text:
Don't miss out on a lower price on this property
Get an overview of this hotelQuiet condominium resort on Kaanapali Beach
Popular property highlights
Kaanapali sands
Directly on one of the finest stretches of Kaanapali Beach, the Aston Maui Kaanapali Villas is set on 11 acres of exotic tropical gardens in the Kaanapali Resort area, 1 mile from Whalers Village shopping and dining, and 2 miles from Kaanapali's championship golf courses.
Swim, snorkel, spa
The quiet stretch of beach is ideal for swimming, snorkeling, surfing and sailing. Two swimming pools, a children's pool, an open-air café, and a small day spa are additional attractions. Wireless Internet access is available throughout the condo property.
Island decor
Guests at Aston Maui Kaanapali Villas may choose studios, one-bedroom suites, or hotel rooms, all with island decor. Views and amenities vary, but all include lanais or small step-out balconies with ocean view.Information missing or incorrect? Tell us! Opens in a new window.
Aston Maui Kaanapali Villas
Property Amenities
Property Amenities
Located on a prime section of Kaanapali Beach just north of Black Rock, Aston Maui Kaanapali Villas is one mile from Whalers Village shopping and dining. The Kaanapali Golf Courses are two miles from the property. Lahaina—a historic waterfront town with shops, restaurants, and cultural attractions—is four miles away.
Renovated in 2011, this Lahaina beachfront condo resort property now includes an airy reception area; a function room which opens onto a courtyard that overlooks a scenic garden; a conference room with a boardroom table, 60-inch HDTV, DVD player, and wireless Internet access. The property can arrange events including weddings, receptions, and cocktail parties.
The on-site Castaway Café, located poolside, features an open-air terrace and a separate indoor/outdoor bar. The menu showcases island cuisine, accompanied by an impressive wine selection.
Conveniences include coin-operated laundry facilities, a sundries store, and an Internet kiosk with three high-speed terminals (surcharge). The casual, wicker-furnished lobby includes a library.
Smoking is permitted only in designated areas.
Children ages 5-12 are welcome at Camp Kaanapali (daily surcharge), located at a companion resort one mile away.
- Library
- Coffee/tea in common areas
- Elevator/lift
- Fitness facilities
- 24-hour front desk
- Poolside bar
- Spa treatment room(s)
- Porter/bellhop
- Restaurant
- Free self parking
- Dry cleaning/laundry service
- Free WiFi
- Outdoor pool
- Area shuttle (surcharge)
- Spa services on site
- Free reception
- ATM/banking
- Gift shops or newsstand
- Designated smoking areas
- Laundry facilities
- Number of floors - 2
- Number of buildings/towers - 5
- Free newspapers in lobby
Family Friendly Amenities
- Family Hotel
- Outdoor pool
- Free Wi-Fi
- Laundry facilities
- Refrigerator
- Cribs/infant beds (complimentary)
- DVD player
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Free self parking
Room Amenities
- DVD player
- Balcony
- Ceiling fan
- Air conditioning
- Phone
- Refrigerator
- Coffee/tea maker
- Private bathroom
- Hair dryer
- Shower only
- Cable TV service
- Individually decorated
- Iron/ironing board
- In-room safe
- Free WiFi
- Daily housekeeping
- Free cribs/infant beds
Where to Eat
Castaway Café - Casual, popular restaurant with open-air terrace and a full, separate indoor/outdoor bar. Poolside, near ocean waves. Sunset views looking toward islands of Molokai and Lanai. Island cuisine, from macadamia pancakes for breakfast to lunchtime salads and fresh fish and pastas for dinner. Award-winning wine list.
Nearby Things to Do
Aston Maui Kaanapali Villas faces a quiet stretch of Kaanapali Beach, where activities include swimming, snorkeling (especially around Black Rock), boogie boarding, and strolling the sandy shores.
On-site recreation includes two swimming pools, two spa tubs, two shuffleboard courts, and three barbeques. A beach activities desk rents kayaks, boogie boards, and other equipment. Whales can sometimes be seen from the property's grounds during winter and early spring.
The recreational activities listed below are available either on site or near the hotel; fees may apply.
- Bicycle rentals nearby
- Golfing nearby
- Snorkeling nearby
- Parasailing nearby
- Surfing/boogie boarding nearby
- Personal motorized watercraft on site
- Windsurfing nearby
- Scuba diving nearby
- Scooter/moped rentals nearby
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- Accessible bathroom
- Roll-in shower
- In-room accessibility
Property Policies
Check-in time starts at 4 PM
Minimum check-in age is 18
Check-out time is 11 AM
Payment types
Children and extra beds
- Children are welcome.
- Kids stay free! Children 17 years old and younger stay free when using existing bedding.
- Rollaway/extra beds are not available.
- Free cribs (infant beds)!
- Pets not allowed
You need to know
Extra-person charges may apply and vary depending on property policy.
- Resort fee: USD 20.00 per accommodation, per night
- Fitness center access
- Sporting facilities or equipment
- Internet access
- Phone calls
- In-room safe
- Parking
- Lending library access
- Additional inclusions
Property Name
- Aston Kaanapali Villas
- Aston Kaanapali Villas Maui
- Aston Maui Kaanapali Villas
- Aston Maui Villas
- Aston Maui Villas Condo
- Aston Maui Villas Condo Kaanapali
- Kaanapali Aston Villas
- Kaanapali Maui Villas
- Maui Aston Kaanapali Villas
- Maui Kaanapali Villas
- Aston Maui Kaanapali Hotel
- Aston Maui Kaanapali Villas Hotel Lahaina
- Aston Maui Kaanapali Villas Lahaina
- Resortquest Kaanapali Villas
- Resortquest Maui Kaanapali Villas
- Aston Maui Kaanapali Villas Condo
We should mention
Children 17 years old and younger stay free when occupying the parent or guardian's room, using existing bedding.
Camp Kaanapali is offered to children ages 5 – 12. Camp activities include a variety of Hawaiian cultural and outdoor-based activities such as hula dancing, ukulele lessons, beach exploration, lei making, sand art, kite making/flying, swimming, scavenger hunts, games, arts, and crafts. Both day and evening sessions are available. One-time registration fee of $10 per child includes a t-shirt. Daily rate of $35 per child includes meals. Registration must be made 24 hours in advance upon arrival at the resort. Registration is held daily at 8 AM at the Camp Kaanapali Center in room 135. Camp Kaanapali hours are Monday – Friday (with the exception of major holidays), 8 AM – 2 PM. Friday evening sessions are 5 PM – 9 PM and include dinner. Space is limited to 16 participants per session. Children who are ill may not attend.
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text:
43.1202 Definitions.Cite as [A.S.C.A. § 43.1202]
As used in this chapter:
(1) "Computer-based system: includes any computer or other information technology system, and any electronic device that controls, operates, monitors, or assists in the operation or functioning of equipment, machinery, plant, or a device using an embedded or installed microprocessor or chip.
(2) "Employees of the government" includes officers and employees of any government agency, and persons acting in behalf of a government agency in an official capacity, temporarily, whether with or without compensation.
(3) "Government agency or America Samoa Government" includes without limitation the Legislative, Judicial and Executive branches, including their respective departments, offices, agencies, authorities, boards or commissions but do not include any contractor with the government.
(4) "Government computer system" means a computer-based system owned or operated by or on behalf of the American Samoa Government.
(5) "Y-2K compliant" means, that the system accurately processes date and time data, including but not limited to, calculating, comparing, projecting, and sequencing from, into, and between the twentieth and twenty-first centuries and the years 1999 and 2000 and beyond, and leap year calculations".
(6) "Y-2K error" means the failure of a computer-based system to accurately store, display, transmit, receive, process, calculate, compare, or sequence date and time data from, into, or between the twentieth and twenty-first centuries, the years 1999 and 2000 and beyond, and leap year calculations."History: 1967, PL 10-1; and 1990 PL 21-29, 1999, PL 26-14.

subset: commoncrawl


text:
There are two ways to use STP with FCP, and both use the Send To function built into all the Final Cut Studio applications. Once you go through the process and are back into Final Cut Pro, your new sound files and projects will already be in FCP and ready to use.
The first method, which we'll cover this month, is using STP to edit an Audio File Project. The other is how to edit a Multitrack Project. Editing an Audio File Project is basically editing one single clip's sound. If it's mono, you get one track of sound. If it's stereo, you get a stereo pair of tracks you can sweeten and fix, together or separately. You can apply filters and effects, cut, copy, paste, and alter the sound of the clip in a variety of powerful ways.
A Multitrack Project lays all the audio clips from your FCP Sequence out to look much like the Timeline window in FCP. You have a good deal of power to mix and sweeten all your clips in one project.
We'll cover that next month.
Step 1: Sending a Project to STP Now let's actually walk through the Audio File Project process basics. Let's say I have a wedding edited by another editor. She sends me the final edit but, as per my instructions, leaves the sound alone. I want to fix it myself. There's the sound of an air conditioning unit in the building, room tone, and the murmur from the guests. I need to fix all this before I do anything. What do I do? In Figure 1 (left), notice I have audio tracks 5 and 6 disabled. This is the fixed sound I already did, since I've already delivered the completed project to the customer. I'll move the original untouched sound from audio tracks 1 and 2 to audio tracks 3 and 4 for organizational purposes.
Thus, the first step is to set the section of the clip we want to work with. In the Timeline window, you can use the Blade (b) tool to clip out the section you want to work with. STP will import the whole original clip. This method gives me In and Out points to work with that won't interfere with my original clip. I dragged this clip, while holding the Shift key to avoid horizontal movement, down to audio tracks 3 and 4.
If I want the original to be kept intact in the Timeline window, I can take these extra steps: Lock those two audio tracks down (Undo won't affect locked tracks). Then hit Ctrl+Z to undo several steps back until the original clip is back to its original uncut state (Figure 1, left).
We only take these extra steps if we want to work with just a section of a clip. In and Out points work just as well. We'll see the usefulness of this approach once we're in STP. If you want to work with the whole original Master clip, you don't have to bother with In/Out points and such.
Next, in the Timeline window, right-click (Ctrl+click if you use a one-button mouse, but these pro apps really work best with a two-button mouse) the sound clip that you want to clean up. In the pop-up menu that appears, select Send To > Soundtrack Pro Audio File Project (Figure 2, left).
The first thing you have to do is verify the name of the sent file. By default, it is the clip name followed by "(sent)" to indicate that it is being sent to STP from FCP. This change happens because this is a nondestructive editing process. Our changes will affect only our copy, not the original file.
We can always go back to our untouched original at any time. Very handy! Also, be aware you can use this Send To command directly from the Bin.
Step 2: Setting a Noise Print in STP Next, the file opens in STP. Be patient; it may take a moment or two for STP to analyze and fully prepare the file for editing. Once it's ready, you'll notice that what loads in STP is the whole sound file of your original clip, In and Out points included (Figure 3, left).
You should have the section you cut from FCP opened in your current waveform window, with In and Out points showing you where the section you targeted was.
Don't worry about the whole original Master clip being available here; you'll see that its presence doesn't really interfere with anything when you go back to FCP.
The first thing you do in STP is to find a section of your audio file where there is nothing but background sound. You may need to use the up and down arrow keys (no modifier keys) to zoom in and out of the Wave Form Editor window to get in close enough to isolate a section of "room tone." It doesn't take much, but the larger the section you highlight (within reason), the better. Click and drag to highlight that section of the sound file that is only the background noise you want to filter out. Then go to Process > Set Noise Print (Figure 4,left).
This step pretty much explains itself; it sets the sample of what you want to remove. Click outside your selection to deselect everything.
Step 3: Reducing the Noise Next, go back to STP's Process menu and select Reduce Noise (Figure 5, left). An adjustments dialog will appear. In the lower-left corner is a play/stop button with which you can audition your sound as you adjust it. Play with the Threshold and the Reduction levels until you find the best settings to reduce the noise to your liking. Some recordings clean up really quickly and purely. Some take more work and are just too noisy to fix completely. You can also check the Noise Only box to hear what STP is removing from the recording, fully isolated from the rest of the sound. Once you're satisfied, click the Apply button.
You'll see the Reduce Noise entry in your Actions list as its red bar fills to indicate the progress of the noise reduction algorithms. When STP has finished processing the noise reduction effect, you can play it back to hear your results. You may want to apply other filters and such. Notice that no matter what you do, the Action list is always there for reference. You can uncheck and check each Action to further experiment.
Since you're working with an STP Audio File Project, you always have that Actions list available to you to manage the effects you've applied. If you export the project as an AIFF file, the Actions will be flattened, and you will not be able to go back and undo any of them.
At this point, save your project. When you hit Save, a dialog box will appear that will ask you to make a choice. Choose the first option, Include Source Audio, since you're already working with a copy of the original.
Once your file is saved, you can quit STP and return to FCP. Notice two things right away. First, you already have your "(sent)" file imported in the Bin. Second, note that the new file has already replaced the original in the Timeline (Figure 6, left). Poof, done!
Final Notes Bear in mind that there are many, many ways to prepare your audio sources in FCP before sending them on the round trip to and from STP. For example, since sound doesn't suffer nearly as much from recompression as video does, you can open a clip from the Bin in the Viewer, set In and Out points, and export it as an AIFF file. Or you can copy a clip from the Timeline window into the Bin and make it a Master clip.
The other issue I want to stress here is the nature and potential limits of the work you do in STP. Not every sound problem will be fixed miraculously with STP's noise reduction process as outlined here, although most will. Sometimes it's best to fix it up with other filters first, or after. If the noise-reduction method leaves your sound flat, add an Expander or EQ or other filter to it to fatten it up. You can also drag Actions in the Actions window to readjust their "render order," just like in the Filters tab in FCP, to get different results.
Remember that many effects and filters perform their best when the wet/dry mix is very dry. A setting of 100% Wet means it's fully the effect you're hearing, and 100% Dry means you are hearing the original with no effect. You can adjust this mix in almost all of the filters. A tiny bit of filter can go a long way. Experiment, have fun, explore, and imagine new ways of using this in your workflow. This column is much too short to go into the wonders you can accomplish with STP; this is just a drop in the bucket.
To learn more, I highly recommend the book Apple Pro Training Series: Soundtrack Pro (Peachpit Press), by my favorite Apple Certified Trainer, Mary Plummer. It is easy and fast to get through and will open your eyes and ears to some wonderful sound-fixing and -sweetening possibilities. Happy editing, y'all!
Ben Balser (email@example.com) is an Apple Certified Trainer based in Gonzales, Louisiana. His company Wolf Digital Media" specializes in training and consoluting, and also produces documentary, music video, and commercial work. Contact Ben with Final Cut-related questions and he will try to address them in future tutorials.


text:
This study is provided by ICPSR. ICPSR provides leadership and training in data access, curation, and methods of analysis for a diverse and expanding social science research community.
National Survey of American Life Self-Administered Questionnaire (NSAL-SAQ), February 2001-June 2003 (ICPSR 27121)
Principal Investigator(s): Jackson, James S., University of Michigan. Institute for Social Research; Caldwell, Cleopatra H., University of Michigan. Research Center for Group Dynamics; Williams, David R., University of Michigan. Survey Research Center; Neighbors, Harold W., University of Michigan, Research Center for Group Dynamics; Nesse, Randolph M., University of Michigan. Research Center for Group Dynamics; Taylor, Robert Joseph, University of Michigan. Research Center for Group Dynamics; Trierweiler, Steven J., University of Michigan. Research Center for Group Dynamics
The National Survey of American Life, 2001-2003 (NSAL) was followed up by a self-administered interview (NSAL SAQ) as a way to reduce respondent burden following the 2 1/2 hour NSAL survey. The SAQ includes additional questions about social, group, and individual characteristics: psychological resources (i.e., John Henryism), group and personal identity (racial awareness and identity), as well as ideology and racial relations (i.e., social dominance; stratification beliefs; egalitarianism; national pride; work ethic; authoritarian, interracial contact; and exposure to Black social contexts); political attitudes (i.e., Race-conscious Policy Index, Race-blind Policy Index, Non-Electoral Participation Index); care of elderly values; job and financial stressors; and wealth. Demographic variables include age, race, and sex.
Access Notes
Data in this collection are available only to users at ICPSR member institutions. Please log in so we can determine if you are with a member institution and have access to these data files.
One or more files in this collection have special restrictions ; consult the restrictions note to learn more.
To protect respondent privacy, the data are restricted from general dissemination. Users interested in obtaining these data must complete an Agreement for the Use of Confidential Data, specify the reasons for the request, and obtain IRB approval or notice of exemption for their research. Apply for access to these data through the ICPSR Restricted Data Contract Portal, which can be accessed via the study home page.
Study Description
Jackson, James S., Cleopatra H. Caldwell, David R. Williams, Harold W. Neighbors, Randolph M. Nesse, Robert Joseph Taylor, and Steven J. Trierweiler. National Survey of American Life Self-Administered Questionnaire (NSAL-SAQ), February 2001-June 2003. ICPSR27121-v1. Ann Arbor, MI: Inter-university Consortium for Political and Social Research [distributor], 2010-04-08. https://doi.org/10.3886/ICPSR27121.v1
Persistent URL: https://doi.org/10.3886/ICPSR27121.v1
Export Citation:
- RIS (generic format for RefWorks, EndNote, etc.)
- EndNote XML (EndNote X4.0.1 or higher)
Scope of Study
Subject Terms: African Americans, Black community, church membership, crosscultural differences, eldercare, employment, family relations, health services utilization, identity, mental disorders, mental health, mental health services, minorities, neighborhoods, psychiatric services, racial attitudes, self esteem, sleep, spouses, work environment
Smallest Geographic Unit: census-tract; county
Geographic Coverage: United States
- 2001-02--2003-06
Unit of Observation: individual
Universe: The NSAL SAQ is a subset of the NSAL. All NSAL adult respondents had an opportunity to complete a supplemental self-administered mail survey (NSAL SAQ) following their NSAL interview. The SAQ 40-page questionnaire contains key questions initially included in the NSAL that were removed from the initial interview in order to reduce respondent burden. The respondent was asked if they wanted to participate in a mailback survey. If they agreed, the questionnaire was sent by mail and once received, an incentive payment was sent. The overall response rate was 56.5 percent (n = 3,438); the response rate was 59.9 percent for African Americans (n = 2,137), 42.9 percent for Caribbean Blacks (n = 695), and 68.0 percent for Whites (n = 606). Overall, the demographic distributions of re-interview respondents did not differ greatly from those of the main NSAL sample. The largest differences were among response rates for the different race groups. Being female, being unemployed, having higher levels of education, and participating in the original NSAL interview post-September 11, 2001, were also associated with higher response rates on the mailback survey relative to other NSAL respondents. The mailback survey weights take these differences into account.
The variable CPESCASE may be used to merge these data with the NSAL data.
For more information on applying for restricted data please go to the Applying for Restricted Data page on the ICPSR Web site.
Sample: Complex survey data sample that has a random component to it.
Weight: Modified versions of the NSAL weights were created for use in analyses involving variables from the NSAL re-interview. These weights were created by multiplying the original NSAL weights by an additional factor adjusting for nonresponse in the self-administered mail questionnaire. A logistic regression to predict likelihood of mail survey response was conducted using all 6,082 NSAL respondents. Predictors in the final model included race; sex; education; work status; age; home ownership; foreign-born versus US-born; whether the respondents' main NSAL interview took place after September 11, 2001; participation in the NSAL Clinical Reappraisal interview; count of chronic health conditions; length of main NSAL interview; respondent prayer and religiosity; respondents' assessment of his/her weight; financial hardship, respondents' birth order; welfare receipt; respondent impatience during the main NSAL interview; and respondent suspicion about main NSAL interview. Several interactions were also included in the model. Predicted probabilities of responding to the mail survey were calculated and, for respondents, the inverse of this probability was multiplied by the original NSAL weight, and then divided by the mean of these new weights. All mail survey nonrespondents received a weight of zero on the mail survey weights. Mail survey weights should be used for all analyses where any variables from the mail survey are included, regardless of their status as independent variables or dependent variables.
Mode of Data Collection: mail questionnaire
Response Rates: Of the 6,082 NSAL respondents, 3,438 completed the RIW. The overall response rate was 56.5 percent. Response rates differed for each race group: 68 percent of Whites and 60 percent of African Americans responded compared to 43 percent for Caribbean Blacks.
Original ICPSR Release: 2010-04-08
- 2010-04-13 Previously, released restricted files without making documentation public. The documentation is now available.
Related Publications
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text:
Story here
Harrison is the first player mentioned, which shouldn't surprise anyone since he's expected to commit today. Others mentioned: KJ Hill, Joshua McMillon, DeAndre McNeal, Daron Payne, Kendall Sheffield, and Adonis Thomas.
While Hill's Crystal Ball projections have 45% Auburn, he did not include them in a recent list of his 5 official visits (no particular order - Ohio State, Florida, Notre Dame, Alabama and Arkansas).


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Solar Bells are based on time-tested glass garden cloches, but they're made of clear plastic instead of glass. That means they're portable, stackable, and much more affordable. And they're sturdy enough to protect against wind and pests as well as cold.
(based on 24 reviews)
Ratings Distribution
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4 Stars
3 Stars
2 Stars
1 Stars
of respondents would recommend this to a friend.
Best Uses
Reviewed by 24 customers
Displaying reviews 1-10
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Very Satisfied
By Sheila
from Washington State
About Me Avid Gardener
Comments about Solar Bells, Set of 3:
I used them to set out seedlings that still need warmth. They get a head start in the ground, but are protected from cold nights and hungry slugs. The adjustable vents are great. I open them during the day and close at night or during heavy rain. I like them because they are so light. Glass cloches are heavy, expensive and don't have the vents. It's true that they are somewhat fragile, but with careful handling, they should last several seasons.
Bottom Line Yes, I would recommend this to a friend
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better than expected
By Barb's Garden
from Fort Collins, CO
Have not had the chance to use them yet. It is winter here. I want to plant Lavender in my border. I ordered them to protect them next winter. I live at 5,000 feet in Colorado and our weather can swing very much in the winter. I want to protect the Lavender and my Rosemary plant.
(1 of 1 customers found this review helpful)
These are great
By Terrie Terra
from Houston Texas
About Me Master Gardener
They are just as effective as the heavey glass ones, but these are easier to move and store. Plus I like the vent at the top.
(2 of 2 customers found this review helpful)
May I Get a Smaller One, Please?
By Cat Hugger
from South Florida
About Me Getting Started
Sometimes a strong breeze can tumble these bells over but we came up with a work around. We carefully drilled small holes in the horizontal edge so we could put ground stakes through the rim allowing us to pin them to the ground.It would be very nifty if you would also offer a junior size for us lanai gardeners. My cats will chow down on sprouting cat grass before the grass has a chance to grow!
Product Overpriced for what you get
By Kurzxl
from Harrisonburg, VA
The concept is good and product design is good, material is too light and the cost is too much for what you get.
Bottom Line No, I would not recommend this to a friend
These keep the quail out
By Blue Jeans
from Sandy, Utah
Spring and Summer to extend seasonWintering over herbs, spinach, radishes
wonderful concept
By Phyllis with a greenthumb
from Grover Beach, CA
They withstand gusty winds perfectly.
Solar bells
By Sue Greenthumbs
from Saratoga, CA
I can put plants into the garden much earlier, also after starting from seeds, I can plant in a biodegradible pot and keep the plants on my patio with solar bells to protect them from the cold until the ground warms up enough to go into the garden, then for extra transitional help for a week or two. Opening up the vents for daylight prevents overheating.
Solar Bells are poor value
By Unhappy camper
from Ohio
Wow, sorry to say disappointed in the durability of this product. Way over priced. These are nothing more than cheap light-weight plastic. Not even sure they will hold up for one season.[...] for the price paid they are just not worth it. I was hoping to have them last but I don't think they will hold up very well. :(
much lighter to cary
By meme
from Wheaton Illinois
It permits me to plant early.It protects the plant of unexpected cold snaps. And are easy to handle even for a old lady like meTank you
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text:
Rasa Malaysia (which translates from Malay as 'Taste of Malaysia') is a newish spot located in Berjaya Eden Park Hotel Bayswater, touting supposedly authentic Malaysian chow.
The restaurant also probably had an eye on the expat Malaysian community in London, which tend to favour Bayswater for its roast duck restaurants and the ever-popular Malaysian Hall Canteen.
What we tried:
- 'Assam laksa', the famous rice noodle dish from Penang with its trademark hot & sour flavors, spiked with prawn paste. It has the requisite taste, but the portion served was miserly, and one hardly discerned any fish flakes in the gravy. Let's put it this way, if one's first ever taste of 'assam laksa' was here, instead of back in Penang, you'd would have been consigned this dish to the dust-heap of history as one of the most regrettable item you'd ever had the misfortune of putting into your mouth.
- 'Nasi lemak', often regarded as Malaysia's national dish. Decent version here – coconut-scented rice, garnished with a couple of small morsels of spice-marinated fried chicken, 'sambal' (chili) prawns, hard-boiled egg, crisp-fried 'ikan bilis' (anchovies) & cucumber. The coconut milk used was the canned variety, but still fine. The prawns had a bouncy-fresh texture whilst the sauce in which it was cooked was perfect: spicy, sour, sweet.
- 'Roti canai', crisp & flaky here, was great. For the uninitiated, the 'roti canai' is Malaysia's take on Indian 'paratha', specifically the Keralan variety. Over at Rasa Malaysia, one can order it with either chicken or fish curry – both cooked Malaysian-style: thick, spicy and perfect to dunk pieces of the 'rotis' into. Both versions of curry we tried were tasty.
- 'Mee Mamak', a spicy fried noodle dish of Indian-Muslim origins in Malaysia. I'd say this is the best-executed dish in this restaurant: perfect blend of textures (soft Hokkien yellow noodles, crunchy tofu & fritters, 'choy sum' vegetables, beansprouts, shallots, egg) and flavors (slightly sweet, tomatoey, chilli-spicy). The one dish I'd come back for.
- Desserts: the Malaysian 'kuehs' served here were an unmitigated disaster – 'kueh salat', in the form most Malaysians would recognize, is a beautiful two-layered cake: the bottom layer being fragrant steamed and compressed pearl-colored glutinous rice, scented with coconut milk; topped by an upper layer of firm eggy-milky steamed custard which is tinged slightly olive-green by fresh pandan juice, which also lent it an aromatic fragrance. The version here (see pic) used artificial coloring which resulted in a shocking radioactive-green custard, so poorly made that the artificial coloring had also seeped into the glutinous rice. Tasted absolutely disgusting and was worse than any fake Malaysian 'kueh' I'd ever had in my life. Eclipsed even the previously "worst nyonya kueh spot in the world" I encountered earlier this year in Chennai, India - Bee's Kopitiam (http://chowhound.chow.com/topics/844589).
The other 'kueh' was probably 'kueh bingka' – I'm just guessing here (seriously) because it was *so* bad, anything cooked by a pre-pubescent child in Home Science class in a Malaysian elementary school would probably taste better. I bet my bottom dollar – the 'kuehs' here are *not* cooked by a Malaysian chef, because they bore no resemblance to what Malaysians would know those 'kuehs' to be. Absolutely amateurish, half-hearted effort here, and an absolute sham.
If based upon the nightmarish Malaysian 'kuehs' alone, I'd never recommend anyone to try this restaurant – which is a pity because the 'mee mamak' was pretty decent.
Address details
Rasa Malaysia
Berjaya Eden Park Hotel
Inverness Place
London W2 3JS
Tel: 020 7221 2220


text:
Bonderman wants repeat of ALDS win
With playoff success, righty trusted to close in on Fall Classic
By Kelly Thesier / MLB.com
That reasoning stood because it was Bonderman who had given up a six-run lead in the final game of the regular season against the Royals, setting up a loss that cost the Tigers the AL Central title.But after Bonderman held the Yankees to just two runs on five hits over 8 1/3 innings, helping the Tigers clinch a spot in the ALCS with his dominant effort, it's clear that the public's view on him has dramatically changed. Not that it seems to matter much to the 23-year-old right-hander. "I don't really care," Bonderman said of the change. "I mean, if I would have lost, I would have still been the same person. I just happened to have a great game and we moved on." Moving on means getting the opportunity to pitch in what will be another big game for the Tigers. Bonderman will take the mound in Game 4 of the ALCS against the Oakland A's on Saturday with the chance to help the Tigers earn their first World Series berth since 1984. And it's the team that he will face during this big game that adds a little to the drama to the situation.
Bonderman was one of Oakland's first-round picks in the 2001 First-Year Player Draft. Bonderman's career in the organization was short, as the A's traded the 19-year-old prospect in August 2002 as the "player to be named" along with Carlos Pena and Franklyn German to Detroit in a three-team trade involving the Tigers, A's and Yankees.It wasn't until after the trade that emotions really got stirred up for Bonderman, as he was featured in the famous book Moneyball about A's general manager Billy Beane and his method of building organizations. In one chapter, a story was included that Beane threw a chair at a wall when the club selected Bonderman due to his being an unproven high school junior at the time.
A lot has been made of Bonderman wanting to make the most of facing the club that traded him away, but it's something that he tried to push away on Friday."I've beat them before and they've beat me, so I don't really have any hard feelings anymore about it," Bonderman said. "For me to have a grudge against the team now, you've got to put that aside anyways in this situation." And while Bonderman is quick to push off any meaning behind this start, it's clear that it means something, as it's been a rocky road to reaching this point in his career. He lost 19 games in the Tigers' 119-loss 2003 season and slowly showed improvement over the past two years. But once again, this year had its ups and downs with an unbeaten streak of 10 games followed by a patch of rough starts only to end with the outing against the Royals. Instead of talking about his career, though, Bonderman tried to focus on what he will have to do on Saturday against a team that he knows can be dangerous if he doesn't keep the same attitude he had in his other Game 4 start. "They've got a lot of power and a lot of professional hitters -- just like the Yankees," Bonderman said. "You can't back down. You've got to go out and attack them and try to make them hit at your pitch."
Be a part of the ALCS Mailbag
|Who's going to win this series? Who's the best player? Why'd the manager make that move? If game stories and features aren't enough for you and you want more, e-mail MLB.com's Jim Molony at firstname.lastname@example.com. After the game, before it, even while the action is going on. Send in your question (make sure the subject line contains ALCS Mailbag), and Molony will answer selected queries in a regular postgame mailbag right here on MLB.com.
That's exactly the plan that Bonderman had going into his last start against the Yankees, and it's clear that many of his teammates believe that it's a different pitcher who will take the mound on Saturday after pulling off such a dramatic win.And it's no surprise to them that Bonderman's dramatic outing came after a stellar performance from, Rogers who has been a sort of mentor to him this season. "Bonderman has always been a great pitcher with a great arm, and now that he's around Kenny, I think this is when he's really taken the next step to learning how to pitch," third baseman Brandon Inge said. "When you take Bonderman, with the ability that he has, and combine it with the knowledge Kenny has, the sky is the limit for what Bonderman can now do." With all the turmoil that Bonderman has faced in the past, the focus now is on what he can do to rectify the ups and downs. And that means helping secure another clincher, with this one locking up a trip for the club to the Fall Classic. "This is a shot of a lifetime to go to the World Series," Bonderman said. "And I want to do the best I can to give my team the opportunity to go there."
Kelly Thesier is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.


text:
The honey badger don't care—except when it comes to Twitter.
The Johannesburg Zoo has come up with an ingenious social media marketing tactic that involves a tweeting honey badger.
As the badger in question, BG, moves about his enclosure throughout the day, six infrared sensors capture his movements. That information is sent to a server, and it triggers pre-written tweets.
In just a few short weeks of tweeting, BG has attracted more than 3,600 followers. You can also track him via #tweetingbadger.
The concept comes from the zoo's agency partner, Draftfcb, and its digital arm Hellocomputer.
[RELATED: Master can't-ignore social media tools with Mark Ragan's one-day social media boot camp.]
[RELATED: Master can't-ignore social media tools with Mark Ragan's one-day social media boot camp.]
Check out more on how it works in this video, which the group posted to YouTube:
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text:
Community Network officially supports Microsoft Lync. If you'd like to install Microsoft Lync on a CN-supported Windows machine, follow the instructions below. The screenshots on this page are specific to a Lync 2010 installation on Windows 7, and some steps may vary on other systems. CN is available to assist and help resolve any difficulties or questions that might arise throughout your Lync experience.
Mac users should contact CN for assistance installing Lync on your Mac.
In most cases, you will not need to reboot your system, but do so if prompted. If you encounter any issues, please contact the Community Network at 541-737-8787.
Instructions for using Lync are available at the OSU Helpdocs website.


text:
Evaluating Corporate Prepayment Plan: Wait and See
Wait and see.
Credit union executives spent the first week after the NCUA unveiled its corporate credit union prepayment plan studying it and reserving judgment.
A vast majority of credit union chief executive officers who were asked about the plan said they didn't know enough to comment, and most hadn't run the numbers to see if it will work for their financial institution.
John Graham, president/CEO of Kentucky Employees Credit Union in Frankfort, said he was pleased the agency was offering the plan but was undecided about whether to participate.
"Lots of credit unions have extra cash on hand so they might conclude that parking it at NCUA might not be a bad idea," said Graham, whose credit union has $58 million in assets "But others don't trust the NCUA. They see it as wielding its hammer and blaming other people for problems that they missed."
Former NCUA Chairman Dennis Dollar, who now consults for credit unions, said the industry executives he has spoken with think the plan is too late.
"There is a feeling that this would have been timelier a couple of years ago before the major outlays were required. Now it's coming after a couple of really tough years. They don't have the flexibility to take as much of a hit after dismal 2009 and 2010," he said. "Give the agency credit for innovation, if not timeliness."
Under the proposed plan, credit unions could prepay between $10,000 and 36 basis points of insured shared toward their assessments to pay the costs of the rescue of corporate credit unions.
Credit unions wouldn't earn any interest and the total collected in prepayments would have to be at least $300 million for the program to take effect.
CUNA and NAFCU have been pushing the NCUA to allow credit unions to prepay the assessments that are financing the repayment of the loan from the Treasury Department that helped rescue the corporate credit unions in 2009.
Both trade associations praised the agency for coming out with a plan and said they would work with their members to determine whether the program would work for them and neither commented on its merits.
The NCUA program, which is subject to public comment through June 20, is modeled in part on a similar plan that the FDIC instituted. However, the FDIC's plan made the prepayments mandatory.
NCUA Associate General Counsel Paul Peterson told the NCUA Board on May 19 that the statutory powers of the FDIC and NCUA are different and under the law, and the agency couldn't require prepayments.
During its meetings with the agency, CUNA advocated for a mandatory prepayment plan under which credit unions would have to prepay three years worth of assessments up front, totaling 48 basis points, but the credit unions could have been allowed to expense the payments over three years.
The NCUA has estimated that assessments for natural person credit unions to repay the costs of the corporate credit union rescue will be between 20 and 25 basis points this year. And there will be annual assessments through 2021.
The agency said it needs to raise $2.94 billion through assessments in 2011 and 2012, and this would require a combined 38 basis point assessment during those two years.
Agency officials said that future assessments would be lowered for all if CUs prepaid the corporate stabilization assessments to a sufficient level.
The agency won't publish a list of CUs that has prepaid their assessment, but all the information would be included on Call Reports.
Dollar predicted the plan will be more popular with smaller credit unions because their capital ratios are higher and they have more flexibility.
He added that some would not participate because they like the certainty of the pay
"No credit union likes assessments but they like uncertainty even less," he said.


text:
Cuddyer placed on 15-day disabled list
Right fielder sidelined with strained tendon in left hand
By Leslie Parker / Special to MLB.com
The move was announced in the bottom of the fifth inning during Sunday's game against the Brewers. Span exited Triple-A Rochester's game on Sunday afternoon and will be in uniform for Monday night's game against Detroit.
When manager Ron Gardenhire spoke to the media prior to Sunday's game, Cuddyer had not yet seen team doctors, but Gardenhire seemed convinced he would be sending one of his team's vocal and statistical leaders to the DL.
"He's a leader out there, but as with everybody else, we'll just have to play," Gardenhire said. "It opens the opportunity for a couple guys to get some more at bats -- [Craig] Monroe will get some more at-bats, [Mike] Lamb will get some extra at-bats. So people will have to take advantage of what they can. Somebody has to step up, that's just the way it is."
Cuddyer's hand, which was black and blue prior to Saturday's game, started bothering him several weeks ago, but became a major problem in his last at-bat against Milwaukee on Friday night. The consensus on Saturday was that if Cuddyer's hand was not feeling better on Sunday, he would be sent to the DL.
"It's extremely disappointing, because you don't feel like you can contribute -- especially in this time where we're about to play the Tigers and the Indians, those division guys, it's frustrating," Cuddyer said. "These guys have been playing well, we've been playing well as a unit and playing well as a team. Hopefully we'll continue to be able to do that."
Jason Kubel, who is swinging a hot bat lately, got the start in right field and went 1-for-3 with an RBI in the Twins' 5-0 victory over the Brewers on Sunday. Span and Kubel will likely both see action in right.
"He's going to play," Gardenhire said of Span. "We're going to mix them all up, and use them all. Everybody needs to be a part of this thing, that's how we got on the streak. He'll get playing time."
Span had hoped to join the team out of Spring Training, but he was one of the final players cut. He made his Major League debut earlier this season, when he got the call to join the Twins when Cuddyer was on the DL with a strained tendon in his right hand.
Span batted .258 over 11 games and racked up three stolen bases in his stint with the Twins. In 39 games with the Red Wings this season, Span batted .342 with 11 doubles and 14 RBIs.
Leslie Parker is a contributor for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.


text: On Sat, 5 Mar 2005, Guy Coates wrote: > > In the "modern" era of PXE, on "most networks" adding new machines > > with specific configurations could be done with a single command or GUI. > > We're not there yet. :-) > > The only thing that ever came close was RLX's Control Tower management > software. It did "one click" management and provisioning of machines. > One the blade systems it could even do "zero click configuration", as you > could set policy like > > "Any machines I put into slots 1-10 should automatically get configuration > Y put on them." > > It was generic enough so that it could provision any operating system you > could think off, and if it didn't do something you wanted it to, it was > also easy to dig under the covers and hack the code. > > The only down side was the price-tag, which was extortionate. > > Guy > > I agree that there is some work involved in building a PXE installable configuration for e.g. kickstart, but it isn't excessive. Take template kickstart file(s). Edit it to select package set(s) for same(different) node config(s). Put it(them) on server. Edit dhcpd.conf to to point to bootloader in /tftpboot. Edit boot.msg, pxelinux.cfg/default to point to (list of) node type(s) and point to the associated kickstart file(s) and boot option(s), respectively. Boot. There IS a GUI for building the kickstart file (under RH and FC, at least), although I suspect that most people would use this at most to build the template and then tune it up by hand -- it is actually easier to edit a flatfile with an editor once you see the layout. dhcpd doesn't have a GUI to front it AFAIK, so this remains a place one could do some work. It would be useful to build one that tests the URL paths to e.g. the kickstart files and the tftpboot paths to the initrd images. It would be even lovelier to have the same interface edit boot.msg and pxelinux.cfg/default at the same time so that all three could be consistent. This is the one place I find myself hopping from directory to directory to make matching changes, as I create an image for "fc3 workstation" or "fc3 node" for testing purposes and need to ensure that the matching kickstart file is in the right place and correctly corresponds to the dhcpd entry. This is even more true if one wants to create an image indexed per IP number (the "right" way, arguably, for tftpboot to function) so that everything becomes totally automagic. I always am of two minds about high-level front ends to low level admin commands. Yes, they are convenient and let newbies start to work with a low buy-in as far as learning curve is concerned. However, they also SHIELD a newbie from learning what they really need to know to be an effective manager, and (to my own experience anyway) they rarely work stably as the various tools upon which they are built evolve. For one thing, the GUI designer almost always omits features and capabilities of the lower level stuff, so eventually you want to do something you "know" can be done but the GUI doesn't. For another, somebody changes something really subtle, such as a default pathway in /tftpboot, and your GUI "breaks" and you have no idea why and won't until you learn, in a panic, all the things the GUI shielded you from. I tend to think GUIs work best when they are a standard part of a single administrative package co-developed by the packages maintainers. A GUI that spans multiple tools and functions simply has more issues. Hence redhat-config-kickstart has a chance to remain useful, but building its functionality into a sweeping redhat-config-pxe (including kickstart, dchpd, tftp) is a bit dicier. STILL POSSIBLE, mind you -- it just needs somebody to love it and maintain it. That's why I asked about FAI -- if somebody doesn't actively maintain the GUIs, the scripts, the documentation, as the underlying toolset slowly changes, eventually the friendly front end fails to encompass all sorts of desireable functionality or starts to break, sometimes, for some users, trying to do some things. In FC or RH, there is no "supertool", but the individual tools work well and aren't THAT hard to learn -- most of them have dedicated HOWTOs. Some supertools exist in ROCKS and warewulf and so on, and have (at the moment) devoted maintainers who love their product. rgb -- Robert G. Brown http://www.phy.duke.edu/~rgb/ Duke University Dept. of Physics, Box 90305 Durham, N.C. 27708-0305 Phone: 1-919-660-2567 Fax: 919-660-2525 email:rgb at phy.duke.edu _______________________________________________ Beowulf mailing list, Beowulf at beowulf.org To change your subscription (digest mode or unsubscribe) visit http://www.beowulf.org/mailman/listinfo/beowulf


text:
These throwback, 50-year-old Ray Ban Wayfarer Sunglasses made quite a strong comeback in '06. We all remember a young Tom Cruise dancing around in these bad ass glasses in the cult flick Risky Business. And I distinctly remember crushing on Robe Lowe sporting these when I was a wee lassie.
Wayfarers were also the shades of choice in the music biz once upon a time. Famous singers such as: Madonna, Johnny Cash, The Blues Brothers, Bob Dylan and The Smiths also helped made these sunglasses iconic. Nowadays several the hot young celebs like Mischa Barton, Sienna Miller and Kirsten Dunst are wearing them.
The original black, smaller frame style caught the eye of Mary-Kate Olsen who apparently traded in her immensely over-sized ones for this more feminine frame. Coming this January, the smaller frame model will be back on the shelves selling for $130. Try calling your local Ray-Ban retailer to place a pre-order for the smaller frame originals. In the meantime, the the larger frame Ray-Ban Sunglasses are available for $114.99.


text:
Hot Air: For second straight season, NBC's final Sunday night game will decide NFC East crown
The people at NBC are beaming. The folks at Fox are steaming. The Cowboys' visit to Washington next Sunday will be in prime time on NBC.
Kickoff was moved from noon to 7:20 p.m.
The behind-the-scenes network lobbying for the game that will decide the NFC East champion may have been more entertaining than any game played in front of the cameras Sunday.
For the second consecutive season, the NFL has handed the NFC East title game to Sunday Night Football, leaving the Foxies wondering what the network of the NFC has to do to get the conference's ultimate regular-season game in its prime late Sunday afternoon time slot.
Recall that last season, the NFL handed NBC the Cowboys-Giants in Week 17.
As consolation for losing the Cowboys-Redskins game it craved, Fox got Green Bay-Minnesota at 3:25 p.m. There will be a wild-card spot at stake for the Vikings, and Adrian Peterson has a long shot at Eric Dickerson's season rushing record. But that's hamburger compared with the prime cut the NFL served up to its favorite prime-time partner.
Cowboys-Redskins was the natural choice, given the NFL's public stance on what it wants its final regular-season kickoff to be. The Cowboys win, and they are in. Lose, and it's go home. Ironically, had the Cowboys beaten the Saints and had a shot at a wild-card spot, the game might have gone to Fox.
There had been speculation that owner Jerry Jones knew something when he said on his radio show last week he was doubtful the game would be moved to prime time. But a Cowboys source assured later that Jones was simply speculating.
Studio catch: Late in the first half, the Cowboys went three-and-out, taking only 15 seconds off the clock. That put the ball back in Saints quarterback Drew Brees' hands. In the ensuing 47 seconds, he marched his team down for a field goal that put them up 17-14 at the end of the half. Back in the Fox studio, Jimmy Johnson and Michael Strahan questioned Jason Garrett's play-calling, insisting he should have run the ball to eat clock and keep Brees off the field.
Goose on the loose: Sideline analyst Tony Siragusa offered a catchy nickname for the Cowboys defense, which featured seven players added lately to replace injured defenders from the early season roster. "The New Name Defense," Siragusa called it. Of course, after its effort against the Saints, the unit may prefer "Witness Protected."
Johnson in the pregame studio on the NFC East race: "The Giants are the most talented team on the field, but there's no hunger there. It happens to teams that have had success, especially defending champions. They get complacent. The hungriest team in the NFC East is the Washington Redskins, and that's why I pick them to win the division next week at home."
Pick of the week: In the pregame studio, Johnson, Howie Long and Terry Bradshaw went with the Cowboys. Strahan picked the Saints.
Tweet of the week comes from someone who noticed that the Cowboys didn't sack the Saints quarterback and barely rattled him throughout: "At least you can't accuse the Cowboys of putting a bounty on Drew Brees."
Follow Barry Horn on Twitter at @bhorn55.


text:
Three high schoolers stumble onto a sinkhole in the middle of a field. They descend into it and encounter a mysterious, supposedly alien force that imparts each of them with superpowers in director Josh Trank's debut feature, Chronicle. Employing the by-now familiar, low-budget artifice of "home video" footage (made famous by The Blair Witch Project on through Cloverfield and the Paranormal Activity series, to name a few), Trank follows the boys' exhilarating discovery of their telekinetic abilities, beginning with the playing of harmless pranks and culminating in the near-destruction of Seattle.
Chronicle is positioned as a superhero origin story as the teenagers — happy-go-lucky jock Steve (Michael B. Jordan), charming misfit Matt (Alex Garetty) and disturbed loner Andrew (Dane DeHaan) — must contend with whether and how to use their powers. While Steve and Matt are content to limit the use of their abilities for the mere pursuit of fun, Andrew veers off-course and begins a downward spiral into criminality. Andrew's choice isn't surprising; as a victim of abuse, a son of an alcoholic father and an ailing mother, it's only natural that his mind would steer towards revenge and mayhem. That forces the iconoclast Matt into the role of superhero, something he wants nothing to do with, but he's all that the world has in terms of a defense against Andrew's armageddon-scale abilities. So, in that sense, we have the creation of the classic Marvel Comics dynamic of the unwilling superhero (in the Peter Parker/Spider-Man mold) against the psychologically damaged arch-villain).
As always in the case of first-person, home video-style movies, the artifice gets in the way of the action. That characters would tote along a camera and have the presence of mind to shoot video while in the midst of wildly traumatic or ecstatic events (whether being chased through the woods by a witch, intruded upon in the middle of the night by a demon, invaded by an alien monster or, in the case of Chronicle, discovering that you have the ability to fly) is simply ridiculous. It's an artifice that appeals because of its approximation to cable news, YouTube and home videos — things that are as much a part of our lives as the laptop I'm writing on or the tea I'm drinking. The merging of the familiar with the supernatural or the uncanny is what viewers find so irresistible (including me). But when the action ramps up, the artifice reveals itself to be the clumsy gimmick that it is. And it doesn't fare any better here than it did in the case of its predecessors. While we're on the subject, Chronicle breaks its own rule by frequently shifting to a smoother, objective visual style when the need arises, thereby wanting the best of both worlds. We only see it, though, as cheating.
That said, Chronicle is an enjoyable spin through the tropes of the superhero origin story. And it takes time to develop its characters richly, Andrew in particular. DeHaan nicely modulates Andrew's sweet, soft-hearted interior in the movie's first half with the hardening, monstrous anger that takes over in the second half. And while Russell's Matt is a somewhat hazier, less sure-footed characterization, we can get behind any character with a dimpled smile who can quote Jung and use the word "hubris" in conversation.
Predictably, Chronicle unravels into forgettable mayhem in its third act as Andrew takes out his pent-up rage on Seattle leading to an Andrew-Matt showdown. Yet the movie's first half contain enough unique moments to prove that Trank and screenwriter Max Landis have more than spectacle in mind. The scenes in which the boys first try out their powers come off best. Trank maintains a low-key, open-eyed curiosity throughout these scenes and a childlike sense of wonder prevails, most memorably in the "I-can-fly" sequence, which unlocks a primal sort of exhilaration in the viewer to match that of the characters. Moments like these demonstrate perhaps the most effective use of the home video style since "The Blair Witch Project," anchoring their characters' (and our) shock and surprise at the supernatural in the background of the familiar.
Grade: B-
Directed by: Josh Trank
Written by: Max Landis
Cast: Dane DeHaan, Alex Russell, Michael B. Jordan, Michael Kelly, Ashley Hinshaw, Anna Wood, Bo Petersen


text:
Pelican's Perch #30:
The 45-Degree Zealots
There's not a syllable in the FARs about 45-degree traffic pattern entries. Nor does the AIM require them. There exists, however, a small-but-vocal cadre of pilots � and even some FAA inspectors � who consider any other type of pattern entry (straight-in, crosswind, etc.) to be a felony. These
First, a little housekeeping. For those interested in some of the old books I reprint, there have been several changes. Be sure to check out my list of available publications.
Also, I am often asked "When are you gonna do the the turbo column?" I've now got a turbonormalizer from Tornado Alley Turbo in Ada, Oklahoma, and as soon as I get some time in it, and can gather some of the data I need, I'll be doing the column. Hey, how many columnists do you know that will go out and buy a turbonormalizer, just to please his readers? There will probably be two columns, one on the hardware, and one on how the loose nut between the yoke and the pilot's seat runs it. I'm hoping the very next column will be on the hardware, but that's not a promise!
Once that's done, I'm hoping to publish the engine management columns in a book, for the benefit of the three kind people who have asked for that. Working title is "Modern Engine Management," but I'm open to suggestions!
Those Deadly Traffic Patterns
|The most savage controversies are those about
matters as to which there is no good evidence either way.
� Bertrand Russell
That which is legal is not always safe, and that which is safe is not always legal.
� John Deakin
These two quotes are most appropriate when talking about traffic pattern entries.
What IS a "traffic pattern," anyway? The Pilot/Controller Glossary says:
|Traffic Pattern - The traffic flow that is
prescribed for aircraft landing at, taxiing on, or taking off from an
airport. The components of a typical traffic pattern are upwind leg,
crosswind leg, downwind leg, base leg, and final approach.
Straight-in Approach - VFR - Entry into the traffic pattern by interception of the extended runway centerline (final approach course) without executing any other portion of the traffic pattern. (See Traffic Pattern)
Straight-in Landing - A landing made on a runway aligned within 30 degrees of the final approach course following completion of an instrument approach. (See Straight-in Approach - IFR)
Pretty simple, but the complexity seems to arise when entering the pattern.
There is a small, noisy group of people out there who seem to think that if only everyone would always make the 45-degree pattern entry to the midfield downwind, there would be world peace, a fish on every plate, and an end to the ozone hole over the South Pole. These same noisy people also seem to think the straight-in approach is the worst sin a pilot can commit, some insisting that it should NEVER be done.
Rubbish to both, I say. I say there is no good evidence either way that any one type of pattern entry is any safer than any other. All have their advantages, and all have their disadvantages, and a large percentage of traffic pattern midair collisions occur at towered airports. If you want an absolutely safe way into the pattern, forget it, you might as well stay home.
First, let's get towered fields out of the way. When operating at a towered field, do whatever they clear you to do, and report where they ask you to report. How you get there is up to you. Remember, the job of the tower is to SEQUENCE you, and NOT to separate you! Whatever aid they give you to maintain separation is above and beyond their charter. (My personal opinion is that we have far too many expensive towers, and far too few uncontrolled fields. If the FAA shut down 50% of the existing control towers, I would applaud. That's my grumble for today!)
Now that we have that covered, the remainder of this column refers to traffic patterns at airport without towers, or "uncontrolled fields," and how to get into and out of them as safely as possible.
Traffic Pattern Nazis
Two incidents stand out in my memory, both at the Arlington, Washington airport. This is a neat general aviation airport north of Seattle, with a primary runway 16/34, an elevation of about 160 feet, a LOC-only approach to 34, and blessedly, no tower. I hope they never put one in, for that would ruin the airport.
For the first incident, I approached from the east in excellent VFR conditions, and was unable to raise anyone on the Unicom/CTAF frequency. I crossed over the airport at about 2,200 feet agl to take a look at the windsock and traffic. It indicated that 34 would be most into the wind, and accordingly, I proceeded to the northwest to join the 45 to the left downwind. I might have joined directly onto the downwind, but I was a bit high and fast, and going out to join the 45 was going to take care of that nicely. There appeared to be no traffic.
In this case, I maintain that if there is any difference in "safety" at all, the direct entry from the crosswind onto the downwind would have been the "safest," as that would have meant less time flying in the airport area, thereby reducing the "total risk." It's possible that proceeding out to the entry area for the 45 would delay the landing enough that all kinds of traffic might be there. But it really doesn't matter much.
Just after crossing overhead, still 2,000 feet or more above the airport, my ears were assaulted by a truly nasty voice on the radio, "Bonanza over Arlington, what kind of traffic pattern do you call that?"
Since there seemed to be no one else around, I said, "If you're yelling at the Bonanza about a mile northwest, northwest bound, I'm not in the pattern yet, I'm headed outbound for the 45, and I'm at 2,000 feet, what's your position?"
"I'm on the ramp, and I've never seen anything like that, you're busting right through the traffic pattern, and that's no 2,000 feet!"
"Well, I'm showing 2,200 feet right now, and if you'd like to discuss it like a human being, I'll be at "The Prop Stop" for lunch after landing."
Of course, he didn't show. Now, what is the matter with this creep? He's on the ground, so he's not affected. There was NO traffic, unless a no-radio aircraft sneaked in while I was away from the airport getting on the 45. Was this a matter of safety? No. Was it regulations? No. It was some narrow-minded jerk with a big mouth, and a small brain. I shudder at the thought he might be an examiner, or an FAA Inspector.
On another occasion, I made the LOC approach to 34, and broke out at about 800' with pretty poor visibility, perhaps a bit over a mile. I had called over the FAF (WATON NDB) about five out, and again when I broke out, stating "Bonanza One Bravo Echo, three out, landing straight in, three four."
It might have been the same traffic pattern nazi who snarled, "One Bravo Echo, you ever think of making a 45?"
"No, not in this weather, what's your position?"
"We're on the crosswind, about to turn downwind, and the traffic pattern entry here is a 45 to the midfield downwind."
"What would you estimate for the ceiling and visibility?"
"It's about 800 overcast, and a mile."
"And you're shooting VFR circuits?"
"That's affirmative."
"Well, when you get on the ground, you might want to take a peek at the FARs on VFR ceiling and visibility requirements. And what was your N-number, please?"
Mercifully, there was only silence in response, and of course, I was at the gas pumps before he could land. I didn't see him on the ground, either.
Let's note the difference between "regulations" (i.e., the FARs) and "policy" (which includes everything else.)
The FARs
The authors of FAR Part 91 have wisely never made a big deal over pattern entries. (That can always change, of course.) The FARs start out with Class G airports (uncontrolled) and work "upwards" to Class B. In general, each "higher" class of airspace adopts all the regulations of those below, and adds to them. I have extracted a few of the regulations below in italics, and added my own comments [within square brackets and in blue, like this].
�91.126 Operating on or in the vicinity of an airport in Class G airspace.
It is worth repeating, with emphasis, that making "wrong way" patterns while approaching to land is a violation of the FARs. It is the major hard and fast rule about traffic patterns.
However, note there is nothing whatsoever about departures! You are legal (and generally safe) to turn any way you want, though common sense and courtesy would dictate avoiding normal pattern traffic, residential areas, or hazards to flight in any way you can, and you should consider those factors while giving them whatever priority you judge most appropriate. In the absence of any and these factors, the usual drill is a 45-degree turn in the usual direction, or a straight-out.
� 91.127 Operating on or in the vicinity of an airport in Class E airspace.
So much for the FARs on this subject. Note there is NOTHING in the FARs about 45-degree entries, or any other entry. All you have to do is make all turns WHILE APPROACHING in the "established direction." There is also nothing that says you have to make ANY turns, which makes a straight-in approach quite legal.
In fact, I can make a very good case that the classic 45-degree entry is itself a violation of the FARs, since it is ALWAYS in the opposite direction to the established flow of traffic. Since it is the final turn onto the downwind leg, it must certainly be in the "vicinity" of the airport, and therefore covered by the above regs!
The AIM
Paragraph 4-3-3 (d) of the Aeronautical Information Manual (AIM) repeats the FAR about right of way:
When two or more aircraft are approaching an airport for the purpose of landing, the aircraft at the lower altitude has the right of way, but it shall not take advantage of this rule to cut in front of another which is on final approach to land, or to overtake that aircraft (14 CFR Section 91.113(f)).
Think about this. If you are on downwind, and you see an aircraft on final that is below you, THAT AIRCRAFT HAS THE RIGHT OF WAY. To carry it even further, even if the aircraft on final is HIGHER than you are, it STILL has the right of way, since you may not cut in front of an aircraft on final!
This is hardly the language that would be used if straight-ins were frowned upon.
Common Sense
Bureaucrats, like those who write the FARs, just hate that term "common sense" because it generally cannot be quantified, reduced to numbers, or stated clearly in modern FAA-speak. I submit to you that traffic pattern "rules" can be reduced to simple common courtesy, and common sense, and we can safely forget all those complicated diagrams. (To tell the truth, almost all rules everywhere could be thrown out, if we'd all just show a little common sense and common courtesy!)
All a pilots needs to do is give a little thought to the type of traffic known to exist (if any), and the type of traffic he is himself. Above all, the single most important question we should ask ourselves is this:
|"How can I do what I want to do (get from here to the gas pump), with the absolute minimum impact on what others are trying to do?"
I like to drive my car so that no other driver has to put on his brakes, or turn his wheel because of something I do, and I try to fly the same way.
Do I use the 45-degree entry? Of course! It's very useful when there is a busy pattern, and I can fit into that pattern with my speed and characteristics. When it gets very busy, or dissimilar aircraft are involved, even the 45-degree entry breaks down, and that's why you see the pattern in use at Oshkosh, during the big show there. They set up a point (RIPON) a LONG way away from the airport, and they ask everyone to first fly over that point, and then follow VFR landmarks directly to the downwind. That gives everyone a lot of time and distance to get sorted out, just as the usual 45 does at a normal airport.
At the other end of the scale, if I owned my own private strip that no one else ever used, I'd make pattern entries any old way I wanted, all the time.
Between these two extremes, there are infinite variations, each with a "best" way to enter. Sometimes that "best" way is the 45-degree entry, and sometimes it is not.
Some Examples
Let us suppose you're at the end of a long cross-country flight, and in order to get down to the pattern altitude at your home airport (no tower), you shoot some sort of instrument approach, breaking out below a well-defined ceiling at 1,000 feet AGL, with excellent visibility. Because you were very busy with ATC, you were unable to listen to the CTAF frequency, so you have no idea how busy the traffic pattern might be until you cancel IFR for a VFR landing. Knowing the traffic pattern altitude (TPA) is 800 feet AGL, you carefully fly all the way around the airport well outside the "vicinity" of the airport, enter the 45 at 800 feet, fly to the midfield downwind, fall into a gap between two other VFR aircraft, and land. That "traffic pattern nazi" would be pleased with you, right?
Sorry, pal, you have just seriously violated an important FAR. When VFR, you are REQUIRED to maintain 500 feet below any cloud, and you should have flown the 45 and the pattern at 500 feet AGL. Remember, the TPA is NOT regulatory, it is just a guide to "normal operation." In much the same way, the type of entry is also just a guide to "normal operation," which may be modified by other factors.
Let us suppose you are approaching a strip in the bottom of a valley, with mountains so close on each side that you cannot do anything but a straight-in approach? Obviously, it would be foolhardy to attempt anything else, and this, along with many other variations is good reason the FARs do not address this issue in more detail, leaving it to pilot judgment.
Let us suppose you are approaching some nice uncontrolled airport in your Cessna 182, and I am approaching in the Constellation, with its 140-knot pattern speed? Seriously now, do you really WANT me to enter on the 45, mixing it up with other aircraft trying to do so? Do you want me to leave the wake vortices out there for other smaller aircraft to blunder into? Do you want me flailing around out there with a large, not-very-maneuverable aircraft at much higher speeds, and much poorer visibility? Yes, I can and should do that at 1,500 feet, but how are we to get to the runway? I will be faster than you, approaching from above and behind you, and descending at some point, with you in my blind spot, and I in yours. Don't you think it just might be better for all concerned if I just made the straight-in approach, and got the heck out of the air, out of the traffic pattern, and out of your hair? Even if I have to fly further to get to the straight in, than I would the 45?
Speaking of the Connie, when we were doing closed traffic with it at Camarillo, we should have been at 1,500 feet on downwind, right? Well, that would have put us squarely on the ILS and Glide Slope for Oxnard, five miles away, flying directly into descending traffic. I felt it was more prudent to just use the normal TPA, and fly a wide pattern, and I would have done the same even if Camarillo didn't have a tower.
Suppose you approach some airport so that you cross overhead the airport, aimed at the same point where the normal 45-degree entry would turn onto the downwind. As you pass over the runway, you note there is no traffic in sight, so you turn directly onto the downwind. Some will say you shouldn't do that, but now assume that instead, you had flown around the airport vicinity, and entered the 45 like a good little doobie. As you approach the turn to the downwind, you look back along the downwind, and note there is no traffic, so you continue.
How is the one "safer" than the other? For either, the chance of missing traffic is equal. In fact, in Canada, the crosswind entry is the preferred method, and I'm not even sure the 45 entry is even mentioned!
Look Everywhere (Including Straight Up)
I know of one FAA inspector, a good man, very helpful, highly respected, puts out a dynamite newsletter, very active in the local aviation community. But he is absolutely monomaniacal about the 45-degree entry, and becomes quite belligerent when talking about it. The last four times I've heard him address a crowd, 90% of his attention is on this item, and the clear implication is that the 45 is absolutely the only way to go. One group of examiners came away with the clear impression that he absolutely wants any applicant busted for not doing the 45. The entire group was literally cowed by his extraordinarily strong attitude on this. I hate to think of what the results will be.
Wrong message. BAD message, I say.
He bemoans the current "lack of discipline" in this matter with "Where I used to know where to look for potentially conflicting traffic I now have no idea where they might be coming from. I literally have to look everywhere, including straight up!"
Poor baby. Have I got news for him? It has NEVER been safe NOT to look "everywhere, including straight up!" In fact, I would suggest that if we did away with ALL "policies" for traffic patterns, and teach that people MUST look everywhere, that anyone may come in from ANY direction or altitude, we just might raise a crop of far more vigilant pilots than we have today. THAT is the real problem here, I think.
Courtesy and Kindness
Let us suppose you are on downwind, abeam the numbers, and someone calls on a final approach, straight in. You spot him, and there appears a conflict which requires you to extend your downwind to fall in behind him. Are you upset? Some will be, but suppose he's a bit marginal on fuel, or needs a bathroom really, really badly? Would you really have him stop somewhere else first, or go all the way around for the 45? Suppose you've been shooting circuits and touch and go landings for an hour, do you really feel you own the airport? Suppose half a dozen of you are doing circuits, and have the spacing worked out so that everyone is just "fitting in," no "slots" left, and I come along in my Bonanza? Do you feel that I should just go away because you guys were there first, and that there's no room for me? What's the difference to you if I make the straight in, forcing you to extend slightly, or if I make the 45, break in, and force you (or someone else to circle, or even leave the pattern? (All assuming decent communication and courtesy, of course.)
Of course, there's always the arrogant you-know-what who will make any pattern he pleases, regardless of courtesy, common sense, or traffic, but he won't read this column anyway, and it's not that type I'm addressing here.
I think it's best to look at each situation with a neutral eye, and figure out what's best to make the whole system work the best. In Interstate traffic, that might be slowing your car a bit to let merging traffic join, and in the airport traffic pattern it might mean giving way to the Learjet making a straight in. Then again, it could also mean going a bit out of your way to make that 45-degree entry, and take your place in line.
When someone else does something you think a bit out of line, you'd also do well to just figure he had a pressing need to do that, and someday you may need to do the same. There's no sense yelling at someone unless they do something downright dangerous, deliberately and knowingly. Even if someone does do something you perceive as dangerous, you'll accomplish a lot more with a gentle approach, something like "I was concerned about what you did, would you mind sharing your thoughts on it with me?"
The rude, obnoxious you-know-what will tell you where to go, and you've lost nothing. You MIGHT make him think about it later, and he MIGHT realize his error on his own. Or he'll brag to a buddy how he told you off, and his buddy might just say, "You know, I think you might think about that, the guy might have a point."
With others, you will probably make a new friend, and you both might learn something.
An example of this sort of thing, and the way I try to look at it. At Camarillo, we often do repetitive full-stop landings and taxi-back in the Curtiss-Wright C-46, since it is a tail-dragger, and most of the skill to be developed is ground handling on the runway during takeoffs and landings. Touch and gos don't accomplish much in this airplane! When we taxi back for takeoff, we approach the runway on a fairly narrow taxiway ("A"), with the runup pad to our right. It's a fairly small runup pad, and our wingtip overlaps it slightly. There are often small aircraft lined up there doing a runup and the tower often clears us onto the runway "If able to pass the runup aircraft." The C-46 wingtip is some 14 feet off the ground, so there's plenty of clearance, even with larger twins parked there. We approach each fairly slowly, and wait to catch the pilot's eye before moving in front of him, and we've never had a problem. Most look carefully (some in awe), then smile and hold a thumb up, showing "Plenty of clearance." Some will even yield the right-of-way, saying "We'd like to watch that thing takeoff."
But the other day, a Bonanza was running up, and he had parked just a few feet further forward than usual. I judged we could still pass safely, and even ran my left wheel off in the dirt, both to give more lateral room, and to drop the left wheel off the taxiway, and raise the right wingtip over his prop. From the C-46 cockpit, we can also look out and right down the lower wing surface, so we have an excellent view of the clearance on such things.
But the Bonanza pilot was obviously startled, and quickly shut down, thinking it was too close. We got it sorted out, but he was obviously unhappy, and later dropped by the CAF hangar, asking for me to come to his hangar for a chat after I got back. I did, and the first words out of my mouth were "Hey, if I scared you, or caused you concern, I sincerely apologize." That cooled things off, and eventually I laid a tape measure along his prop, showing that we had about three feet of clearance. We agreed that maybe I had pushed it a little too much, and that maybe he hadn't had a good angle to judge it, but I agreed he had done precisely the right thing in shutting down. I didn't mention his parking too far forward, but he did! We then chatted briefly about other things as fellow Bonanza owners, and he indicated interest in my new turbo. He will probably be a bit more careful not to intrude on the taxiway during runup, and I'll probably be a bit more careful about overlapping running props.
A little courtesy and kindness just works better than any rule � or policy.
Be careful up there!


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May 25, 2011
Cracking the Capitol Code: An Insider's Guide to Advocacy
Have you heard the underground hum in Lansing on the governor's Economic Vitality Incentive Program? What's the bottom line for the substitute bill to replace PA 312? Where is federal transportation funding headed? These are the questions everyone is asking—and YOU can learn the answers, sitting right in front of your own laptop or office computer—in this special two-part lunch hour webinar series, 12:30-1:30 pm, June 6 and 13.
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Join the League On Tour this year at your Regional Education Seminar! In addition to having access to training on a variety of topics of local interest, our regional education seminar is where we will elect our region's officers.
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I was working on a project for a graphic design firm that wanted a revision control system, but they and their clients did not want to change their current behaviors.
What we settled on was a WebDAV (Distributed Authoring and Versioning) folder their Windows machines could connect to. DAV would transparently handle concurrency/locking. My code transparently made backups of everything they saved. The clients didn't really care about version comments or merging files together.
Behind the scenes the WebDAV stuff worked on an Apache server with custom mod_perl handlers to talk to an Oracle database to store revision info. The backup files were simply numbered
Perhaps you should stage a few disaster situations for your graphic guy to recover from- such as editing a file while he's editing it and overwriting his changes. Nothing teaches like real-world experience. Or, since you like the guy, just demonstrate how smoothly and efficiently things can work with CVS in place- version logs, etc...
-DA [coder.com]


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Rock fans rejoice! The integral frontman of [lastfm link_type="artist_info"]Nine Inch Nails[/lastfm] (among many other projects) [lastfm link_type="artist_info"]Trent Reznor[/lastfm] and his long time music collaborator [lastfm link_type="artist_info"]Atticus Ross[/lastfm] brought home the Oscar for Best Original Score for The Social Network!
But really, we can't say that we're surprised. We knew Reznor had this in the bag pretty much since the day it was announced David Fincher brought him on board as the musical puppet master to propel the emotional components of the film. We can practically hear the soft tears of Hans Zimmer weeping inside right now from being upstaged by the technological genius that is Trent Reznor.
Previously taking home the Golden Globe for Best Original Score – Motion Picture, Reznor and Ross were highly favored for another triumph in the same category for the Academy Awards. As first-time contenders in the Oscar race, the two defeated seasoned Oscar-winning composers Hans Zimmer and A.R. Rahman for the golden statue. For once, the Oscars were worth watching just to see these musical innovators being recognized for their solid achievements in digital composing.
The pieces for this project seemed to fall into place effortlessly. Reznor — a pioneer of incorporating computers for 20 plus years into his music that initialized an entire genre of rock, which he continually evolved as others were just beginning to embrace the digital age.
And Fincher – an imaginary director who was on the forefront of embracing digital cinema for feature films. He adapted this story of the young founder of Facebook into a dark, gripping film about a rebellious programming genius that sacrifices relationships to launch a new social networking site that forever changed how we connect with each other.
There couldn't have been a better pairing in our minds; Reznor and Fincher have worked together in the past with the innovative director using Reznor's music in the opening credits of his cult classic Se7en. Fincher also directed the ambitious music video to Nine Inch Nails' 2005 hit "Only" from With Teeth, which gave us a glimpse into what Fincher's work set to Reznor's music would be like.
Both Reznor and The Social Network's protagonist Mark Zuckerburg are the quiet masterminds whose revolutionary contributions speak for an entire generation. As writer Nicole Alvarez so eloquently put on why Trent Reznor is so deserving of the Oscar, Reznor helped "create the score of a movie based on a world that he helped to create. A world he knew existed way before most people recognized any signs of life."
So congratulations to Trent Reznor and Atticus Ross on this huge accomplishment. You have opened the door to a whole new partnership of contemporary music and film and successfully changed the game of film scoring. Reznor has officially established himself as a driving force in music, and all eyes and ears will be focused on his next endeavor with Fincher as he prepares to score the anticipated film The Girl With the Dragon Tattoo.


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Brabus and Bilstein partner on adjustable suspension for the G-classBrabus and Bilstein have released a new adjustable suspension system for the G-class Mercedes. A control unit in the cabin allows the driver to adjust the suspension to their preference adjusting the damping rates. The unit can also adjust automatically to varying road conditions. Switches between modes are made basically instantaneously. The cost this hi-tech suspension? $8,000 and it can be fitted to any G-class regardless of model year.
This article was originally published in forum thread: Brabus and Bilstein partner on adjustable suspension for the G-class started by Sticky View original post


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ANAHEIM – Even Disney's water is taking to the holidays.
Disney California Adventure is now offering guests "World of Color – Winter Dreams," an attempt to turn Disneyland's sister park into a full holiday destination as well.
The original version of the nighttime water-and-light show began in June 2010 in the main waterway of California Adventure with more than 1,200 programmable fountains that can shoot up to 200 feet and spray water screens that carry projections that stretch as big as a football field.
It was an instant hit.
But creators always had the vision that the water show would evolve. After more than 2,100 showings, the Disney crews unveiled its holiday spectacular on Thursday night to the media and special guests, including contest winners and some annual passholders. It is now open to general visitors.
"It's surprising to see how different it is," said Sayre Wiseman, a show producer.
"Winter Dreams" has new high-tech features.
In addition to the water effects, about 650 lights were mounted on the California Screamin' roller coaster, serving as a backdrop that looks likes sparkling Christmas lights in the finale. Ten mirror balls were put on speaker and lighting towers. More than 17 million pixels are on the screen.
The show has new scenes, too:
• "Toy Story" characters perform scenes from "The Nutcracker."
A "World of Color Honor Choir" was comprised of webcam submissions of people singing a new song, "Glow." More than 500 voices representing 50 states can be heard, with many of their faces appearing inside projected snowflakes on water screens.
Holiday cards, submitted online by guests, appear on water screens as well.
• Other water screens will offer the classic scene of Bambi and Thumper ice skating, as well as scenes from "Frozen," an animated movie set for a Nov. 27 release.
Disneyland has long offered holiday entertainment, including themed fireworks. But California Adventure had somewhat lagged until starting to add more holiday stuff last year, including decorations in Cars Land.
Steve Atherton, 33, of Huntington Beach, was among the contest winners who saw the show Thursday night. He said "World of Color" is his favorite thing to do at the park, and he estimated that he's seen the original show 60 times.
"I was highly anticipating it," Atherton said about the "Winter Dreams" version. "They delivered."
Contact the writer: 714-704-3793 or email@example.com