach is recommended; for the taro beetle, chemical spraying is most cost effective.
"Importantly, villagers reported being willing to donate significant amounts of their own time to control if proven methods are available," says Daigneault.
The mongoose, red-vented bulbul, and merremia vine were estimated to have much lower impacts on village livelihoods. Survey respondents believed that the mongoose should be controlled, and the benefits of control – whether through trapping or hunting – exceed the costs.
For merremia vine and the red-vented bulbul, Brown and Daigneault note that the economic motivations for control are small, and thus that it may be difficult for governments to prioritise management of these species; that being said, the gains to controlling merremia and red-vented bulbul may be significant from the perspective of promoting biodiversity.
Their analysis was informed by extensive survey data on the incidence, management, and impacts of the five species in Fiji.
Together with colleagues from the Institute of Applied Sciences at the University of the South Pacific and Nature Fiji-Mareqeti Viti, Brown and Daigneault surveyed 476 households, 359 of these in 30 villages in eastern Viti Levu.
The village and community surveys provided the first-ever quantification of the socio-economic impacts of invasive species in eastern Viti Levu.
"Information from this survey will be important for biosecurity purposes and also for conservation practitioners because there is very little knowledge on cost-benefit analysis of invasive species in the published space," says Daigneault.
The African tulip tree, the small Asian mongoose and the Red-vented Bulbul are listed on IUCN's 100 of the World's Worst Invasive Alien Species.
For more information on this research contact Pike Brown, email@example.com, and Adam Daigneault firstname.lastname@example.com


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Top MESA Centres in faridabad with options to book your first appointment FREE. Check Reviews, Fees, Cost, Success rates, Contact Number and Address for all MESA Treatments.
MESA (Micro-Epididymal Sperm Aspiration) is an open surgical sperm retrieval technique to treat male infertility problems such as Azoospermia (total absence of sperm in ejaculation) and reproductive tract blockage due to various genital surgeries including vasectomy. Under this procedure, operating microscopy is used and sperm retrieval is done directly from the epididymis (reproductive tube connecting the testicles to the sperm carrying vessels) of the male genitalia. MESA is normally used to assist pregnancy for childless couple through Assisted Reproductive Technology (ART) such as IVF (In-Vitro Fertilization).
This technique is used when the male partner has issues with producing sperm due to reasons such as:
When there is zero sperm found in the ejaculated semen in a Semen Analysis Test or Sperm Culture Report, one may be suggested MESA. Azoospermia is of two kinds -
However, MESA is not suggested in Non-Obstructive Azoospermia (NOA) as it is difficult to find sperm in the epididymis when sperm production is impaired due to genetic factors in NOA.
MESA is suggested when the male has Oligospermia (low sperm concentration in the semen).
MESA is helpful when the male has previous issues of genital surgeries such as Vasectomy (male sterilization surgery for permanent contraception) or inguinal Hernia Repair (surgery to repair hernia in the groin)
Men diagnosed with Cystic fibrosis (genetic disorder affecting lungs), which leads to infertility problems by affecting the development of vas deferens-tube carrying the sperm to the testicles.
MESA is required when the male has problem with blockage of seminal tissues or vas deferens due to cysts.
Men with history of testicular cancer can opt for MESA to have children without any risk.
MESA procedure is very minimal and less invasive. The entire procedure of sperm retrieval through MESA takes only 30-45 minutes. MESA is conducted as follows -


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2013 Nissan Pathfinder 4WD Platinum First Test
Larger, Lighter, More Efficient
The SUV market has changed greatly since the first-generation Nissan Pathfinder made its debut in 1986, with car-based unibody construction models now making up the overwhelming majority of the options. Even the Ford Explorer, widely credited with popularizing the SUV in the early 1990s, abandoned its body-on-frame roots for a unibody platform in 2011. Thus, it was hardly surprising to find that the decidedly rounder and sleeker 2013 Nissan Pathfinder was following Ford's path.
Depending on configuration, the new Pathfinder is up to 500 pounds lighter than its predecessor despite being larger in every dimension except height. The wheelbase is 2 inches longer, overall length is up nearly 5 inches, and width is up more than 4. As result of this repackaging, interior volume grows by 8.4 cubic feet. The drop in height, meanwhile, totals 2 inches, part of which can be attributed to an equivalent reduction in ground clearance, which now sits at 6.5 inches.
Nissan is claiming best-in-class overall passenger interior volume, front seat head- and legroom. While we can vouch for the front seats being quite comfortable, the Pathfinder subjectively still trails the GM Lambda triplets for third-row comfort. However, it's important to keep in mind the Chevrolet Traverse rides on a 5-inch-longer wheelbase and stretches approximately 6 inches longer overall.
Reflecting its more family-friendly orientation, Nissan is especially proud of its EZ Flex seating with Latch and Glide, which allows the second-row seat to be moved forward with a child seat still attached. The second-row seat can also be moved fore and aft for optimal passenger comfort.
The biggest improvement, both relative to its predecessor and compared with its competitors, is fuel economy. The two-wheel-drive Pathfinder earns an EPA rating of 20/26 mpg, and the four-wheel-drive model gets 19/25. The front-drive Explorer V-6 and Chevrolet Traverse get 17/24 mpg, the Toyota Highlander, 18/24, and the Honda Pilot, 18/25. More impressive, it's a massive 5/4mpg city/highway improvement over the outgoing Pathfinder.
Power for the 2013 Nissan Pathfinder still comes from a V-6, but the engine downsized by a half-liter. In fact, the 260-hp, 240-lb-ft, 3.5-liter V-6 is the only engine available -- the burly 5.6-liter V-8 optional on the 2012 Pathfinder is gone – and Nissan's CVT is the sole available gearbox. Although the new Pathfinder is built on the same line and shares much of its hardware with the Infiniti JX35, there are a few notable differences, one of the most significant of which is a hardware change in the CVT. It uses a steel chain-link pulley instead of a belt, which allows the Pathfinder to tow 5000 pounds. The JX and its belt-driven CVT are limited to just 3500. Performance is competitive for the three-row crossover segment, with our fully equipped 4WD Platinum model going 0-60 in 7.6 seconds, and completing the quarter mile in 15.9 seconds at 90.1 mph.
Although the topline Platinum trim is well-equipped with leather seating, heated and cooled seats for and front passenger, power tilt-and-telescoping steering wheel with memory, including the driver's seat and exterior mirrors, and a power rear liftgate, the Pathfinder does forsake a few features found on competitors. HID headlights and LED driving lights or taillights are not available on any trim level at any price. Nissan representatives were somewhat vague on the reasoning, but acknowledged product differentiation from the platform-mate Infiniti JX is a logical conclusion.
Noise, vibration, and harshness are well-controlled in the Pathfinder. The 3.5-liter V-6 goes about its business unobtrusively, but not anonymously. Road noise is also well-isolated. An unlike many other companies that offer CVT transmissions, Nissan doesn't try to mask its configuration with artificially superimposed "ratios" to mimic the operation of a conventional automatic. Nissan sees the CVT's smooth, stepless operation as an asset and has tuned the transmission to match the engine's power and torque output well. Even at wide-open throttle, the engine doesn't just hang at redline as do some CVTs. The Pathfinder will briefly rev up, but then adjusts engine rpm and transmission ratio appropriately.
Staying focused on the core content and features that consumers asked for allows the base Pathfinder S model to come in at a competitive $28,270. Assuming the same $825 destination fee as the current model, that brings the total to $29,095, undercutting the starting MSRP of the 2012 model by more than $1000. It's also $600 less than the starting price for the Explorer, and undercuts the starting MSRP of a Toyota Highlander V-6 by more than $2000. It puts the 2013 Pathfinder's price a mere $10 more than a four-cylinder Highlander. Nissan has not announced pricing for the other trim levels, but it's clear value is going to be a big part of the new Pathfinder's marketing strategy. Although the Pathfinder's starting price is noteworthy, Nissan expects the volume seller to be the SL trim, and notes approximately 50 percent of midsize SUVs and crossovers are sold with leather upholstery.
The 2013 Nissan Pathfinder may not be the rough-and-tumble bruiser its predecessor was, but marketplace realities mandated a change, as the outgoing Pathfinder sold only a little over 20,000 units a year, compared with close to 100,000 for most of the popular midsize three-row crossovers. It's clear Nissan has left a lot of potential sales on the table in the lucrative segment. The 2013 Pathfinder looks to be a solid entry, and could become a major player among midsize crossovers, just as the strong-selling Rogue has been a surprise in the compact segment.
2013 Nissan Pathfinder 4WD Platinum
|$29,095 (est)
|Front engine, 4WD, 7-pass, 4-door SUV
|3.5L/260-hp/240-lb-ft DOHC 24-valve V-6
|Cont variable auto
|4536 lb (54/46%)
|114.2 in
|LENGTH x WIDTH x HEIGHT
|197.2 x 77.2 x 69.6 in
|7.6 sec
|15.9 sec @ 90.1 mph
|124 ft
|0.75 g (avg)
|29.2 sec @ 0.53 g (avg)
|19-20/25-26 mpg
|169/130 kW-hrs/100 mi
|0.87 lb/mi


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A CAR ploughed into the front of a Little Lever shop after crashing into another vehicle.
The general store on the corner of Church Street and Market Street was badly damaged when a blue Volkswagen Polo smashed into it.
Police, fire and ambulance services were called to the shop at about 3.10pm yesterday.
Council officers were called to check the building was structurally safe, after builders propped it up with scaffolding.
Police cordoned off the scene and evacuated the store and the newsagents next door.
Firefighters said the electricity supply would have to be isolated before the car could be removed as it had damaged a corner unit.
It is understood that the Polo clipped a silver Toyota Corolla as it drove around the bend into Church Street which caused the driver to lose control. The driver suffered minor injuries but did not require hospital treatment after being treated at the scene.
Kennedy Corvelli, aged 18, was working in the shop when the car hit — but managed to escape unharmed.
He said: "There were no customers in the shop.
"I saw it coming and thought 'that doesn't look like it's stopping'.
"It made a massive bang."
Mr Corvelli managed to avoid most of the falling wreckage, with just a small piece hitting his leg.
He managed to squeeze out of the front of the shop.
Store manager Hayley Lowe said they would be assessing the damage once the car was removed.
She added: "Once they have secured the shop and got it safe, we'll start the rebuild."
Eric Hyde, a Liberal Democrat activist for Darcy Lever and Little Lever, said the corner where the accident happened was "dangerous".
He added: "The road contains a dangerous corner and a hazardous junction and the zebra crossing is also badly marked out."
First Manchester alerted bus users that services were subject to delays of up to 20 minutes after the crash.
Council officers were still at the scene working to shore up the building.


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Builder Blocks: Audio
Builder Audio Block adds an Audio custom post type for easily adding albums and music to display on your site with a "built-in" audio player, a way to display albums or discographies, support for music downloads/purchases with Easy Digital Downloads, plus a list of upcoming shows (with Builder Events Block).
Builder Audio Block works with any Builder child theme, but Builder Child Child - Noise is designed to work specifically with the Builder Audio Block.
Additional Links
EmbedVideo was given an illegal value for the alignment parameter "none". Valid values are "left", "center", or "right".


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The best way to keep up to date with Wapping Hockey Club
By England Hockey TV
472 views
Lee Valley Hockey & Tennis Centre Eton Manor London Greater London E20 3AD View with Google Maps
This website is part of the Pitchero Hockey network. Create your own free Hockey club website with Pitchero.
© Pitch Hero Ltd 2008-2018
Pitch Hero Ltd Registered in ENGLAND | WF3 1DR | Company Number - 636 1033


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I was a young BBC reporter when I first met Margaret Thatcher on a cold Scottish hillside. She was standing in front of the wreckage of the Pan Am airliner that had exploded over Lockerbie. As the news pack surged forward, I was knocked to the ground, prompting the British prime minister to wade into the scrum, reach down and pull me up. It was a tiny glimpse of Thatcher's rarely displayed humanity which I was reminded of while watching Meryl Streep's startling performance in The Iron Lady.
I sincerely hope that Streep wins an Oscar this Sunday for her portrayal of Mrs. Thatcher, not just because she hasn't won in 29 years of stand-out performances, but because I don't think I have ever seen someone I know portrayed on screen with such veracity. And I've met a lot of politicians in my career, including Nelson Mandela and Tony Blair, whose lives have been dramatized on numerous occasions.
Matthew Paris, a former Conservative MP who worked for Thatcher said Streep's performance was so realistic, he felt haunted by it, as though a ghostly apparition of his old boss had stepped out of the cinema screen. "It's as if an old friend had been invaded and inhabited by a stranger, turned into a puppet."
Even those people who are not fans of the movie agree that Streep has captured Thatcher in appearance, voice and spirit. But I feel the actress should also be commended for her portrayal of old age. This is a contentious issue. A lot of Mrs. Thatcher's supporters don't want to see their heroine diminished by the passing of time; they want to remember her at the height of her powers. They object to the scenes in which she appears to forget that her husband is dead or that she is no longer prime minister. But I would argue that Meryl Streep portrays the elderly Thatcher with great dignity.
There is no shame in growing old. Indeed the director of the British Alzheimer's Society has praised The Iron Lady -- and Streep's performance -- for the way dementia is handled. We live in an aging society; most of us will at some point in our lives witness a loved one's brain muddled by the forgetfulness of old age. It may be painful to watch but it shouldn't be hidden away like some shameful family secret. I have a friend whose mother is suffering from dementia. She was moved to tears by Meryl Streep's performance. They were tears of painful recognition.
Streep has described The Iron Lady as King Lear for girls. But the actress also "gets" Thatcher when she was all-powerful and could reduce grown men to quivering wrecks with a glance. Writing in the Los Angeles Times, Matthew Parris says watching the movie brought back memories of being "skewered by those intense blue eyes making you feel she was seeing your innermost thoughts and inadequacies."
Thatcher continues to be an incredibly divisive figure in Britain. I was at university in London during her first term as prime minster and remember taking part in numerous demonstrations where we students would march down the street shouting, "Maggie, Maggie, Maggie, Out, Out, Out." But my stepfather recalls her years in power with misty-eyed admiration. As a member of the business community he saw her as a savior who rescued a paralyzed Britain from the clutches of the unions.
People either love or hate Maggie Thatcher, but they are rarely indifferent to her. It's a testimony to Meryl Streep's abilities as an actress that almost everyone who has seen The Iron Lady is united in the belief that it is a career-defining performance. It would be a tragedy if she didn't win an Oscar for it.


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Women's Camp Lantern T-Shirt
Made By: Moore
Guiding outdoorsy types to adventure, the camping lantern on this t-shirt reveals a mountain range and the rising sun straight ahead. The illustrated camping design is screenprinted by hand with soft water-based ink on an even softer tri-blend t-shirt, so comfy it might become a serious contender for your favorite tee.
- 50% polyester, 25% ringspun cotton, 25% rayon blend
- Printed with coral red water-based ink
- Smaller than average fit


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RICHMOND, Va. (AP) — Dominion Resources Inc. said Monday that it plans to close and decommission its Kewaunee Power Station in Wisconsin after it was unable to find a buyer for the nuclear power plant. It would be the first such closure since 1998, federal officials said.
The Richmond, Va.-based energy provider said that the 556-megawatt facility in Carlton, Wis., is expected to stop producing power in the second quarter of 2013 and move to safe shutdown status. Dominion plans to record an after-tax $281 million charge in the third quarter related to the closing and decommissioning of the station.
The company had announced plans in April 2011 to sell the facility it purchased from Wisconsin Public Service Corp. and Wisconsin Power & Light Co. in 2005 for $220 million, as part of a strategic review of its assets. Dominion had previously planned to acquire additional plants and build a business around that portfolio.
"This was an extremely difficult decision," Dominion CEO Thomas F. Farrell II said in a news release. "This decision was based purely on economics. Dominion was not able to move forward with our plan to grow our nuclear fleet in the Midwest to take advantage of economies of scale."
Farrell also said Kewaunee's power purchase agreements are ending at a time of projected low wholesale electricity prices in the region.
Still Farrell said Dominion still believes that nuclear energy must play an important part in the nation's energy future. The company operates three other nuclear power stations — Millstone Power Station in Connecticut, as well as North Anna Power Station and Surry Power Station in Virginia.
"The nation will be hard-pressed to meet its energy needs, let alone do so in a secure and affordable manner, without a robust and growing nuclear energy program," he said.
The Wisconsin station that began commercial operation in 1974 will remain under the oversight of the Nuclear Regulatory Commission throughout the process. The NRC says less than 20 commercial nuclear reactors have been permanently shut down, the most recent being Millstone Unit 1 in 1998, before Dominion's 2001 acquisition of the plant.
Dominion plans to meet its obligations to the two utilities that purchase power from the plant through market purchases until the power purchase agreements expire in December 2013.
Kewaunee County Administrator Edward J. Dorner said the plant's closure will mean the county will lose an annual $900,000 in a shared revenue utility tax payment from the state.
Dorner said, with an estimated 400 employees, the plant is one of the county's largest employers.
"It will have a major impact on the landscape in terms of jobs and the state of the economy here," said Dorner, who called the announcement about the plant on the shore of Lake Michigan about 35 miles southeast of Green Bay, "a surprising revelation."
In a statement Monday, Wis. Gov. Scott Walker said the news highlights the need to "decrease unnecessary federal regulations slowing the process for companies, like Dominion, to take advantage of economies of scale and keep their businesses profitable and open."
Dominion is one of the nation's largest producers and transporters of energy and has the nation's largest natural gas storage system. It serves retail customers in 15 states.
Its shares fell 55 cents, or 1 percent, to close at $52.96 Monday. Its shares have fallen 5 percent since hitting a 52-week high of $55.62 in early August. They traded as low as $48.87 in late January.
Associated Press Writer Gretchen Ehlke in Milwaukee contributed to this report.
Michael Felberbaum can be reached at http://www.twitter.com/MLFelberbaum .


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Financial Aid
St. John's College is committed to a financial aid program that rewards academic merit and recognizes financial need. We understand that everyone's financial situation is different. We ensure that each financial aid application is given individual attention in order to provide our students with the best award package possible.
Aid Packages
The type of education that students receive at St. John's is invaluable. It is our goal to make our specialized program possible for students of all backgrounds. The Office of Financial Aid tailors each financial aid package to the student's individual circumstances with a combination of institutional scholarships, need-based grants, low-interest student loans, and work-study. Our awarding process is personalized, and our commitment to making a St. John's education affordable to all students, regardless of income, is unwavering.
Average Cost of Attendance: $19,200
At St. John's, the average financial aid package is more than half of the total cost of attendance. Because of need-based financial aid and merit scholarships, the average cost of attendance at St. John's is often less than the cost of attendance at other private and public colleges that publish a lower cost of tuition.
Apply for Aid Annually
The Free Application for Federal Student Aid (FAFSA) is a form for prospective college students—undergraduate and graduate—and current students in the United States to determine eligibility for financial aid.
The CSS Profile is available for international students who want to be considered for financial aid.


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The Photos Alone Are Reason Enough To Get Married.
"The Photos Alone are Reason Enough to get Married!"
Hello there, thanks for visiting our blog! We are Heather Gilson and Jon Almeda of One Love Photo. Our mission is to create photographs at weddings that are as charming and unique as the day itself. We have been married for ten years and have been friends since high school. We imagine that each wedding we photograph is our own wedding. Giving each client all our love and shooting straight from our hearts. We both bring something different to the table, yet we share a similar aesthetic vision which gives our images a cohesive look.
Having shot over 300 weddings together as a team, we have established a refined "well oiled" approach to weddings. Our approach allows our couples to be relaxed, happy and perfectly present on their big day. We take joy in fusing our images together to craft stories with our cameras. We enjoy using a combination of cameras and techniques. In addition to using Canon digital gear, we often shoot with a Hasselblad medium format film camera and vintage 35mm lenses. Images shot with our film cameras and lenses have their own look and feel. Some produce beautiful flare, some are square, and some make things soft and dreamy.
Beyond photography we work in a variety of mediums ranging from pottery, painting and mixed media pieces. When we aren't busy photographing weddings you'll find us working on our other artistic endeavors. Jon is also a renowned miniature ceramic artist. When he isn't busy editing photographs and crafting slideshows, you'll find him down in the studio throwing pots, assembling pottery wheels and creating throwing videos. I love it when I can start my day off painting in the morning followed by a walk in the sunshine to fetch a latte. Lately I've re-discovered the fine art of teaching and have been sharing my love for photography with the students at Stadium High School.
We live in Tacoma with our giant tuxedo cat named Friend. We love the Pacific Northwest and enjoy having our family and friends close. But Hawaii stole our hearts years ago and we often escape to Oahu to stay with our grandparents. We love Hawaiian culture and the aloha attitude and often daydream of living in the islands.
All of our packages include the two of us working as a team at your wedding. Please contact us for pricing information, full day coverage starts at $4,000. We also offer smaller packages for elopements and less traditional events. We have traveled far and wide to capture weddings and have travel options for varies locations. Please send a message for more details. We would be honored to capture all the love on your special day!
More Links
One Love Photo Website
One Love Photo Instagram
Almeda Pottery Website
« It's Official
Peek – Jamaica »
© 2018 One Love Photo | ProPhoto 3 by NetRivet, Inc


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AC 01 Alarm Clock from Punkt. on Vimeo. Punkt. AC 01 offers you the pleasure of going back to the traditional alarm clock for everyday use. Why have your cell phone lying on your bedside table, when you can be woken up by a superb design object such as the AC 01? No fumbling around in the dark, no radiation emissions, and no unwanted calls in the middle of the night; just the pleasure of trusting your sleeping hours to a wonderfully simple object that, thanks to its extraordinary simplicity, will delight you every time you wake up to it.
Essential and timeless If function defines design, then the 'essentiality' of the AC 01 is natural - like the daily routine of waking up - which makes the AC 01 a timeless timepiece.
Simple and intuitive Set the alarm on; switch it off; prolong sleep by activating snooze; check the time in the middle of the night. Four simple actions which need to be performed intuitively; as with the AC 01.
Long lasting materials The AC 01 dial is protected by thick scratch-proof glass and surrounded by a solid aluminium body to ensure product longevity.
- Design Country: Switzerland
- Dimensions: 4.25"H x 3.5"W x 1.25"D
Key Features:
- Smart alarm switch Activate or deactivate the alarm with a simple manual gesture and the status will be clearly displayed on the dial.
- Clever snooze button You can activate the snooze option with your eyes closed by simply pressing the back of the alarm clock.
- Light-ring lit dial Just feel-in-the dark to illuminate the entire dial by gently squeezing the clock and activating the light ring.
- Luminescent hands and dial The glow-in-the-dark hands and dial allow you to tell the time in complete darkness without turning the light ring on.
- Long Battery Life One battery for the alarm and two dedicated to the light, ensure that the AC 01 will work for a long time before having to replace the batteries.
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Dear Alumni and Friends of Lamont:
Welcome to the Alumni website, providing Alumni news and links to events and people of interest to you. This is my first note on this site since stepping in as President of the Alumni Association Board, and I'd like to begin by describing what the Board is, what it can do for you, and what you can do in return.
We are 15 former graduate students, researchers and staff members who strive to promote the welfare of the Observatory by acting as advocates and supporters of the Observatory's mission. We serve 3-year renewable terms and welcome new members as slots become available. We meet three times per year and maintain a liaison with the Observatory's Advisory Board. A member of the DEES Graduate Student Committee will attend our Spring 2014 Board meeting to discuss topics of mutual interest between alumni of today and those of the near future.
Board activity follows three topics: Regional Champions, Historic Preservation and Social Media / Outreach. Many of Lamont's 1400+ alumni are concentrated in a few geographic areas, and we're seeking to enlist 'Regional Champions' in these locations who will stay especially well informed regarding news and activities that are of interest to the local alumni or that provide outreach opportunities. The second topic aims to locate, preserve and make available items of historical significance to the Observatory; to date, we've focused on assembling narratives, written or oral, from Lamonters of any era whose stories reveal the range of activities that have contributed to its rich history. Finally, because of the fast-changing landscape of today's information age, several Board members pay special attention to engagement and outreach opportunities afforded by social media and provide the Development Office with their advice.
We're working in other areas to meet our mission of strengthening ties within the alumni community and advancing the welfare of the Observatory, and these will be described in future letters. For now, I encourage you to remain informed about the Observatory's mission, activities, strengths and needs. To do this I urge you to subscribe to the Director's Weekly Reports ; regularly visit the Lamont website for latest news updates; when in the area, come to Lamont to attend Friday colloquiums, Open House or the Public Lecture Series; attend the annual reception in San Francisco; and stay current with communications produced by the Development Office.
You may have seen the splendid news in mid-January that Peter Molnar (PhD '70) has been selected for the prestigious Crafoord Prize . Just a week before, Peter accepted an invitation to come to Palisades for a several-day visit in April as an honored guest to give lectures and meet with current graduate students. We hope this will become an annual event where alumni of special renown return for similar visits. These occasions will enable the Observatory to honor one of its own and provide those currently at Lamont the opportunity to meet or re-acquaint, and experience first-hand the value of maintaining ties across miles and years.
Please contact Stacey Vassallo in the Development Office if there are additional features you'd like to find here.
Regards to all -
Greg Mountain (PhD '81)
Winter 2014
Interested in joining the Alumni Board? Please contact firstname.lastname@example.com
for more information.
for more information.
Alumni Association
Board of Directors
Gregory Mountain
Rutger's University
New Brunswick NJ
Dee Breger
Greenfield Center, NY
Mike Coffin
Institute for Marine & Antarctic Research
Tasmania, Australia
Emma (Christa) Farmer
Hofstra University
Hempstead NY
Mia Leo
Valley Cottage, NY
Ellen Kappel
Geo Prose
Bethesda, MD
Rudi Markl
Rye NY
Philip Orton
Stevens Institute of Technology
Hoboken NJ
Virginia Oversby
Walnut Creek, CA
Michael Perfit
The University of Florida
Gainesville FL
Michael Rawson
Washington Township NJ
Debra Tillinger
New York NY


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Francis Ford Coppola: The '70s
The Godfather (July 30/08)
Sporadically electrifying yet thoroughly uneven, The Godfather - based on Mario Puzo's acclaimed novel - details the ups and downs of the high-powered Corleone family (which includes Marlon Brando's Vito and Al Pacino's Michael) over the course of several particularly eventful months. The almost stunning degree to which director Francis Ford Coppola has established a very specific time and place certainly proves instrumental in The Godfather's success, although - as becomes evident fairly early on - it's the stellar cast's career-best work that ultimately assures the viewer's interest even through the film's less-than-enthralling stretches. The glaringly episodic structure is never more evident than in the movie's midsection, as Coppola - working from a script co-written with Puzo - places the emphasis on a series of relatively inconsequential happenings and sequences (with Michael's downright pointless sojourn in Italy undoubtedly the most obvious example of this). The periodic inclusion of admittedly breathtaking interludes - ie Michael's apprehensive assassination of two would-be interlopers - does help to temper the ineffectiveness of the film's overlong and flat-out superfluous moments, yet one can't help but imagine that the movie could've benefited from a few judicious trims here and there. Still, it's impossible to downplay the strength of the various performances - as Brando's justifiably legendary turn as the feared Don is undoubtedly matched by the impressively impassive work from Pacino (the latter's character is consequently far from sympathetic, however). And while it goes without saying that the superior sequel does retroactively improve this installment, The Godfather nevertheless remains an egregiously bloated epic that has inexplicably become one of the most lauded and celebrated efforts within contemporary cinema.
out of
The Conversation
The Godfather: Part II (March 29/09)
The Godfather saga continues with this installment that finds Al Pacino's Michael Corleone attempting to both expand his empire and keep his fragmented family together, while a series of flashbacks detail the early days of Michael's deceased father (Robert De Niro's Vito Corleone). Much like its lauded predecessor, The Godfather: Part II boasts a number of undeniably stunning performances and an overall atmosphere of almost flawless stateliness - yet, with the exception of a few individual sequences, the movie never quite becomes as electrifyingly compelling as one might've hoped. The pervasive degree to which screenwriters Francis Ford Coppola and Mario Puzo stress Michael's progressively convoluted day-to-day activities ultimately hinders one's efforts at wholeheartedly embracing the storyline, as - unless one holds an inherent curiosity in the behind-the-scenes dealings of a mafia don - such moments eventually wear the viewer down with their relentlessly intricate (and doubtlessly faithful) portrayal of Michael's repetitive business dealings. And although Pacino's engaging and impressively subdued work effectively sustains the viewer's interest even through the film's more unapologetically expository interludes, it's consequently impossible to deny that The Godfather: Part II is generally at its best when focused on the origins of Marlon Brando's iconic character (ie the sepia-toned flashbacks are consistently enthralling in a way that's generally unmatched by the rest of the movie). It's worth noting, however, that the film does improve substantially in its post-intermission stretch, as director Coppola offers up a series of admittedly fascinating interludes that delve into Michael's increasingly fractured psyche - with the heated confrontation that ensues between the don and his fearful wife (Diane Keaton's Kay) possessing precisely the sort of emotional resonance that's all-too-absent from the remainder of the proceedings. There's likewise little doubt that Coppola and Puzo tie up the various plot threads in as engrossing a manner as one could possibly envision (ie Vito's revenge for the murder of his family, Michael's solution for the Fredo problem, etc), with the end result an overlong yet accomplished sequel that inevitably proves an ideal companion to its comparable progenitor.
Apocalypse Now


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What is Winter Depression?
Winter depression or seasonal affective disorder (SAD) is a syndrome characterized by recurrent depressive episodes which occur during the winter. The onset may begin as early as September or October and the symptoms spontaneously remit in April or May. Individuals suffering from winter depression typically do not experience depressive symptoms during the summer.
Recent studies indicate that more than 10 million Americans suffer from winter depression and many more experience "winter doldrums," a lesser form of winter depression. On average, women are three times more likely than men to suffer from winter depression.
Symptoms of Winter Depression
• Sadness
• Irritability
• Fatigue
• Apathy
• Increased appetite
• Weight gain
• Carbohydrate craving
• Decreased physical activity
• Increased sleep
• Difficulty in awakening.
What Causes Winter Depression?
Many of the functions of the human body follow a daily (circadian) rhythm which is close to 24 hours in duration. Circadian rhythms are regulated by the body's internal clock and by exposure to sunlight, which synchronizes the body's clock to the 24-hour day.
We believe that winter depression occurs because of a decrease in the amount of light that persons receive during the winter months. Winter days are considerably shorter, and frequent cloud cover reduces exposure to sunlight. Reduced sunlight and/or shorter days may result in some of the body's circadian rhythms becoming out of synch with each other, which may trigger the depression.
Treatment with Bright Light
Currently, bright light therapy is the treatment of choice for winter depression. Numerous studies have demonstrated that bright light therapy is safe and effective. However, there still is some disagreement as to how light therapy works and more research needs to be done to understand and improve this form of treatment.
If you would like to be treated with bright light, we strongly recommend that you consult your doctor and be supervised by your doctor during treatment. People respond differently to bright light exposure; it is important that bright light therapy be timed correctly so that you will benefit from this treatment. Also, some medications can make you more sensitive to light. Individuals with retinal problems should have an ophthalmological exam before beginning light therapy.
What Type of Light Works?
We recommend using a light fixture which is able to produce diffuse light of at least 2500 lux at about 3 feet away from the source. Higher intensity lights (10,000 lux) are also available, which reduce the amount of exposure time needed.
Our studies are showing minimal differences between full spectrum and ordinary "cool white" fluorescent lamps. Therefore, we are currently recommending "cool white" fluorescent lamps because they contain less ultraviolet radiation, which some physicians recommend avoiding. [Note: Importantly, some full spectrum light therapy systems/bulbs are now designed so as to deliver no harmful UV rays.]
The Human Circadian System [an explanation of terms & concepts]
Circadian rhythm: Simply put, "circadian rhythm" means daily cycle. "Circadian" comes from Latin: circa = approximately, and dies = day.
Many bodily functions and behaviors have a circadian rhythm: The most obvious circadian rhythm is the sleep/wake cycle. Body temperature and the secretion of various hormones (insulin, cortisol, and melatonin) have circadian rhythms. Cognitive performance and mood also have been found to be synchronized by circadian rhythms.
The circadian rhythm of melatonin: Melatonin is a hormone made by the pineal gland in the brain and is normally produced at night. Melatonin plays a role in the regulation of the body clock by acting as a darkness signal to the body. When melatonin is produced, the body knows it is time to get ready for sleep.
The endogenous circadian pacemaker: This is the biological clock that regulates all circadian rhythms. The endogenous circadian pacemaker is located in the suprachiasmatic nucleus (SCN) of the hypothalamus in the brain. The SCN is normally entrained (synchronized) to a 24-hour cycle by time cues in the environment, mainly by the 24-hour light-dark cycle in sighted people. Light in the eyes is the primary synchronizer of the biological clock.
Circadian rhythm disorders: In circadian rhythm disorders, there is a mismatch between the timing of the sleep/wake rhythm and the desired (or required) time for sleep.
Examples of circadian rhythm disorders include winter depression (Seasonal Affective Disorder, or SAD), jetlag, shift work maladaption, advanced sleep phase syndrome, delayed sleep phase syndrome, and 24-hour sleep/wake schedule disorders (like those associated with free-running circadian rhythms). [See also "Reset" Your Disrupted Internal Clock Naturally – Using a Dawn-Dusk Simulator.]
Free-running circadian rhythms: About 15% of the legally blind have no light perception at all. The majority of totally blind individuals have abnormal, free-running circadian rhythms, meaning that their internal body clock drifts to a different time each day. Although free-running blind individuals may try to maintain normal sleep and wake time, they typically have recurrent bouts of nighttime insomnia and daytime sleepiness as their body clocks drift out of sync with the 24-hour day. This problem is one of the primary complaints in some blind individuals. The recurrences of such symptoms can be precisely predicted through circadian rhythm (specifically, melatonin rhythm) assessments.
* This information is reproduced with kind permission of the OHSU Sleep & Mood Disorders Laboratory in Portland, Oregon – an internationally-recognized center of research on melatonin, circadian rhythms, and disorders related to the body clock since 1982. For information about the lab, its current projects and published research, and for contact information, click here.
Visit the ProHealth Store for More Information:
Note: This information has not been evaluated by the FDA. It is not meant to prevent, diagnose, treat, or cure any illness, condition, or disease. It is very important that you make no change in your personal healthcare plan or health support regimen without researching and discussing it in collaboration with your professional healthcare team.


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Saturday mornings is not only my chance to catch a few extra winks of sleep-- it's a morning I set aside to make something special for breakfast. Sometimes I like to whip up a quick batch of muffins, or homemade waffles. Eggs are a favorite, too. Heck, Craig and I just enjoy our leisurely Saturday morning breakfast! In the March 2010 issue of Bon Appetit, Molly Weizenberg (of the very success blog "Orangette" and a recently published author, published this recipe. I was definitely intrigued. My definition of Flapjacks, for all of my American life, has been pancakes. But these are different in the US...they are more of a bar cookie. Molly's version of British Flapjacks requires an ingredient I had never heard of before-- Golden Syrup. I filed this recipe in my "gotta try" part of my brain that reminded me to scout out this elusive ingredient. At last! I found Lyle's Golden Syrup at my local World Market for less than $4.00. Gripping my new treasure, I was ready to give this recipe a go.
Golden Syrup is made from Cane Sugar. What is the bottle set in? It's my 8x8 pan, which I have lined with a parchment paper "sling". I read the reviews from folks who made this recipe. Several complained that they couldn't get the bars out of the pan. Problem solved...
Golden Syrup (see how it slides right out...clever, eh?) until melted, stirring constantly. Remove the pot from the heat, and add the oats and a pinch of kosher or sea salt.
Please scroll to the very end of this post for a printable recipe card.


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Quantity: 52 beads, 15.5" strandMaterial: GlassSize: 8mmShape: roundDrilling: center----------------------------------------*Please note the photo does not show actual size, please refer to Description for size details.** Color may very slightly due to the color calibration of each individual monitor----------------------------------------If you need more than this, please let us know, we will create a special listing for you.Have any questions? Contact the shop owner
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Contact me if you need more quantities of any item listed on ETSY. I usually carry more quantity of each item


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The Nov. 4 presidential elections could do more than determine the path of the United States for the next four years. They could also determine the future of the Doha Round, a former U.S. Trade Representative said.
WTO officials have been meeting with trade ministers around the world to try to restart the Doha Round after it fell apart in July over China and India's refusal to open their markets. But the future of the negotiations could well hinge on who wins the U.S. presidential race, according to Robert Zoellick.
"It's possible that we can restart the Doha Round," said Zoellick, now the president of the World Bank, responding to a reporter's question after he spoke at the World Food Prize Symposium in Des Moines, Iowa. "But if the next U.S. president is not pushing for the negotiations to succeed, it won't happen."
Zoellick did not mention either candidate, but as a former member of the Reagan and first Bush administrations and U.S. trade representative and deputy secretary of state for President George W. Bush, few would question his political leanings.
Zoellick, who helped start the latest round of trade negotiations in Doha, Qatar, in November 2001, said he remains optimistic about the negotiations, although the recent meltdown of the financial markets and rising food and energy prices have put the WTO in "dangerous waters," as he put it in another speech earlier in the month.
(Trade officials from key countries have been meeting in Geneva to try to resolve some of the outstanding issues in the Doha Round, but Pascal Lamy, director-general of the WTO, has indicated he does not expect any meaningful progress on the negotiations until after the first of the new year.)
"I think a lot of people realized there were some good things on the table when they left Geneva after the talks collapsed in July," Zoellick said during a press briefing at the World Food Prize Symposium.
"I'm worried about having to have 150 countries agree on every detail of a new document," he said. "You have to have core leaders who are willing to step up and find a solution, who see it as a problem-solving exercise and not an arena for speech-making."
He suggested changes will have to be made in how the negotiations are conducted to bring about progress toward what he termed the "new multilateralism."
"We need a core group of finance ministers who will assume responsibility for anticipating issues, sharing information and insight, exploring mutual interests, mobilizing efforts to solve problems and, at least, managing differences," he noted.
"For financial and economic cooperation, we should consider a new steering group for the WTO including Brazil, China, India, Mexico, Russia, Saudi Arabia, South Africa and the current G-7 (the United States, Canada, France, Germany, Italy, Japan and the United Kingdom.) But this group would not be a G-14. It should be numberless, flexible and, over time, it could evolve."
Zoellick said the financial turmoil of the past year has created a number of problems that threaten world stability, including an increase in malnutrition among the world's poor due to higher food and fuel prices, that could be addressed by such a group.
"Food prices have come down, but they're still 40 percent above the levels of two years ago," he told participants in the World Food Prize Symposium. "With many people in the developing world spending 50 percent of their income for food, the latest crisis has pushed 40 million new people into malnutrition."
Because of such developments, the World Food Program has had to more than double its fund raising efforts, he said.
"We are not out of the woods on the current crisis. The World Food Program will need $6 billion to help feed the world's hungry this year, compared to $3 billion in 2007. This organization has to raise all its funds, starting from zero every year. If you think it's easy raising $6 billion, you should try it yourself."
Responding to a question from Ambassador Kenneth Quinn, director of the World Food Prize, Zoellick said the World Food Program needs more flexibility in how it can raise and distribute the funds. "It's not only a question of more money for research and development in agriculture, but also on the value chain," Zoellick noted. "Some developing countries lose 50 percent of their food supply before it reaches the consumer."
The World Bank and the International Monetary Fund are both making investments in agriculture and, more specifically, in the food chain to try to help more food reach the world's malnourished. But more investments are needed, Zoellick said.
"That's why leadership is needed," he said. "If the United States is not willing to take the lead, it will be very difficult to push ahead on a new world trade agenda."
e-mail: [email protected]


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NARRATION: Last week as you REMEMBER, Will had slipped away from the spaceship to try and repair the Chariot, unaware that the renegade Robot, programmed to obey only Dr. Smith's voice orders, was loose in the area.
TEASER-fully recapped
Will is in the Chariot as the camera pans across it. He is cold and not having much success at fixing the land vehicle. He guesses he was wrong about it. "I gotta get back to the ship. What?" He sees the Robot coming over a hill. He goes out, "I wanna talk to you about the way you ran off." Robot repeats Smith's orders, "When unessential personnel are found alone, destroy." He blasts a tree and moves closer to Will. Will climbs up the Chariot, "Go back, do you hear me? Go..go back. Go back." He repeats this several times. Robot fires electric between his claws and then down to warm up. John warns Smith about the Robot causing any more trouble. Will calls urgently. Don, John, and Maureen run out. Will uses Smith's voice to put the Robot through a routine check, stalling the Robot. Robot checks his electric circuits by firing between his claws.
Jupiter II lit up at night. Excellent music at the titles. Maureen calls out to Will but John tells her not to distract him. John tells Don to get Smith to come out and stop this or he will be put back in that deep freeze. Don goes to the lower deck and finds Smith making crepe suzette dish--he learned to cook at the feet of the master. Don wants to ring his neck. Smith tries to hit him with the metal stirring tool but gives up. "One false move," Don says and makes a motion across his neck. Smith seems afraid. He runs out. Smith gets the power pack out, "Dr. Smith to the rescue." Maureen takes him off Will, "You take your hands off him." Smith says, "My dear Madam." Maureen yells, "Don't you dear Madam me. Turning that thing loose on him." Smith tries to explain he was alone on a planet facing peril and needed defense. He asks about oranges for his dinner. Later in the galley, John talks to Don and the family while Smith listens from afar, "Now we know nothing of whatever life forms may exist on this planet. We only know that we must depend on ourselves for survival. So starting tomorrow we're going to turn this immediate area into a self sufficient community and that means everyone is going to have his job to do and that means everyone, do you understand, Dr. Smith?" Morning: John will have the Robot brought to the spaceship camp area but warns Will to stay away from it but later--he wants the forcefield set up before nightfall. Perhaps the one used in THE DERELICT was damaged? Smith promised to help Miss Judy in the garden--he tells Don when Don and John want his help with the forcefield. When he goes to Judy, he tells her that he was helping her father and Major West put up the forcefield. A series of garden tables are set up with corn, squash, carrots, peas, and tomatoes. Smith wants green onions. Judy tells Smith, "Don said it wasn't safe to use any of the native soil." Smith plants pea seeds and takes the soil into the ship--telling Judy he will do a soil analysis--another lie. She knows it is, "Soil analysis." Penny tries to find something good in Smith, "Well anyway, he's a good cook." Judy wonders, "Sure he is." NOTE: A short few seconds are cut here on the COLUMBIA VIDEO version of this episode. Inside the control room, Smith finds Will working on the astrogater, trying to fix the visual scanner which got wrecked in the crash. If fixed it will be able to see only a few miles. Smith talks his way out of helping Will and goes down on the elevator. The musical interludes during all these "Smith avoids" sequences are very good. Once in the galley, Smith throws the soil into the garbage chute and drinks coffee. Maureen comes in and he tells her he helped with the forcefield and the garden. She looks at him, unbelieving. Night, Don throws rocks and shoots the laser pistol to test the forcefield, even shooting at Maureen and the kids, "That forcefield will stop a rocket barrage." Morning: the ramp of the Jupiter II is out. John and Don go to fix the Chariot. A tent is up. John tells Will he cannot fix the Robot and in so doing, calls Will, "William," in a tone that Will tells Penny means there is no use arguing. Later, Judy comes running---NOTE something odd by the door entrance inside the control room which looks like an open closet or extra wall. Judy yells, "Mother, come quickly, something terrible's happening in the garden!" Smith, Maureen, and Penny follow Judy out and see three giant peapods which Smith planted and which grew overnight. Will stops and runs back inside. Smith uses a pocket knife to cut open the pod and several large monstrous claws come out of it, followed by an animal sound and some kind of smoke. Will ran in for a laser and is on top of a rock in a good place to shoot the pea thing dead. Smith takes the gun, telling him he was willing to sell his life dearly for the womenfolk. Will says, "I'll bet." He insults Smith but Maureen tells him that's enough of that. John and Don fix the Chariot. John drives, "Let's go. I worry about leaving the family alone." As he drives, the Chariot shakes violently for a few seconds for two or three times. "That's funny. I didn't notice those rough spots before." Indeed he didn't--the car is running over the rough ridges of a 6 toed footprint of some giant monster.
Don and Smith come into the lab where John is looking into a microscope. Don looks at the living cells which are in from the thing that incubated in the pea pod and the same cells are seen in a sample of native soil from this planet. Don notices they are the same cells. John sums it up, "Living cells neither animal nor vegetable but combining characteristics of each." Don goes on, "Then the soil of this planet contains a parasite requiring another life form in order to reach maturity." John nods, "That or metamorphosis... a constant changing sequence of life forms starting with some insignificant life cell in the soil and ending who knows where." Smith tells them they must be on guard--vegetation wise at least, they are on a very hostile planet. Night--Will lay on his bed in his pajamas. He unbuttons his shirt and opens his closet to put on his clothes. He goes outside to put the power pack in the Robot, all fixed up by him. He comments, "Now I know how that old Dr. Frankenstein felt." He puts it in. Robot keeps saying, "That does not compute." NOTE: After Will puts this power pack back into the Robot, he is able to respond to other voices besides Dr. Smith's. Will and Robot hear a growl (another second or two cut on the COLUMBIA HOUSE video occurs here) as the Robot deactivates the forcefield and goes off to check on the sound. The lights in the spaceship come on and John comes running out; Will already has tears streaming down his cheeks. John is angry--he tells Will the robot might have turned on him again, "...might have tried to destroy us all." Will apologizes. John will talk to him in the morning. Will tells him goodnight and goes in. John reactivates the forcefield and hears loud growl. He looks outward. FLUB TIME: If you look very closely, you will notice when John turns to look at the loud growl, behind him the Jupiter II door hatch begins to close by itself! There is a quick cut away and it is open again, waiting for John to go up the ramp and press the button to close it.
Morning--Will sits on a rock tossing small stones. We hear the sad music again. John calls Will bright and talented but he is still a boy. Some things should be left to older hands. With patience and time, they could have reprogrammed the Robot but now they've lost a valuable and needed piece of machinery. "...and that's all I'm going to say about the Robot," John gets up and leaves. Robot returns to camp later, talking gibberish, underneath his chest plate, the lower plate seems like it is off. Robot talks of data inaccurate--humanoid not 16 meters high. Don thinks it's had a nervous breakdown. They pull the power pack off and John will check it later.
JOHN'S LOGBOOK: Our first weeks on this strange planet have passed and all are healthy and in good spirits. Since the incident with the giant pod we've encountered nothing in the way of alien life. Although among us all is the vague feeling of another presence somewhere out there in the vast wastes. We have since learned how to plant safely in this alien soil and to domesticate some of its strange ostrich like animals. The amazing growth rate of the soil has already provided us with an adequate food supply. Today, however, a new problem presented itself...
Maureen and John find plants have died overnight from a frost. Inside the Jupiter II, they would not have felt it with the automatic heat--it could drop to below zero and they wouldn't feel it inside. John and Don climb up rocks to the mountain top where the weather station is. The wind is picking up. John finds it will drop to 150 below zero the day after tomorrow. He figures they better head south but fast despite Don's fear that some passing rocket from Earth might see only a dead spaceship wreck. John tells him even if they could insulate well enough, the solar batteries would never take the strain. "It's moving day, Major West." (In the unaired pilots, John's line is, "It's moving day, Dr. West). Don wants to check another gauge but finds pieces of it wrecked inside a giant six toed footprint, a series of prints spread out before them. Don figures this is what the Robot saw and no wonder the poor clunker had a nervous breakdown (these lines about the Robot are dubbed in for THERE WERE GIANTS IN THE EARTH only). A footprint, John says is "...of a something that walks on two feet only as big as anything we thought of as human." "Giants! Come on, Doc," Don said. John says, "Let's go. I don't want to leave the family alone a second longer than necessary."
NOTE: Here, the unaired pilot number two slips right into Will with the radio telescope, followed by Maureen going out to do the wash, followed by John yelling at the kids to keep packing, "Come on kids, keep moving, we have to get out of here." Unaired pilot number one has the entire "cyclops attacks John and Don sequence" with some additions. Will looking through the radio telescope, says, "Holy cow! It is! A giant!" Then Maureen says, "There's nothing we can do now," Will runs for the laser after saying, "Oh yes there is!" These two lines are missing from THERE WERE GIANTS IN THE EARTH and the unaired pilot number two. In THERE, Maureen says to Will, "Let me look again," but not in the pilot number one. Pilot number two is closer to the scenes as included in the aired episodes yet is missing many lovely scenes that are only found in pilot number one!
Just as John tells this to Don, a giant one eyed cyclops makes it presence known by growling horribly at them, towering over them in a brilliant special effects sequence. The growls of the giant are different in the unaired pilot number one. Pilot number two has the growls sounding the same--as the THERE scene when the cyclops appears later in the episode to menace the Space Chariot. Don says, "I don't believe it." John pulls him, "Neither do I but let's get out of here." They rush to a cave entrance (unaired pilot number one has John yell, "Don!" They run in and look up to see if it saw them rush in.
Will works on the radio telescope. Maureen checks on his progress, then moves to the door. She stares out across the barren terrain, seeing mountains off in the distance. NOTE: looking behind her, one can see the astrogater bubble missing--it is on a large pole that rises the bubble to roof of the Jupiter II! The entire exterior of the Jupiter II looks rather flat--in the unaired pilots, it was the Gemini 12 and never had a lower deck or inset window! Maureen goes out to the automatic washing machine--dryer. She puts clothes in and they come out, washed, dried, and wrapped in plastic. Judy and Penny are picking vegetables (and fruits?) in the garden which is now planted in the ground (as in the unaired pilotS). Behind and to the right is a fence and if one looks closely, one will see an ostrich like animal running around in it--THIS APPEARS IN THERE WERE GIANTS as well as both pilots. Pilot Two ends the scene as Maureen empties the washer machine and moves right to the children, Maureen, and Don packing up the Chariot to have them leave (in unaired pilot one John yells, "Come on kids, Keep moving, I want us out of here in the next five minutes."
Back to Maureen being called in by Will who is at the radio telescope. She looks in and says, "Ohhhh." She sees a giant one eyed cyclops. Will looks and says, "A giant!" NOTE: In the unaired pilot one, Will gasps, "Holy cow--it is--a giant!" Maureen asks (in THERE only), "Let me look again." She also asks about whether either took a gun, bringing Penny and a worried Judy inside. If you look at the doorway, there appears to be a tent covering closer to the doorway than before. Maureen tells Judy to calm down. Will grabs a laser gun from the rack and runs out, ignoring the calls of Judy and Maureen. NOTE: In the unaired pilot number one, Maureen tells Judy to calm down and "there's nothing we can about it now." Will yells, "Oh yes there is." Then he takes the gun and runs out. In THERE and the unaired pilot one we see more of the ostriches in the fence. Don tells John there is no other way out; John goes to take another look at the giant. Don lights up a flare but John tells him not to throw it, to wait. "Wait for what? To be stoned to death?" John thinks if they get him madder he will tear the mountain apart. "Sorry Doc!" Don throws the flare and the beast steps on it, roaring. Don admits, "I guess I didn't help matters much." John avoids telling him so, "At least we know it can feel pain." Don says, "Yea and he knows we're hiding in here." The claw reaches for them both--all in one shot as they run to the back of the cave. Will climbs over the cliffs. The giant looks in at the two men, then rips up a tree out of the ground with roots hanging. It shoves it in at them. John yells and pushes Don. Will approaches the giant and laser guns it down. At first, it seemed curious as to what he was--and perhaps it wasn't going to attack him. The giant falls, shaking the cave. Will calls dad who calls him back and runs out. Will says, "I did it! I did it!" In the unaired pilot number one, he says, "I killed the giant! I kilt it!" John and Don run out to Will; Will hugs John, John hugs Will. John reprimands Will for having left his post and the family, "If we're going to survive in this place, we must follow orders and that goes for all of us." He gives Will his parka, "Not as big as you thought you were." Will shakes his head, "Uh-huh." They go. The giant gets back up.
The lower deck of the Jupiter II: Smith is wearing his new vee neck shirt. First season clothes of Smith: Black shirt with white undershirt, red collar stripe, black belt, pants, and boots. He will stay at the ship, "You'll come back never fear and you'll find me here as snug as a rug." He seems afraid as John and Don leave. Will says goodbye to the Robot who tells him that does not compute. Will, upset that the Robot cannot show some sentiment, pulls the power pack out. All pack the Chariot. Maureen, Judy, Don (on the roof) and John load it up. John runs into the ship, "C'mon kids, keep moving. We have to get out of here." NOTE: The Jupiter II exterior set looks even more flat here since this footage comes from the unaired pilots where the Jupiter II was called the Gemini 12 and had no inset window or porthole in the later spot. Maureen calls Will and Penny but only Will shows up, telling her that Penny was riding on the turtle, she and the Bloop. He turned and all of a sudden they were gone. Maureen goes out of camp to call Penny; the ostriches, we see, are gone--having been set loose. John tells Don it will drop 60 degrees in half an hour, that they will have to travel by way of the Inland Sea instead of through the giant's (or are there more than one giant as John seemed to think earlier) valley (called a canyon in the script NO PLACE). John tells Don he has to leave when the temperature hits 10 below, "Whether I come back or not." John flies up, Don watches from the ramp, having helped him put on the rocket belt parajets and helmet. John flies over Maureen who has gone out a ways more, "Don't worry! I'll find her!" NOTE: In the unaired pilot number one, he just says, "Don't worry!" In the unaired pilot number two and in THERE, he says, "Don't worry! I'll find her!"
John flies around a big rock, then passes a canyon. Penny is on the turtle passing mushroom like rocks or growths, Debbie is on her. Penny worries that the family will not let her play with either of them again. She knew turtles were stubborn and is cold. John lands near her and sees that it is nine below. One more degree and the others will leave. Penny gets on the back of the parajets and Debbie gets on Penny's back. They take off into the gray sky--which looks cold! NOTE: All the flying scenes here as well as Penny's ride on the turtle are musically undercut by the fantastic Bernard Herrman score for BENEATH THE 12 MILE REEF.
NOTE: The flying scenes in the unaired pilot number one are much longer. John goes past larger rocks, hovers over one spot, is seen from behind longer, and has a point of view shot as he sees the deserts passing beneath him. There are also extreme long shots of his flying. Penny has more dialogue to both the turtle and Debbie. Penny tells it, "Now we're all lost." At one point Debbie moves off of Penny to another area but comes right back, Penny telling her, "Hey come back here. We'd better stick together or none of us will get home. Good girl." John hovers over one spot and we see a double rock behind him. He flies over hills and pointy rocks, then flies higher up. He finds Penny, who calls Daddy more times than in THERE. After they lift off, there is a close up on all three; John turns his head slightly, "How do you like it?" Penny says, "Oh it's great." John asks, "How's the Bloop?" "Oh, fine," Penny answers. Then there is an extreme long shot on all three as they fly up higher.
FROM THE SCRIPT NO PLACE TO HIDE: John tells Maureen and Don they have to go whether he comes back or not. Penny talks more to the turtle and Debbie, mentioning a nasty old neighbor who used to live on their block on Earth who didn't want the kids to run on his silly grass and threatened to have them arrested and thrown in jail. Also here, a giant bird (with metal claws and beak) attacks Penny who was distracted by a pretty orchid and missed Debbie's warning to her. Penny flings herself and Debbie under a giant mushroom, which the bird decapitates. Before it can kill them, John fires a laser blast from the parajets and it glances off the bird's METALLIC BEAK, sending it away. Then Penny tells John she is cold and he checks the degrees--nine below.
Maureen gets a kit on a rock, calling to Will who had to get his tester. Don is about to start up the Chariot, even though Maureen asks him to wait a bit longer. Judy tells him not to start the motor, she won't leave without Daddy and Penny. Judy says, "Don, I'm warning you!" NOTE: In the unaired pilot, Maureen yells, "Oh Judy please stop it!!!" She sounds very mean, too. Will points up and yells, "Mom look!" John, Penny, and Debbie come flying over and down to them. The chariot is soon on its way.
NOTE: In the script NO PLACE, Judy's warning carries more weight: she picks up a laser gun to shoot at Don. She even refuses Maureen's request that she put the gun down. Don looks her in the eye and starts the motor anyway. It is then that John and Penny with the Bloop reappear. Also note that after Judy held the gun on Don, John returns with Penny and Debbie, it is now that the Chariot goes into the Inland Sea and has its encounter with the storm and whirlpool. this is followed in the script by the cave encounter, the reverse of events in both unaired pilots, and THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA.
MORE TO CONSIDER: A sequence for the pilot was supposedly filmed as follows--instead of a giant metallic beaked bird, a giant cyclops was to come up behind Penny when she, the turtle, and Debbie got lost. The giant starts picking up the tops of the mushrooms, mimicking Penny's picking of flowers. Penny scolds the giant for being so impolite when he roars at her. She tells him the mushrooms are good for him to eat but he crushes them. Penny offers it a blue flower and it takes it, then leaves. She yells her goodbyes to it. John then finds Penny. After John, Penny, and the Bloop return to the Chariot, the script or unaired scenes for THERE also had a scene where the giant cyclops comes up behind Smith and the Robot who are standing outside the Jupiter II. Will had deactivated the Robot so Smith had to go out and reactivate him. Smith thinks the Robot, who begins acting strange again, is having mechanical problems due to the Robinson's tampering. Robot is really reacting the cyclops again. They find themselves enveloped by the shadow of the giant which extends his hand to them. In his hand is the blue flower Penny gave it. Smith doesn't know about Penny's encounter with the giant, this one being a good giant, thus he orders the Robot to blast it. The Robot fires twice and the wounded giant drops the flower and walks off, screaming. Another rumored sequence has the good cyclops holding a mirror to see itself. Another sequence that was definitely filmed and that exists IN COLOR footage, is a scene of a giant attacking John while the Professor is flying on the jet pack. John shoots his laser at the Cyclops. Perhaps another Cyclops attacked Penny or perhaps the same one was frightened by John...or maybe it attacked John first, then went on to find the friendly encounter with Penny. Many of these scenes (including the giant bird attack) are depicted on the gum cards to LOST IN SPACE and in the story on the back of the cards. Other domesticated animals in the script NO PLACE include pandas, burros, and cats--all similar to Earth species but somewhat alien-ish like Debbie and the spiked turtles.
The Chariot starts out on its journey. John orders Don to take the gun hatch just in case. The cyclops roars over them, holding a boulder above its head. It drops the rock near the car, then drops a second which hits and rolls into the Chariot. Don fires just as it has another. The boulder falls...and seems to head right at the Chariot. The giant falls over. The Chariot moves onward (NOTE: the toy dolls in the miniature Chariot are seen jostled around--it is quite obvious these are dolls). Brilliant special effects as the Chariot moves past the dead (or stunned?) cyclops for all to see. Debbie claps and sticks her tongue out. The thing has its eye open.
The Chariot travels on through the deserts. Don tells them the boulders didn't do the power unit much good. They have to set up camp right where they are for Don to fix these. Night: they camp near some trees. Will sings Greensleeves as he plays his guitar; Penny puts Debbie in a dress even though the bloop won't hold still. Judy passes tools to Don, who works under the Chariot, "I'm glad dad decided to camp here." Don smiles, "Yeah, all the comforts of home." Judy laughs, "Home was never like this." Penny sees Don kiss Judy's hand (and Judy looks off, terribly phoney in her modesty). The younger daughter runs to Maureen and John at a table set up (with some device--coffee maker? or waste disposal unit?) to tell them. Penny says of Don kissing Judy's hand, "Bet he picked up a million germs." Maureen tells her to wiser minds young people do things that may seem strange. Penny realizes in other words --she should mind her own business. JOURNEY TO THE CENTER OF THE EARTH romantic music plays in this scene. Maureen tells John it is difficult for her to think of Judy as anything but a child. John says, "Considering the population implosion here we can't ask her to play the field." He also tells Maureen they forgot to bring one scientific bit of need with them: a marriage counselor. Maureen asks, "For them?" John laughs, "Who else?" Maureen and John kiss.
Day--Chariot moves onward. Night--a storm of lightning bolts parades around the Chariot. Debbie hangs onto the roof. John says, "We must find a cave for protection. We'll be killed if we don't." Maureen tells him seatbelts are all set. They find a cave to go in and do---just missing being hit by a rain of bolts. As the car moves into and stops inside the cave, we hear DAY THE EARTH STOOD STILL music. Judy and Maureen think what they are seeing inside looks like some kind of a castle. Penny calls it a city which Will scoffs at, saying it is some kind of geological accident but can't elaborate further, "Ask Don, my field's electronics." Don gets Debbie and the flashlights, putting out the flares. It is his voice we hear calling Debbie. They move inside the pillars to see if it is safe to spend the night. They move under webs and past more pillars. Debbie wanders down a hall of pillars and columns. She also walks past fallen rocks. Penny calls for Debbie, looking through cobwebs, walking through one and not minding. Will comes calling for Penny, "Penny, come on out." Penny says, "Will, I can't find Debbie." Will says, "You women are always gettin' lost." He finds pictures on the walls. One looks like the cyclops. Others appear to be big headed humanoid types. Will falls through a trap wall and when Penny runs to him he tells her, "Stop fussing, I'm alright!" He shines his flashlight around the area, stopping on a long dead body--some kind of rotted mummy hung against the wall in an alcove. Penny screams. A wind blows and the door closes. Will bangs on it, "We're trapped!"
CLIFFHANGER: Don sees fighting creatures--giant lion-like, Centaur like in the pictures on the walls. Judy calls for Penny and Will. They find the two and open the turning wall. In the unaired pilot one, Penny says, "Look Don," the tail end of which can be heard in THERE. It is not present in the unaired pilot number two. Will calls, "The door, it's closing!" It does and Don says, "We're trapped!" Then the whole room starts shaking! Don calls, "It's an earthquake!" In unaired pilot one, Don shouts, "Earthquake!" The music used here in THERE for the earthquake is from JOURNEY TO THE CENTER OF THE EARTH. It is not as effective as the John Williams music which will be used in the recap of the same scene. There is a very different edit pertaining to the line up of scenes in this earthquake--it is very different in THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA. The mummy shakes; John and Maureen pass pillars; John yells, "Don!" The pillar falls behind John and Maureen, who appear to pass the area where the trap door wall is. They fall about in another hall of pillars; John has to pull Maureen. Judy, Don, Will, and Penny shake in the room, still trapped. John and Maureen seem to double back, passing the trap door area again. Don screams with the others. Don says (via a dub over): "Judy stay close to Penny!" John holds Maureen close to him as rocks rain down on them. Maureen keeps calling the names of their children; John keeps calling Don. John calls, "Where are ya?" When they finally reach the correct door, Maureen bangs on it, "Judy! Children! Don!" John yells, "Stand back," and when she does, he begins firing the laser pistol at the stone block in the wall. The foursome inside shake and fall. Don yells, "Don't be frightened! It'll be opened in a minute!" NOTE: In the unaired pilot number one there is no such quote and "Judy, stay close to Penny," is also not there. Both quotes are present in the unaired pilot number two. Another pillar falls behind John and Maureen. Close up on the laser gun sparking around the block. Freeze frame.
ADDITIONAL NOTES: In the NO PLACE script, Judy and Don are the only two who get lost from the others. With Debbie, they find themselves trapped in the wall room. They find the pictures on the cave walls. Judy passes her hands across the hieroglyphics along the walls and finds she is able to read them, almost as if the spirit of the mummy relays the story through her, "I am Opu, king of the Illuminated Ones that dwell in the High Regions, who has built this palace for the Spirit of Dreadful Joy." Don reads some of the words too, "But in the long night of frozen silence it came to pass that those whose skulls are as remote as the stars (the giants?) saw fit to visit their evil upon my tribe, even unto our own sacred person and humbled us and scattered us, and made us to roam the hot land of everlasting day like the beasts of the wild marshes." Don and Judy speculate on what happened--the giants may have driven the Illuminated Ones out of this castle. Judy touches a ring on the mummy hand and the mummy crumbles to dust. Judy screams and her scream alerts the others to where she, Don, and the Bloop are. A footnote to this script is that it was a convention that was to be established for communication with aliens--hieroglyphics; other intelligent beings were to communicate by touch, writing, or a maser like beam and to have one of our Earth party verbalize their thoughts for the others. John also talks to Maureen about the one giant that attacked them--perhaps it was a renegade. Or perhaps the giants are friendly...only see the Earthlings are a mean, evil force on their planet. Also in the pilot Will chases one of the ostriches past Penny, calling to it to come here since it took one of his instruments. Penny hates tomatoes in the NO PLACE script; John tells Maureen she thinks he is going senile when she has to prompt him into letting Don go up to fix the Chariot in the middle of a storm in the script; first is the Cyclops attacks the Chariot sequence and then the whirlpool sequence which comes before the earthquake city sequence in the script...unlike anywhere else. Another interesting thing is that Judy and Don were really appointed to be an Adam and Eve of a future human race once they got to Alpha Centauri. Also of interest is that Will picks up signals, he thinks are from Earth---but aren't---they are from a passing Japanese spaceship! John mentions Centurians in passing. Maureen wonders if Space Authority realized what happened to the Robinsons after they crashed...they probably didn't even know something went wrong in the script. One of the Chariot stops (when Will plays the guitar) is very different with more dialogue...but really silly stuff. It is much better as filmed in the unaired pilots with some of the goofy dialogue edited out.
REVIEW: Paul Z should be commended for his wonderful, genius work on the costume of the one eyed vegetable fur covered giant--made from palm trees among other things. It is absolutely brilliant and very alien in look. It could almost be from another world. Certainly the most believable alien monster ever produced for television. This episode is fun all the way through. Even non fans like it. We have the jet pack flying scenes, the extreme cold coming, the mountain sequence, the cyclops attacks, more Chariot travel scenes (which are always fun and give an aura of exploration which is lost in later seasons), the lightning, the earth quake--which is a great action sequence despite the silly idea that John and Maureen would let both Will and Penny, then Don and Judy out of their sight for one minute. There are at least four versions of the earthquake scene--one here, the recap in THE HUNGRY SEA (which improves upon it musically and in sequence arrangement), and the versions in both unaired pilotS. Smith is very good in this episode, not overused. He begins his avoidance of work here in very comical but not overblown or overdone fashion. He works well in this episode. This is the first time his more casual outfit is seen. He will wear it for almost all the episodes in this season except for the second half of GHOST IN SPACE, WAR OF THE ROBOTS, and THE MAGIC MIRROR. The white beige shirt he wears in those three episodes is given by Penny to Ohan, a space fugitive. Red Rock Canyon scenes used for the flying belt, the cyclops, and Chariot sequence looks like an alien planet. The spaceship keeps looking different in different scenes. It was modified quite a bit for the series but the stock footage from the unaired pilots make it look like it did before (at times). This included a round porthole in the wrong spot--it seems to switch back and forth a few times this season as stock footage of the ship and camp is shown---and a flat main window---no indented sill. This episode is fondly remembered and enjoyed. Good show. It is really too bad that the people involved with the series at this point---people like writers Shimon Wincelberg, Norman Lessing, and William Welch (who did do one more LOST IN SPACE--ONE OF OUR DOGS IS MISSING and in year three-SPACE CREATURE) as well as directors Tony Leader (who made DERELICT so good), Alex Singer, Leo Penn, Alvin Ganzer (WELCOME STRANGER), Paul Stanley (MY FRIEND MR. NOBODY), and Sutton Roley weren't kept on the entire series or at least most of the series. They brought a seriousness to the proceedings without playing up to the comical aspects to the detriment of all else. Had LOST IN SPACE survived the camp of the BATMAN phase into the more serious 1968 to 1970s, LOST IN SPACE may have had more serious stories. At this time, LOST IN SPACE had an OUTER LIMITS like feel to it...and that is a good thing. The monsters did not outweigh the human drama, the survival aspect, or the interaction between characters. John Peel even criticized this episode---he wanted to know what the Cyclops ate---uhhh, there are trees and flowers. Not to mention some other smaller animals.


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WILLIAMSBURG, August 9, 1776.
The building of a sufficient number of WOODEN BARRACKS to hold 1000 troops, also of a large STABLE for the horses belonging to the army, will be let to the lowest bidder on SATURDAY the 17th instant, at 3 o'clock in the afternoon, before the Raleigh tavern. WILLIAM FINNIE, D. Q. M. G.
Virginia Gazette (Purdie) August 9, 1776
About this entry:
Troops had been gathering in Williamsburg since the beginning of hostilities. The Council ordered that "Barracks for the Continental Army stationed here to be bilt on that Part of the park, which the Governor lately gave up for the use of the Troops; as a Measure, at once more agreeable to the Inhabitants of Willialliamsburg, and in the Opinion of this Board less expensive to the Continent than renting of Houses for that Purpose." Barracks were being built by mid-October of 1776.
Sources: Humphrey Harwood Acct bk, Folio I, Official Letters of the Governors of VA, Vol 1, p 25


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Reviewed By XAVIER D (MEMPHIS, TN) Reviewed for a 2003 Pontiac Sunfire —11/22/2013 5:01 AM
I love these lights! Now if you are thinking that these lights are going to be any hint of blue you're wrong. They are a white light. I could not see very well at night with my stock yellow low beam lights. always had to use the high beams. So I ordered these, put them in the same day and I took them out on a test later that night. Driving down a 2 lane very dark (no street lights) in the wooded area. I didn't have to use my high beams at all!! I mean, I LOVE them!


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Regent Commons
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Regent University requires all first-year freshmen who will be taking classes on-campus (ages 17 to 24) and who live outside of a 25 mile radius of our campus to live on-campus in Regent Commons. Students are able to reside in campus housing during the academic year (mid-August to early May). New students are unable to start residing in campus housing beginning in the summer (May-July). Housing for new undergraduate students is typically available starting in mid-August. Students beginning classes in the middle of a semester (i.e. Sessions B & D) cannot be guaranteed campus housing as the majority of students reside on-campus from August to May which makes housing availability extremely limited. To learn more details and to ensure your undergraduate priority housing in the Commons, please visit the Freshmen Residential Admissions Deadlines page for important information and deadlines related to the freshmen residency requirement. Transfer students desiring to live on campus in the Commons should visit the Transfer Residential Admissions Deadlines page for more information.
Exceptional Location
Regent Commons, our newest apartments, provide you both a home and a dynamic community located just steps away from the university campus. You'll find easy access to nearby malls, restaurants and the spectacular oceanfront of Virginia Beach. You can also enjoy superior amenities such as the 24-hour fitness center located on-site as well as residence life activities planned exclusively for our residents.
Fully Furnished & Convenient
Experience worry-free living in these fully furnished apartments with versatile floor plans which range in size from studio to four-bedroom suites and include utilities, wireless Internet and cable TV service.
At Regent Commons, you'll never be far from campus, good times and new friends.


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FREE SHIPPING with $50 Purchase. Details
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Superior brushed softness. A slimmer, more streamlined fit. We reinvented a classic to give our legendary men's chamois cloth shirt more versatility than ever before.
We've taken L.L.Bean's iconic flannel shirt to new levels of softness, for a vintage broken-in feel that only gets better as you wear it. Crafted with the same rugged attitude as the original, but refit by our designers for a slimmer, more streamlined style.
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The club has picked up local CAMRA Club of the Year and a seasonal award since then and is the venue of choice for real ale fans wanting to watch SKY televised sporting events whilst enjoying a variety of quality beers. Hopefully the weather will be kind as this is very much an outdoor event with a traditional village fete atmosphere. Live music and a fabulous pig roast were crucial ingredients in last year's success and are repeated again this time, not to mention the great line up of wonderful ales of course - can't wait!! (website) (map)The full list of beers at this year's Monkeyfest - enough to make a grown man dribble! (click on the image to spare your eyesight!)
Update: Bigger and even better than last year despite the best efforts of the weather to spoil it. Too many great beers to single any one out though Empire, Leeds, South Hams & Moorhouses got extra credit from me. The photo is of the pig roast production line and if there's a better accompaniment to an afternoon's ale tasting, I've yet to find it!


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Letters sent to four largest companies seek information on expanding black market for stolen products and efforts to ensure customer safety
Attorney General Eric T. Schneiderman today sent letters to the CEOs of Apple, Google/Motorola, Microsoft, and Samsung seeking information about their efforts to protect customers from the rise in violent street crimes known as "Apple Picking." Recent reports have demonstrated a spike in the theft of mobile phones and other electronic devices. The thieves wipe the devices' memories clean and resell them for hundreds of dollars on the secondary market. Too often, those crimes turn violent, and even deadly.
In his letter, Schneiderman noted his responsibility to enforce New York's Executive Law §63(12) and General Business Law §349, which address deceptive trade practices. He asked these four companies - which together account for at least 90 percent of U.S. smart phones sales - to provide information related to efforts and representations they make to consumers regarding safety. Schneiderman also asked the companies to collaborate with his office to help identify solutions that could minimize the economic incentives for theft. Schneiderman has enlisted Lookout Inc., an industry expert in mobile security, to advise his office on a pro bono basis on these issues.
"Cracking down on violent and dangerous cell phone thefts is important for New Yorkers," Schneiderman said. "The companies that dominate this industry have a responsibility to their customers to fulfill their promises to ensure safety and security. This is a multibillion-dollar industry that produces some of the most popular and technologically advanced consumer electronic products in the world. Surely we can work together to find solutions that lead to a reduction in violent street crime targeting consumers."
In New York City, theft of Apple products has driven much of the increase in the theft of electronics. Between Jan. 1 and Sept. 23, 2012, a total of 11,447 cases of stolen "iDevices" (iPhones and other iOS devices) were reported to the New York City Police Department, a rise of 3,280 over 2011. The problem, however, is not limited to Apple. A 2011 NYPD analysis found that companies other than Apple manufactured roughly 30% of all electronic devices stolen on subways and buses.
In too many cases, these incidents turn violent. Consider some recent examples:
Earlier this month, a woman was mugged at gunpoint in Crown Heights for her Android device.
In his letter, Schneiderman asked the companies to designate representatives to work with his office to collaborate in developing a comprehensive approach to discourage theft and protect consumers.
The letter also seeks information about whether companies have seen any financial benefit as a result of customers purchasing replacements for stolen devices. A recent study found that lost and stolen cell phones cost consumers more than $30 billion last year.