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Onsite Coverage: Fees Could Offset 87% of Derivatives Program Costs
ALEXANDRIA, Va. — An application fee proposed by the NCUA could offset as much as 87% of all costs to implement expanded derivative authority through 2014.
The NCUA Board approved a proposed rule Thursday at its monthly board meeting that would permit qualified credit unions to invest in derivative swaps and caps for the purpose of mitigating interest rate risk.
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The fees would range from $25,000 to $50,000 for credit unions seeking Level I authority, and $75,000 to $125,000 for those seeking Level II authority, which would allow a higher transaction limit but would also require more supervision scrutiny.
The extent to which the fees would offset the costs of the program depends upon how many credit unions apply for the expanded authority. If the lower end of the NCUA's estimated 75 credit unions apply, the fees could bring in as much as $5.25 million, which would cover 95% of one-time costs estimated for the program, and 70% of total costs.
Should 150 credit unions apply, the high end of the NCUA's estimated participation figures, the regulator could pull in up to $10.5 million, which would cover 128% of one-time costs and 87% of total costs.
In its Board Action Memo, the NCUA said the fee would be nonrefundable and due at the time of application. The NCUA board may also consider discounting the application fee if a credit union already has Level I authority and is attempting to upgrade to Level II, provided it has demonstrated a successful record of sound derivatives management for at least one exam cycle.
The board is also considering charging an ongoing supervision fee to cover the costs of expanded supervision costs directly attributed to derivatives. The cost of the program in 2015 and beyond is expected to be between $2 and $3.85 million.
The agency is requesting feedback from the industry regarding whether the fee would be assessed as a standardized operating fee paid by all participating credit unions, or based upon actual or estimated resources required for derivatives supervision.


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Agencies are failing to take full advantage of strategic sourcing's lowered prices, a pending report from the Government Accountability Office finds. As a result, what could be big savings remain relatively insignificant.
In fiscal 2011, the departments of Defense, Homeland Security, Energy, and Veterans Affairs spent 80 percent of the government's total $537 billion in procurement spending, but GAO found that less than 5 percent of those dollars were managed through strategic sourcing.
Read the draft report, obtained by FCW.
The four departments reported $1.8 billion in savings from the purchases that were strategically sourced -- a process whereby an agency moves away from individual purchases to a broader cross-departmental approach. The savings on individual contracts can range from 5 to 20 percent on those individual contracts, the GAO found. DHS, for example, saved $324 million in fiscal 2011 through strategic sourcing, and earned a nod last year from the Office of Management and Budget for its work. But the overall strategic-sourcing savings equaled less than one-half percent of total procurement spending.
GAO compared the departments' strategic sourcing and savings figures to those of leading private-sector companies. The private firms strategically manage about 90 percent of their procurements and save roughly 10 percent or more; one unnamed company with $55 billion in annual spending focused on reducing services expenses to cut operating costs by 10 to 15 percent. GAO found a similar savings rate would yield the federal government as much as $50 billion annually.
The secret to greater strategic sourcing savings, GAO wrote, is services -- which are agencies' highest area of spending. However, federal officials told GAO it is not easy to strategically source services, as requirements are difficult to standardize. And agencies can show senior administration officials results when they focus on less complex commodities.
GAO recommended Joe Jordan, administrator of the Office of Federal Procurement Policy, tell agencies to track the savings generated from strategic sourcing initiatives. It suggested creating more performance metrics to measure progress toward savings goals.
GAO also wants Jordan to direct the Federal Strategic Sourcing Initiative program to assess whether each top-spend product and service governmentwide suits the program, and then plan to address those items that fit the program.
Jordan, in an e-mail to FCW, said the government has made progress, spurred on by President Barack Obama's attention to pushing reforms, notably in a memo released in March 2009. Amid the president's insourcing and acquisition workforce reforms, he told agencies to buy smarter through strategic sourcing.
"As a result, we have seen tremendous progress in leveraging the buying power of the federal government to deliver better prices for taxpayers and are committed to ramping up these results moving forward," said Jordan.
OMB designated strategic sourcing as a cross-agency priority goal and directed agencies to establish two new strategic sourcing efforts in fiscal 2013 and 2014. Further, OMB told agencies to up their use of existing governmentwide strategic sourcing solutions by 10 percent each of those years, Jordan said.
"Strategic sourcing has also been a topic of tremendous focus for top private-sector leaders on the President's Management Advisory Board, and we are committed to drawing on private-sector best practices along with the many learnings from our agency experience as we work with agencies to ramp up efforts this year," he said.
For several departments, GAO recommended officials evaluate their strategic sourcing programs and find what other items and services they could include.
In reaction to the report, Rep. Darrell Issa (R-Calif.), chairman of the Oversight and Government Reform Committee, said agencies need to step up their efforts in strategic sourcing."The federal government must do better when purchasing commonly used goods and services especially information technology where inefficiency and waste is substantial," he said in a statement.
Issa's proposed IT procurement reform bill would mandate priority consideration of strategically sourced goods and services. The draft legislation would require the newly created Federal Commodity IT Center to seek out more strategic sourcing opportunities, including improving the DOD Enterprise Software Initiative and the General Services Administration's SmartBUY program. They are programs through which agencies can buy software for lower prices because they are strategic sourced. The bill would also mandate priority consideration of items offered on OMB's Federal Strategic Sourcing Initiative.
"As the GAO has underscored, leading private sector companies have successfully used strategic sourcing since the 1980s and saved billions of dollars," Issa said. "It is time the federal government catches up."
About the Author
Matthew Weigelt is a freelance journalist who writes about acquisition and procurement.
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Can you tell me one large corporation that has eliminated virtually all its suppliers and saved money? Please give me names How in the world can you eliminate 18,000 vendors and replaced them with only a handful of suppliers? Has any software company been allowed to gather all 18,000 vendor products & prices and compare prices & products of the 15 FSSI vendors per schedule? Competition works - Federal Strategic Sourcing is a 1940's 20th Century Solution. At the end of the day there needs to be a visible cost savings procurement plan that works in a competitive environment These are my thoughts : I believe on an annual basis each company that holds a GSA Schedule Contract should be allowed to bid on each item so the government can obtain the lowest cost / highest quality per bidder. The winning BPA GSA vendor can be rewarded with 5% of the total sales of a particular item. The other vendors would be required to match or provide a lower item price provided by the winning GSA vendor. Also, the non-winning BPA vendors cannot upload given item(s) to gsaadvantage.gov or offer given item to the government unless they can provide a lower price or match the winning vendor item price. Wow! what a concept - Reward the winning bidder with 5% sales of a particular item (NOT THE ENTIRE SCHEDULE) but allow other competitors to offer a lower or same price. GSA never introduced an alternative to FSSI (Federal Strategic Sourcing Initiative). At the end of the day big news media will start to report on the current FSSI Procurement Program & GSA will be forced to bring back competition. How can this be funded? Simple : Put secondary software projects on hold or lay off GSA employees or maintain current schedule fees
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Backed by Prado, McCarthy returns to form
PHOENIX -- After being hammered by the Reds in his start last week, D-backs right-hander Brandon McCarthy studied video to try and figure out the cause of his struggles.
McCarthy thought he found a mechanical issue, and after he and pitching coach Charles Nagy worked on it for a while, something finally clicked.Full Game Coverage
PHOENIX -- After being hammered by the Reds in his start last week, D-backs right-hander Brandon McCarthy studied video to try and figure out the cause of his struggles.
McCarthy thought he found a mechanical issue, and after he and pitching coach Charles Nagy worked on it for a while, something finally clicked.Full Game Coverage
"I felt like my old self," McCarthy said.
And McCarthy looked like his old self Monday night, as he pitched seven strong innings to lead the D-backs past the Padres, 6-1, at Chase Field.
After a long, grueling road trip, a return home proved to be the perfect elixir for the D-backs.
"I felt like we played on the road for a month," infielder Martin Prado said.
It was actually only 10 games, but it certainly felt like longer with a pair of extra-inning games, lasting 16 and 18 innings.
While very little seemed to go right on the trip, plenty of things worked out for the D-backs on Monday.
First there was McCarthy, who not only held the Padres to just one unearned run, he managed to pitch deep into the game and give a tired bullpen a bit of a rest.
"At least I can leave the game feeling like I carried my weight, and I did what I was supposed to do," said McCarthy, who improved to 3-8. "Starters, we've been kind of wearing out the bullpen a little bit, so it's on us to try and get as deep as we can."
After studying his mechanics, McCarthy and Nagy concluded that the veteran had a mechanical flaw that had started developing as early as last season and slowly got worse and worse.
"It's just keeping my body in line and just keeping my front side closed and keeping my glove close to my body," McCarthy said. "Anytime I do that, the ball kind of comes out effortlessly. I actually throw harder, the ball moves later, I can get away with more mistakes because the movement's there. What we've seen the last few weeks is if the pitch isn't perfect, it's going to get hit."
McCarthy allowed just the unearned run in the first while surrendering a total of five hits, two of which were infield singles.
"He was in the strike zone with the cutter and sinker," Padres manager Bud Black said. "He was throwing strikes. A couple of inches or feet, and it's a different ballgame."
D-backs manager Kirk Gibson has put speedsters Tony Campana and Adam Eaton at the top of his lineup recently, hoping that they would wreak havoc on the basepaths. That was the case Monday, as the pair combined to score three runs.
That set the table for three, four and five hitters Paul Goldschmidt, Eric Chavez and Prado.
"The two guys at the top of the lineup have been doing a good job at being pesky and getting on base," D-backs manager Kirk Gibson said. "They are bringing infielders in, and they are slapping it by them."
The D-backs offense was slow to get going, but finally got to Padres starter Tyson Ross in the fourth. Ross hit Eaton with a pitch to start the inning, and Goldschmidt followed with a drive down the right-field line that hit off the wall for a triple and a 1-1 tie.
Two batters later, Prado lifted a sacrifice fly to right to score Goldschmidt.
Campana beat out a soft grounder to second to start the sixth, and with third baseman Chase Headley pulled in to guard against a bunt, Eaton was able to ground a single to left to put runners at first and second.
The two then executed a double steal, and after Eric Chavez was walked intentionally, Prado once again came through, this time with a two-run single to left to give the D-backs a 4-1 lead.
"I think that Campana and Eaton set everything up for Goldy and Chavy and me," Prado said. "I feel like having those two speedy guys at the top of the lineup just helps everybody else."
On July 28, Ross (3-7) tossed eight shutout innings against the D-backs in a 1-0 Padres win. On Monday, Arizona chased the right-hander from the game in the seventh as it tacked on a pair of unearned runs.
Steve Gilbert is a reporter for MLB.com. Read his blog, Inside the D-backs, and follow him on Twitter @SteveGilbertMLB.


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Archer, which has some six million licensed users, is a privately held company; the financial terms of the acquisition were not released. EMC said Archer will remain in Overland Park, Kansas, and operate as a part of EMC's RSA Security Division.
IT organizations are increasingly viewing important parts of their operations from the vantage point of GRC. "Our customers are telling us that their real challenges are in the areas of policy management, audit, and compliance," said Art Coviello, RSA president, in a statement. "The Archer solution not only offers the visibility into risk and compliance that customers need, it brings stronger policy management capabilities to the RSA portfolio. The end result is customers are able to better manage their security programs and prove compliance across both physical and virtual infrastructures."
Archer's SmartSuite Framework delivers out-of-the-box solutions in categories of policy, risk, compliance, enterprise, incident, vendor, threat, business continuity, and audit management. The solution enables users to tailor solutions to their specific requirements in both on-premises and Archer SaaS models.
EMC indicated that Archer will work effectively not only with RSA, but also with EMC's recently acquired Ionix unit as customers work to automate their IT configurations across servers, networks, and storage environments.
"With Archer, we can also make information security a more integrated element of overall IT-GRC efforts," said Coviello. EMC cited a recent Forrester Research report on GRC noting that organizations that coordinate their governance, risk, and compliance processes can reduce audits and streamline compliance reporting.


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Some Jazz, a tribute to fathers and a little gumbo are how founders James and Pamela Johnson plan to commemorate the Afro American Music Institute's 30th birthday.
"I never thought AAMI would not be around," Pam Johnson said. "My husband and I are a team and that makes it a success. With us, what you see is what you get. We use love and Southern hospitality—we're from Louisiana—and that has an impact on people. People can see when you are being sincere."
Started in 1982, the institute's mission is to provide systematic specialized instructional training in all styles of African-American music traditions including Jazz, Gospel, Blues and Negro Spirituals. It also provides a forum in performing for undiscovered talent in the Pittsburgh area.
People from all walks of life have the opportunity to learn music from an African-American perspective.
The institute began at St. James AME Church's Sumpter Hall in East Liberty and within six years of its inception, moved to the Alma Illery Annex in Homewood. It remained at the Annex until 2003 when the Johnson's were able to purchase the school's current location on Hamilton Avenue in Homewood.
"AAMI was built on a revolving ball of flexibility," said James Johnson who is affectionately known as "Dr. J" to his AAMI students, faculty and volunteers. "It doesn't matter what genre of music it is, everything has to be positive. The Africa-American community has always been a music making community. That's how we got through things.
"We want to preserve that legacy and show the younger generation that African-Americans have so much to bring to this world. We are not locked into the past but the traditions have to be maintained for our kids to know where they come from."
AAMI offers music instruction on numerous musical instruments including trumpet, saxophone guitar, bass, drums and piano. There are also classes in music theory, voice training, ear training and music industry instruction. Classes are available for beginners, intermediate and advanced music enthusiasts.
The institute offers two 16-week fall and winter semester classes and an eight-week spring term. According to the Johnsons, the Afro American Music Institute typically averages roughly 125-130 students per semester and about 300 students a year.
"We assign you a teacher and the teacher takes you from where you are to where you want to be," Dr. J. said. "Some people come to AAMI because they want to make it in the music world, some want to learn more about music now that their children are grown and gone. AAMI is open to everyone. It doesn't matter what you know or don't know."
As a part of Women's Health Month and to help celebrate AAMI's three decades in business, the Spelman College 16-piece All Female Jazz Ensemble will be performing at the Kelly Strayhorn Theater on March 11 at 7 p.m. The opening act for the world renowned Jazz group will be the AAMI youth Jazz Instrumental and Vocal Ensembles.
"We wanted to show that more than just men can preserve this music," Dr. J. said.


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Step 1: Duplicate the Clip I'll start off with my shot of a ring pull in track V1 (Figure 1, left). You can see my problem; my shot was set against a very large window with translucent curtains that were doing much too thorough a job of diffusing the light. Worse yet, the shot slowly pulls out at the end and there's even more bright old curtain! Yuck! There was only one camera running at the time, and I have to use the shot, overexposed as it is.
So the very first thing I'll do is duplicate this clip to the track above it. I need to combine a regular copy with a copy that kills off that brightness. There is a simple and fast way to duplicate clips in the Timeline window. But be sure to have Linking turned off. Cmd+L toggles off and on the Linking function that "links" the video and audio portions of a clip. We want to duplicate the video portion only. Simply hold Shift+Option, and then grab and drag your clip. It will actually be dragging a duplication of the original. The original will stay right where it is. Now I have two copies of the clip lined up on tracks V1 and V2.
Step 2: Key Out the Color Next, I'll double-click the version on track V2, the upper-most clip, to open it in the Viewer. Then in the Effects tab of the Browser, I'll go to Video Filters, to the Key bin, and apply the Color Key filter. In the Filters tab of the Viewer, I'll set View to Final, and use the eyedropper in the color picker to select the bright area I want to kill off. Then I'll set Tolerance to 42, Edge Thin to -8, and Edge Feather to 100 (Figure 2, left). I can't see the results right away. What happens is that the original clip on V1 is showing through the black areas, so you don't actually see any difference.
But if I turn off track V1 by clicking the green button to the left of it, I'll see the mask that was just created. I can then adjust it to cover the area I need to darken in the best way I can.
Step 3: Change the Opacity Now I'll turn track V1 back on and double-click it to open it in the Viewer window. In the Motion tab, I'll fool around with the Opacity slider, punching in numbers until I find the sweet spot. On this particular clip I set the Opacity at 70. Now we can see that bright area toned down a bit (Figure 3, left).
Bear in mind I'm exaggerating a little here, so that the effect will be easier to see in print. It's an improvement, but I want to get greedy with this effect.
Step 4: Create a Custom Gradient Clip In the Viewer window, in the Video tab, I'll click on the Generators drop-down menu, go to the Render category, and select Custom Gradient (Figure 4, left). I now have this Generator open in the Viewer; it's just a generic white-to-black gradient. I'll place this just as if it were a regular clip into my Timeline window, on track V3 lined up with my first two clips. I may even have to lengthen the Custom Generator clip to match that of my shot. Then be sure to double click it in the Timeline window to open up that copy of this clip into the Viewer. This is a very important step; the duplicate clip has to be opened into the Viewer from the Timeline window first. After that, I'll turn off Track V4 in order to have access to my gradient's controls in the Viewer window and still be able to access my shot in the Canvas window at the same time.
In the Controls tab, I'll use the eye droppers in the Color Picker sections to set my Start color with a pink from my shot, and a red in my shot for the end color. You could also click on the color squares to create your own colors from scratch, too. Then make sure you have both the Dither and Gaussian boxes checked.
Step 5: Apply a Soft Light Filter Now for the magic. When I turn Track V4 back on, the first thing I need to do is right-click (cmd+click for one-button mice) on my Custom Gradient clip in the Timeline window, and from the pop-up menu, I'll go to Composite Mode and select Soft Light (Figure 5, left).
Feel free to experiment with the various composite modes. They're very useful. The Apple Pro Training Series book Advanced Color Correction And Effects In Final Cut Pro 5 covers the composite modes with some very well done tutorials. I highly recommend learning these composite modes.
Step 6: Set the Gradient Direction While I can clearly see the gradient, I'll go back to the Viewer and use the compass controller to set the Gradient Direction. Here I have it set for 15 degrees. Finally, I'll jump over to the Motion tab and set the Opacity of my Custom Gradient clip to 30. This is another setting that I fooled around with a bit to find the sweet spot.
Now we have a clip that no longer has a blaring, blinding bright area (Figure 6, left). We have a clip that is more acceptable, and colorful. The "sweet spot" I'm looking for is a very subtle effect, one that makes the shot easier on the eyes, with character, but not a trick you want anyone to actually notice. Subtlety is the key word here. As always, feel free to experiment with these settings. Many will have to be experimented with from clip to clip. But once you do this technique, it begins to come easier and easier. I hope you get as much mileage out of this technique as I have. Happy editing, y'all!
To download a 1.7MB QuickTime 7 movie showing the clip in all three stages, you can find it here.
Ben Balser is an Apple Certified Trainer based in New Orleans, Louisiana.


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They didn't skip your turn; you just skipped Tzeentch. They were treating your out-of-turn summon as your turn, giving you a third seductress in the Empire and 3 PP remaining at that point.
Then the bloodletter to the Empire boosts you to 4 PP remaining.
Then we need an action from @blahmcblah, after which you can summon that warrior if you still want to.


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We all know HD is the future of video production, but the cost of entry can be prohibitive. If you're not rolling in dough, don't despair. There are other options--namely, the budget HD workflow. In this article, we'll help you understand HD basics, as well as examine some workflow options that won't break your bank, starting with the camera and ending with the finished product. High-definition production is spreading. From football games and local parade coverage to network mini-series and feature films, this format is changing the way our industry approaches production. Whether you're looking to take your wedding business to a new level of quality, angling for competitive advantage with corporate clients, hoping to produce your own indie film, or just trying to stay on top of the industry, familiarity with the HD format is a must. You never know when you might be called upon to make use of it.
But don't try to jump on the bandwagon without knowing what you're in for. While those big production houses may be touting their high-def capabilities, they're also paying big money for those bragging rights. Just purchasing the HD camera has the potential of costing you close to $80,000—and that doesn't even include other necessities like a deck, monitor, or editing system.
If you're not rolling in dough, don't despair. There are other options—namely, the budget HD workflow. The increasingly popular HDV format is one cost-effective option, but it's not the only one, and an HDV camera alone won't make you an HD producer. In this article, we'll help you understand HD basics, as well as examine your workflow options, starting with the camera and ending with the finished product.
Finding a Format
You can't choose a camera without knowing which format best fits your needs. Here's a rundown of the more popular formats:
DVCPRO HD: Based on the standard-def DVCPRO format, Panasonic's DVCPRO HD uses a data rate of 120Mbps and intraframe compression, both of which provide strong protection against generational loss. DVCPRO HD also has supporting cameras and decks that use FireWire I/O, an important feature when keeping an eye on your bottom line. But the cost of equipment isn't exactly cheap. DVCPRO HD is a solid professional format, and as such, commands those solid professional prices—in some cases, $80,000 or more. The lower-cost exception is the new HVX200 camera from Panasonic. More on that later.
HDCAM: Sony's HDCAM format is based on DigiBeta and can record in 24p, 25p, 50i, and 60i. It uses a high data rate of 140Mbps, producing a great-looking picture with few noticeable artifacts. Because of its unusual 17:6:6 color-sampling scheme, HDCAM's color detail is half of DVCPRO HD. But don't let that lead you to believe the picture isn't as good. On the contrary, Sony's CineAlta cameras are top-of-the-line, used for feature filmmaking and high-end production.
One significant barrier to the use of HDCAM in budget editing is its lack of FireWire support. The only HDCAM output options are HD-SDI or HD-SDTI, both of which are much pricier than a FireWire solution.
HDV: There's a lot of buzz surrounding HDV right now as the newcomer into the HD marketplace. With its high compression rates, HDV has enabled high-quality shooting and editing with low-cost tools, including the convenience of recording high-definition video to MiniDV tape. This has opened up the HD field to a wide variety of videographers and producers who would never have even considered going high-def otherwise.
The biggest drawback to choosing this route is also HDV's greatest strength—high compression. Both audio and video can suffer from too much compression. The audio is, in theory, not quite up to CD quality, though some users report that they're perfectly happy with it. Just as with using a DV camera, if pristine audio is important to your production, use a DAT or some other separate recording device to get the best quality.
On the video end of things, your shot can be plagued by compression artifacts when trying to capture complex moving shots. HDV also has some tendencies to degrade over multiple generations. Are these tradeoffs worth the cost savings? It all depends on what you're looking for and where you want your production to end up. With careful handling, an HDV camera can produce some pretty stellar-looking stuff. Just do your homework ahead of time. As with anything in life, the more you know, the better off you are.
Nothing but Numbers
When manufacturers list the specs on their cameras, an important thing to look for is the resolution numbers and frame rates. For example, if 720p is listed, the 720 indicates the vertical resolution, which is actually 1280 horizontal lines by 720 vertical lines, while the p specifies progressive. Progressive is basically the opposite of interlaced. Instead of the video frame being divided into two offset fields, it is now a complete picture, containing all the visual data. Instead of the p, an i (as in 1080i) might be listed, specifying interlaced frames.
Other HD resolutions include 1080i and 1080p, which at full spec is 1920x1080, as well as 4k, or 4046 x 2048, the highest-available HD resolution. As a budget HD producer, you don't really have to worry about 4k. With rental rates starting at $3,000 per day, a camera that can produce this type of picture probably won't be your first choice for recording a graduation.
Looking at Cameras
Speaking of cameras, let's take a look at where the technical-spec rubber meets the production-workflow road. Here are some of the camera options available in each of the different formats.
HDV: JVC, Sony, and Canon all produce HDV cameras of various stripes and abilities. The JVC HD100U ($5,995 list) shoots 720p, has a true 24p frame rate, provides a professional-looking form factor, and sports the ability to change out lenses. Sony's two popular HDV cameras are the HDR-FX1 ($3,995) and the HVR-Z1U ($4,995). Both of them shoot 1080i only and provide pseudo-24p. The XL H1 ($8,999) is Canon's addition to the HDV roundup. It provides HD-SDI output and gives you the option of interchangeable lenses. Like Sony, it shoots 1080i without true 24p capabilities (interesting, because its SD antecedent, the XL2, had a true progressive 24-frame mode). All of these cameras are 3CCD models (the baseline for professional camcorders), and all sport professional-level XLR audio inputs, with the exception of the HDR-FX1. Sony also has single-chip HDV cameras; the consumer HC1, which is a miniature version of the FX1; and the A1U, a junior version of the Z1U.
DVCPRO HD: At the budget end of the Panasonic spectrum is the new AG-HVX200 ($5,995 without storage cards). This widely hyped camera does away with tape-based HD recording and instead records HD to either the solid-state memory P2 cards or to an attached hard drive. It has the ability to shoot all above-mentioned HD resolutions (except 4k, of course!), plus DVCPRO 50 and DV25. It records DV25 to tape, but DVCPRO 50 is captured on the P2 cards or the optional attached hard drive. The maximum size of currently available P2 cards is 8GB at a cost of $1,400; these will hold about eight minutes of 1080p DVCPRO HD.
Another one of Panasonic's popular HD units is the $70,000 Varicam, which shoots at 720p. A distinctive feature of the Varicam is its ability to shoot at variable frame rates, ranging from 4-60 fps at 1-fps intervals. These different frame rates allow you to achieve a look similar to that of under-cranking or over-cranking a film camera. The HVX200 offers similar Varicam abilities in a less expensive camera with smaller chips and cheaper glass.
HDCAM: Sony groups their HDCAM cameras under the CineAlta name. They cover a wide range of prices and features, ranging from two recently released XDCAM HD models, F330 ($16,800) and F350 ($25,800), to the widely used F950. The XDCAM HD cameras record directly onto Sony's Professional Disc media, which is physically similar to, but not compatible with, consumer Blu-ray discs. These cameras can record various quality levels of 1080i and 1080p, plus regular SD DVCAM. Unlike other Sony HD cameras, The XDCAM HD supports i.LINK (FireWire) for file access and DV output.
Near the high end of Sony HD solutions is found the F900, retailing for approximately $81,000. It captures both 1080p and 1080i at various frame rates, including 25p and 50i.
From Camera to Edit Bay
Once you've chosen a camera to acquire your HD footage, it's time to look at editing solutions. Unless you've already invested big bucks in a powerful system, you're probably going to have to make some upgrades.
Some of the basics that apply across the board include minimum CPU speeds of 3GHz for PCs and dual 1GHz CPUs for Macs; hard drives capable of handling the format data rate plus 20%; capture cards with appropriate I/O jacks; and editing software that has support for your chosen format's codec. Now let's get specific and take a look at what type of system an editor needs:
HDV: HDV's data rate is very low—19Mbps (megabits per second) for 720p HD1 and 25Mbps for 1080i HD2. This means you can use an external FireWire or USB drive, as well as your video drive that's already in place. In short, if your drive and CPUs can handle DV, then they can probably handle HDV. Avid Xpress Pro and Liquid, Final Cut Pro 5, Premiere Pro 2, and Vegas are just some of the programs that support native HDV editing.
HDV uses LongGOP MPEG-2 transport streams, which means that each frame of encoded and compressed video that you see is actually part of a group of pictures, which are not immediately editable. HDV uses interframe compression, which means that two frames per second contain every single pixel in the image, and the others are compressed to include mostly reference information to redundancies with the complete frames. DV, by contrast, uses intraframe compression, which means that every frame is complete and ready for editing. Native editing means the software can directly edit the MPEG-2 stream using an algorithm that makes all the frames available for editing. Often some encoding takes place before output at the points where edits and effects have been done, which can make this approach processor-intensive. The latest versions of Avid Liquid, Adobe Premiere, Sony Vegas, and Ulead Media Studio Pro have gone this route.
But just because an NLE claims to be native doesn't mean it is. Some programs, like Apple Final Cut Pro 5, completely decode the footage from MPEG-2 into an intermediary codec that can be easily edited, then encode the timeline back to MPEG-2 for output. Others put the encoded footage directly in the timeline and allow you to edit it, but then will only run it off after every frame has been decoded and encoded again. The disadvantage of the intermediary codec approach is the additional decoding/ encoding generation and the fact that these codecs generally produce enormous files which can be cumbersome to edit.
DVCPRO HD: The data rate for DVCPRO HD is 40Mbps when recording 720/24p from P2 cards, but when capturing from tape, it jumps up to 120Mbps. Most SATA hard drives and external FireWire and USB drives can probably handle the data flow, but if you're planning on doing complex editing, consider a SATA RAID array. There are inexpensive options for putting one of these together yourself, and the extra storage and increased data-read/write speed is worth the money.
Actual editing software to use? Avid Xpress Pro HD will edit HD video only on PC systems—Mac HD support is not yet available, though it is promised to be forthcoming. With the latest Xpress Pro HD update, Avid supports the 720p and 1080i codec flavors natively, but requires rendering to the DNxHD codec before working with 1080p/24 or 720p/23.976 footage. Adobe Premiere can work with DVCPRO HD, but only with additional hardware such as Cineform's Aspect HD or the Matrox Axio system. Final Cut Pro promises native editing for all flavors of the DVCPRO HD, while Sony's Vegas allows you to capture HD of all stripes only if using an SDI input.
HDCAM: If you're using XDCAM HD, then you'll need the ability to use i.LINK (FireWire), an Ethernet connection, a deck that reads Professional Disc media, or the ability to capture HD-SDI. For the other CineAlta cameras, you'll definitely need an HD-SDI capture card, such as the AJA Xena HS or the Blackmagic DeckLink HD Pro.
Again, remember that HDCAM has higher data rates than the other HD formats we've discussed, so you'll probably need a RAID array to edit effectively. Companies like ProMax or Videoguys sell pre-built arrays. If saving money is your goal, you can build your external SATA RAID by using MacGurus' Burly Box DIY kit.
The HDCAM format is not supported by Premiere Pro or Avid Xpress Pro HD. Final Cut Pro can't support it natively either, but an HD-SDI input is supported through the use of third-party products such as Blackmagic DeckLink HD Pro and AJA Kona 2. Sony's XPri editor and Vegas software are both able to work with HDCAM.
Finishing Options
Once you've shot, captured, and edited your HD masterpiece, what next? HD finishing options are very limited and very pricey. If you want to retain full quality, you can finish on an HD mastering format such as HDCAM, DVCPRO HD, or D-5. To accomplish this, you'll have to rent a deck and buy the needed tape stock. One-day rental of a DVCPRO HD deck with FireWire I/O is approximately $700. Using an HD format for mastering is really only feasible if your client has the ability to play back your chosen media.
What about DVDs? The current DVD format isn't able to hold enough HD footage to make it a viable option. That's why Panasonic, Sony, Toshiba, Microsoft, and others are pushing forward competing high-definition optical storage/ playback media standards HD DVD and Blu-ray.
The HD DVD format shares the same diameter and thickness of current DVDs yet has a much higher storage capacity of 30GB. When it was first introduced, HD DVD seemed to have an edge on the market, probably because it is an expansion of, not a radical change to current technology. HD DVD systems are reportedly able to play current DVDs. For replication houses, DVD and HD DVD production is easily switched back and forth.
With storage capacities roughly five times more than DVD and two-thirds more than HD DVD, Blu-ray discs win the prize for most storage room. A dual-layer disc can hold up to 54GB, and a prototype 100GB version is in production. While these discs (referred to as BD discs) are not naturally compatible with the current DVD technology, Blu-ray enjoys vastly more manufacturing support than HD DVD at this point, with Pioneer, Panasonic, and Sony, among others, backing it while Toshiba stands virtually alone behind HD DVD.
Which format will consumers adopt? It's too early in the game to say right now, but the battle has definitely heated up. Hollywood studios are riding the fence, releasing upcoming titles in both HD DVD and Blu-ray. As a video producer, you'll want to choose the format implementation that will be most accessible to your target market. Over the next year, a winner should hopefully begin to emerge and you'll be able to make an informed decision. And until then? Shoot on HD to future-proof your client, and once a technology becomes standardized, provide them the HD version on disc.
For HDV footage, JVC has a creative distribution option for your high-end clients. They've manufactured a DVD player, the SDVD-100U, which can read HDV content on DVDs and output the signal to any HD-capable monitor or LCD screen. It is also able read standard-definition DVDs, and will up-convert playback to HD. Once you've sold your clients on the HDV package, simply include the price of the DVD player into your estimate. At the end of the project, you can give them the HDV DVD, plus a DVD player to view it on. If they have an HDTV set, then they'll appreciate the added touch.
Looking at the Future
The world of HD production is still very much in the pioneering stage. Even large organizations have workflow problems and delivery issues, so don't expect to jump into the field unscathed. Yet in spite of the headaches that may be awaiting you, there is also huge opportunity. HDTV is most definitely the future for our viewing audiences. If you don't choose to become involved in learning the HD technology now, you might find yourself playing serious catch-up later. Don't get left behind—invest in the future of your business by learning the future of the industry.


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Take a walk through old downtown Victoria
Aug. 24, 2013 at 3:24 a.m.
Discover the fun of exploring Victoria by foot. With its rich history and cultural diversity, downtown Victoria offers visitors a glimpse of the past with historic homes and buildings and a taste of the present with restaurants, bars and music venues.
1. DeLeon Plaza Bandstand
100 N. Main St.
Originally built in 1885 and restored in 2003 after Hurricane Claudette, the bandstand is the focal point of the plaza, where many civic and social gatherings occur, including the city's downtown street dance concert series, Bootfest and other festivals and cultural events.
2. 1892 Victoria County Courthouse
101 N. Bridge St.
J. Riely Gordon, a well-known Texas architect, designed this Romanesque Revival structure. The courthouse was voted one of the top 10 favorite historic courthouses in Texas and was restored for $5.6 million and rededicated in 2001.
3. The Nave Museum
306 W. Commercial St.
Built in 1932 in a classic Greek style, the Nave Museum has been open to the public since 1975. As the only art museum in Victoria, the Nave's exhibits include classical and modern art, ranging from portraiture and landscapes to decorated "Art Cars." The Nave celebrates and promotes diversity in art, culture and perspective.
4. Leo. J. Welder Center for the Performing Arts
214 N. Main St.
The Welder Center has been home to many other businesses, including a filling station in the 1930s and a Dunlap's Department Store in the 1960s. Transformed into a community theater, it is managed by Victoria College and hosts many events including film screenings, ballets and political forums.
5. Victoria Art League
905 S. Bridge St.
Built in 1898 in the (then) heart of Victoria's riverfront business district, the Thurmond Building was reputedly patterned after a New Orleans bordello.
Once a grocery store, general mercantile store and a farmer's co-op, it now houses the Victoria Art League Community Art Center, which hosts painting classes, pottery workshops and wine nights, among other public and private events.
6. Greek's 205 Bar
205 E. Constitution St.
Built around the turn of the century, Greek's 205 Bar was once a grain and feed store and later a business for typewriter sales. It is now a late-night bar and restaurant. With live music, an outdoor patio, a rotating selection of beers on tap and "Prime Rib Night," 205 is a great place to spend an evening and hear local musicians.
7. Golden Gecko
202 E. Forrest St.
Built in 1893, the Hauschild Opera House is now home to a 21-and-up lounge that offers comedy nights, karaoke, live music and DJs.
8. Fossati's Delicatessen
302 S. Main St.
First opened in 1882 by Frank N. Fossati, an Italian immigrant, Fossati's has grown to be the oldest delicatessen in Texas and a prime lunch spot for downtown visitors.
9. Steve-a-Reno's Rock
and Roll Blues Bar
103 W. Santa Rosa St.
Opened in 2012, Steve-a-Reno's is the premier place for music lovers in Victoria. With a booked up schedule of blues, rock, Americana and rockabilly bands, you'll be out on the dance floor in no time at this bar.


text:
Right now in English, we read "Flowers For Algernon" and wow. such a capivating book. With such depth and insight. It teaches you to be considerate. It's such a beautiful book, and the ending was...sad, because it's like nothing happened and as if time reversed itself. I defiantly recommend it!
I am not sure what we're reading next. I am in the 10th grade.
and last year we only read "a midsummer night's dream" - yeahhhh, i wasn't paying much attention. but i've got the basic storyline.


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Gore Range > Mount Powell > Climber's Log
Mount Powell Climber's Log
[ Sign the Climber's Log ]
|A Challenging Hike
Date Climbed: Jul 2, 2017
|From Piney Lake, got chased by a moose, managed to find and stay on the trail most of the way, underestimated the sustainability of the steepness, and wished I would have brought an ice axe!
|Posted Jul 3, 2017 3:12 pm
|From Piney Lake
Date Climbed: Oct 1, 2016
|Amazing views for Mount Powell summit, one of the best in Colorado. Long but very rewarding day.
|Posted Oct 2, 2016 5:45 pm
|Mount Powell
Date Climbed: Sep 7, 2015
|Summited in snow flurries and zero visibility. Pretty consistent rain for most of the hike up to the meadow before Kneeknocker Pass, but cleared up a bit as we climbed to the pass. Once gaining the ridge visibility got pretty bad which made route finding really challenging along the ridge to the top. Towards the top the snow started to flurry and visibility was next to nil. After a brief stay on top we slowly picked our way down to the pass and on down to the meadow before the skies really opened up. We were fortunate to get off the ridge when we did because shortly after we got down to the meadow it was a torrential down pour with pounding thunder and nearby lightning strikes. Once back to the car it cleared enough that we could look back at the peak and see a fresh coat of snow up high that wasn't there when we were.
|Posted Nov 20, 2015 9:16 pm
|Brian Kalet
|Standard Route
Date Climbed: Jul 11, 2015
|Posted Jul 13, 2015 7:50 pm
|We picked a gem today
Date Climbed: Oct 6, 2012
|Went with Natalie and Dan. The weather was looking bad for a lot of Colorado, but the northern Gore turned out to be pretty darned nice! Not as windy/cold as expected, very little snow (just a little bit on the east side of Kneeknocker Pass - we used microspikes). Never lost the trail. Road is 2wd accessible, but washboarded and potholed. We were the only group on the mountain all day. Saw two young moose where we parked. A long but rewarding day!
|Posted Oct 7, 2012 2:15 am
|First Gore Peak
Date Climbed: Aug 25, 2011
|Not a soul on the mountain other than me and a couple of mountain goats!
|Posted Sep 8, 2011 6:31 pm
|Nice Day on Gore Highpoint
Date Climbed: Aug 20, 2011
|Hiked in from a camp along Piney creek. Sat on the summit for a while taking in the views while waiting for Mike and co. to make the traverse over from Eagles Nest, but I never saw them. Lots of snow back there. I used a 9 inch stick to aid my glissade on the hard snow in the morning.
|Posted Aug 21, 2011 11:20 pm
|From Eagles Nest
Date Climbed: Aug 20, 2011
|Climbed with Brian and Ben. Loop hike with Eagles Nest from Piney, the ridge traverse between the two has plenty of scrambling in the class 3 and 4 range plus opportunities for 5th class towers if you wished, but we bypassed them on ledges and gullies. Works well as a loop from Piney, 14 miles and 5900' vertical feet, and no car shuttle :)
|Posted Aug 20, 2011 9:47 pm
|Mount Powell via North Face
Date Climbed: Aug 7, 2011
|Climbed glacier on north face to left angling couloir to summit ridge. SICK climb. See TR.
|Posted Aug 17, 2011 1:36 am
|East Face
Date Climbed: Jul 10, 2011
|climbed via Kneeknocker Basin to basin east of Mt Powell - climbed summit via coulouir - pretty foggy, hard to find back down
|Posted Jul 10, 2011 9:06 pm
|From Piney Lake
|Experienced weather at Knee Knocker Pass, thought we had missed the "trail," looking forward to going back.
|Posted Jun 25, 2011 10:32 am
|a hidden gem
|The Gore Range is delightfully underrated
|Posted Jan 24, 2011 10:27 am
|Matt Lemke
|Kneeknocker Pass
Date Climbed: Sep 4, 2010
|Climbed Powell from the Piney Lake approach and up over Kneeknocker Pass..beautiful day too and had the summit of the Gore range high point to ourselves
|Posted Dec 20, 2010 2:43 am
|From Eagles Nest
Date Climbed: Sep 18, 2010
|Long day from Surprise Lake TH to Piney Lake! Traverse from Eagles Nest to Powell is very time consuming, one tower after another. See TR.
|Posted Dec 7, 2010 5:41 pm
|Eric Holle
|From Piney Lake
Date Climbed: Aug 27, 2009
|What Tim said...great views on a pretty straightforward peak!
|Posted Aug 30, 2009 2:38 pm
|Timothy Pearl
|From Piney Lake
Date Climbed: Aug 27, 2009
|Climbed with Eric H. Perfect day, dropped overnight gear at treeline before heading on to kneeknocker pass and summit. Great views from the northern end of the Gores. Slept at high camp to do Peak C the next morning.
|Posted Aug 29, 2009 11:19 pm
|South Ridge
Date Climbed: Nov 1, 2008
|Climbed with Kiefer, left the trail to Kneeknocker early and headed up grassy slopes to notch in the ridge. We then climbed 3rd class rock on the right side of the ridge before gaining the crest. A notch on the crest had us down climb to the right instead before taking on a 4th class headwall on the other side. The ridge mellowed out near the summit before we joined the standard finish. Looked like there was snow on the north side of Kneeknocker so we down climbed a SW facing gully (2+) and traversed below the south ridge's left side on grassy ramps back to the trail. Fun route finding on this lesser traveled route!
|Posted Nov 3, 2008 9:35 am
|SE Ridge
Date Climbed: Nov 1, 2008
|Climbed with Chicagotransplant on a decent day. Good weather before an incoming storm. Scurried up the NE Ridge and descended the South Face-traversed back via grassy ramps to Kneeknocker Basin. Good day on an alt. route.
|Posted Nov 1, 2008 8:28 pm
|South ridge, south slopes, traverse from Eagles Nest
Date Climbed: Jun 23, 2007
|7/23/07 - Climbed to Peak C - Powell saddle (aka Kneeknocker Pass). The standard route up Mt. Powell drops down slightly on the other side of this pass and then climbs up the easy south slopes. I had heard that the south ridge provides nice scrambling so we decided to investigate. Everything went smoothly for a while with judicious routefinding and 3rd & 4th class scrambling. When we came to a large notch near 12,450 ft we couldn't find a way off the tower that wasn't 5th class. Since we had gear, we decided to rappel down instead of backtracking. There was another large difficult looking tower just past the notch so at this point we decided to leave the ridge on a faint trail and make our way up the south slopes route on big blocky talus.
9/18/10 - Began at the Surprise Lake TH, climbed the east ridge of Eagles Nest, and traversed connecting ridge to Mount Powell. The ridge is riddled with large gendarmes and is over a mile long. We stayed as true to the ridge as possible (with a short rope but no pro). Traverse took 4 hours! Great rock! Descended south slopes and hiked out to Piney Lake. Completed 70 mile car shuttle back to Surprise Lake TH.
|Posted Apr 14, 2008 11:54 am
|Nice view of Peak C
Date Climbed: Aug 20, 2007
|TR here
|Posted Mar 2, 2008 11:23 am


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Here's an easy way to make lasagna ... and delicious!
While it doesn't slice into squares, it has all the flavours and goodies that you'd want.
Bonus ... leftovers freeze well!
Lasagna in the Crockpot !!!
1 pound uncooked lean ground beef
1 large onion, chopped or sliced
1 clove garlic clove, minced
28 oz. canned, crushed tomatoes
15 oz. canned tomato sauce
1 tsp. salt
1 tsp. dried oregano
1/2 tsp. dried basil
1/4 gm. crushed red pepper flakes, or to taste (I used chili powder, just sprinkled in some)
1 cup ricotta cheese (Im sure cottage cheese would work fine)
1-1/2 cups mozzarella cheese, shredded -- divided into 1 cup and ½ cup, for separate uses
6 dry lasagna noodles, uncooked
1/2 cup shredded parmesan cheese, strong-flavoured like Romano or Parmigiano Reggiano
Brown beef with onions and garlic, breaking up meat with a wooden spoon as it cooks, about 5 to 7 minutes. Stir in crushed tomatoes, tomato sauce, salt, oregano, basil and crushed red pepper flakes. Simmer 5 minutes to allow flavours to blend.
Meanwhile, in a medium bowl, stir together ricotta cheese and 1 cup of mozzarella cheese.
Separately combine parmesan with remaining 1/2 cup mozzarella.
Put some of the beef mixture into bottom of 5-quart slow cooker.
Then layer 1/2 the lasagna (break as needed to fit into the crock),
Then cheese mixture.
Then beef mixture.
Repeat lasagna, cheese and beef. I topped with another layer of noodles and rest of beef mixture. (You dont need to worry about keeping the layers too much, as its not going to stay in the layers like a traditional lasagna would.)
Cover slow cooker and cook on low setting for 4 to 6 hours. (I cooked it on high and it was done in about 3 hours would depend on the size of your crock and its power!)
Remove cover; turn off heat and top with pre-mixed mozzarella and Parmesan cheese. Cover til cheese melts and lasagna firms up, about 10 minutes.
* You can bulk up the recipe, with more veggies when browning the beef mushrooms, onions, celery, zucchini, etc. Spinach could be added at the end of the browning for a few seconds, or add as extra layers.\
* It was delicious freshly made. I freeze the leftovers in single portion sizes and then zap in the microwave for a quick meal!
Yield: 6 large servings
Cooking Time: 4 to 6 hours


text:
Was this a peek at the iPhone 6?! (Update: not so much)
Date: Monday, June 2nd, 2014, 16:20
Category: Announcement, Apple, conference, Developer, Hardware, iPhone, Sighting, WWDC
Weeeelll nope. Sorry, jumped the gun there. After closer inspection of my own iPhone 5s without it's case, and the recognition that the top and bottom of the image are cropped, it now appears that this is in fact a white iPhone 5s. I've been taking a closer look at the video and the demo presenters definitely seem to be using a iPhone 5s. I guess the rumor of a leaked video showing a supposed iPhone 6 got me a little too excited at the prospect that Apple was giving us a subtle peek. It was exciting for a few hours eh?
After watching the live WWDC Keynote, my head is swimming with info and feature announcements for OS X Yosemite and iOS 8, however, there was one thing I didn't catch until I was reviewing part of the keynote to find some information I missed. See if you can spot it in this photo (even though I kind of gave it away in the title). The first thing I saw were the buttons. My immediate reaction, "that doesn't look like the 5s buttons…". Then I looked at the whole thing and thought, "waaaaaaait a minute…that doesn't look like any iPhone I've seen!". Apple isn't one to simply create some kind of random, generic phone design to show in their presentations, so this seems like a pretty good bet that this is a peek at the new iPhone 6 design, and if it wasn't ready for a release this year, I doubt they'd be showing it off. I can't tell what device they were using in the on-stage demos, but maybe some developers on site will post some close-up images.
What do you think? Is this the new iPhone or is this a red herring? Let us know in the comments or on the Facebook page.


text:
In The Elegance of the Hedgehog, one of the narrators, Mme. Michel, is an admirer of the films of Japanese Director Yasujiro Ozu. Because I liked the novel, I wanted to see at least one of Ozu's films for myself -- not just through the eyes of the fictional Mme Michel -- so a couple of evenings ago I used Netflix to stream Late Spring. I am not a cinephile by any means & in fact until the last few months have always had a hard time sitting through movies, though I have tended to admire literary films that are carried along by language & have preferred emotionally cool movies over those stir emotion. That is, I have liked movies the best when they were most like books. Ozu's Late Spring is literary in this sense. Late Spring is about as far from the noise & movement of contemporary movies as it's possible to get. From the middle of Ozu's career & shot in black & white, the film consists mostly people talking to each other & key events happen away from the camera, while seemingly minor events are lingered over. Transitions are straight cuts, with the occasional use of a static shot of a building or landscape. These transitional frames feel very much like still photographs and sometimes invite a symbolic or metaphorical reading with their inclusion of lonely trees or clocks. Key dramatic moments are often implied rather than fully dramatized: one important plot turn takes place during the performance of a Noh drama when two characters merely look at each other and nod, with a third watching and "reading" this brief & conventional interaction. For the contemporary Western viewer of Late Spring, the motivating problem of the story may be hard to grasp. (Assume that narratives have motivating problems or conflicts and that this is true across cultures (I think it is); nevertheless, conflict gets expressed in different ways in different cultures. And what is recognized as a particular sort of conflict in one culture might be seen is a very different light in another.) The twenty-seven-year-old Noriko lives with and cares for her widowed father, a professor. Both the professor and his sister would like Noriko to get married, but Noriko, despite being attractive and apparently happy, resists. And it's not that Noriko doesn't like men, or is shy. She flirts with her father's assistant and might have married him except that he is already engaged. One even gets the impression he's have broken his engagement to marry Noriko. She does not want to get married because she feels genuine filial piety, a concept foreign to the West but highly developed in many Asian / Confucian cultures. This is one of the things that made this film feel so psychologically strange to me. It took me a long time to figure out that Noriko really did want to stay home and care for her father & that she genuinely preferred this to getting married, which she well understood was the expected thing to do. Actually, staying home with her father and getting married were both "expected" of her in post-war Japan and therein lies the conflict of the drama. Noriko is caught between two equally compelling social responsibilities, one traditional and one modern. Noriko's wedding is not dramatized. She is shown in her bridal regalia leaving to get married, then her father and a woman friend -- a divorcee we've met earlier, a friend of Noriko's -- are shown in their wedding clothes in a bar drinking sake. The implication of this final scene is that the father will marry this not quite respectable woman rather than the woman to whom he nodded during the Noh performance, ironically proving himself to be more modern than his younger daughter, who even in marriage continues to represent the traditional Japanese virtues of filial piety and self-sacrifice.
1 thought on "Late Spring by Yasujiro Ozu"
I was reading your film review with great interest. Just as I was beginning to think "I'd like to see this movie," it occurred to me I have. All of a sudden, whole scenes played out in my head. I can either thank you for the Proustian moment, or really worry about early-onset Alzheimers.
Comments are closed.


text:
Look, David Lee's agent is drooling at the mouth nowadays!
And Donnie is kicking himself for not locking him up at a 5 yr 40 million dollar deal! Now its going to cost us!
David Lee is probably playing as good as any player in the league over the past few games.
He has added a new element to his game every year! He came back his sophomore year a 80% FT shooter up from 50%, his 3rd season he had to play behind Curry and Randolph and still was the most consistient player on the team, last year he picked up a somewhat reliable jump shot, now he has a pretty reliable jumper, plus a knack for scoring the ball proving he is more than just a rebounder!
David Lee is a testament to work ethic! And outside the mega-stars this off season David will the top FA this summer, the safe bet for Donnie is to sign Lee to extension before the bidding war begins on him


text:
All quotes tagged Decoration
(63 quotes found)
"The true grandeur of humanity is in moral elevation, sustained, enlightened and decorated by the intellect of man"
"You create your own decoration. You choose your color, you choose your mood. ... (If) you are depressed, you put some bright yellow and suddenly you are happy."
"She helped put on an annual fundraiser dinner in the spring. She loved to decorate hundreds of eggs that were beautiful."
"It's amazing for someone to go into the decorative arts and revive it. He has carved out a niche that really wasn't there."
"It just makes it look older. That's kind of what they made for decoration back then. Back in the older days, there was always some type of skin hanging on the barn walls."


text:
Lots of "face time" for Danica which is fine as long as it doesn't continue on for the rest of the season. She's just one of the boys now. And a good result for her.
What happened to her on the last lap? Backed-up from 3rd to 8th in a half a lap.
OK, I've had my fill of NASCARP for this year. When does MotoGP start?


text:
I have a DCM250 on firmware version 1.23.31 and a DMP100 on firmware versin 1.7.3. First, is .7 older than .23? It's tough to tell. When I right click on the DMP100 in CMP and select "About" it doesn't launch anything, so I cannot update the firmware this way. LELA says everything on my network is up-to-date.
I've tried updating the DCM250 on the unit itself but it tells me it's up to date.
How can I get these in sync so I can play to both controllers at the same time?
As these products ever going to work properly or have we all just wasted our money?
Thanks for any suggestions.
04-05-2010 08:41 AM - edited 04-05-2010 08:59 AM
I believe both the DMC250 and DMP100 need to be on the same firmware so that they can sync. Someone posted here before to reset the DMP100 and hardwire it to your router and leave it hardwired and powered ON over the weekend for the firmware upgrade to go thru since the DMP100 automatically checks firmware every weekend.
04-14-2010 07:41 PM - last edited on 04-14-2010 08:09 PM by 24JUAN80
I have a DMC250. I was supplied the CD, however, it does not read on my macbook. I downloaded installation software (easylink advisor) from the Linksys support page. However, my Macbook does not have an application to read the software to run it on my macbook.
Has anyone encountered this issue?
I called the tech support but the product was outside of the Technical support's skill set.
Can anyone advise the right software to install on my macbook so I can just followed the quick installation guide?
Thank you very much
(Mod note: Post has been edited for guidelines compliance.)


text:
Consecutive wins over Northwestern Oklahoma State (41-20) and Southeastern Oklahoma State (45-38) the last two weeks have allowed Arkansas Tech to even its overall record at 3-3. The Wonder Boys are 1-2 in the GAC, with their league losses coming to nationally-ranked foes Henderson State (No. 12) and Ouachita Baptist (No. 11).
ATU rallied from a 17-point second half deficit to defeat Southeastern last Saturday.
"It was a wonderful feeling on Saturday," Wonder Boys head coach Steve Mullins said. "Everybody kept believing and fighting hard. I am so proud of the way our players never gave up."
Southwestern Oklahoma State is 1-4 overall and 1-3 in the league. Based upon the cumulative overall record of their opponents thus far, the Bulldogs have played the seventh-toughest schedule in NCAA Division II in 2012.
SWOSU ranks among the top four teams in the GAC in rushing defense, thanks to a defensive front that has Mullins' attention going into Saturday.
"We're about to play our seventh game this season, and there is no doubt that Devin Benton is the best defensive lineman we have faced so far," Mullins said. "Nobody has blocked Benton yet. We must find a way to at least somewhat neutralize him. He is a force on the inside."
Benton, a sophomore from Arlington, Texas, has seven tackles for a loss and three quarterback sacks this season. He has also forced a fumble and blocked a kick.
Both quarterbacks in Saturday's match-up rank among the top five in the GAC in total offense this season.
Arkansas Tech's Tanner Marsh is second in the league with 299.5 yards of total offense per game, while Southwestern Oklahoma State's Dustin Stenta averages 255 yards of total offense per game and ranks fifth in the GAC in that category.
Stenta completed 15-of-28 passes for 140 yards and two touchdowns and ran eight times for 97 yards in the Bulldogs' 23-20 home win over the Wonder Boys in the 2011 season finale. His 2-yard touchdown pass to Ross Lane on a fourth-and-goal play with 23 seconds remaining gave Southwestern Oklahoma State the victory.
"There were a lot of circumstances beyond our control that made that game extremely frustrating," Mullins said. "A lot of the guys who are making the trip this year did not make that trip last year. We are very close to having an entirely new football team this season. Hopefully the ones who were in Weatherford last year will remember the frustrations we encountered and be very focused this Saturday."
Radio station KWKK 100.9 FM will have the broadcast, which will also be streamed omline at athletics.atu.edu.


text:
The following commentary does not necessarily reflect the views of AgWeb or Farm Journal Media. The opinions expressed below are the author's own.
Financial management experts, lenders and accountants share ways for dairy producers to improve money and credit management. Look for help on budgets, taxes, loans, financial performance and even bankruptcy.
By Lori Teigen, AgStar Financial Services
The first quarter of 2014 is in the books, and it was quite a dynamic quarter for the dairy industry. As of the May 1, 2014 close of the markets, the average Class III milk price for 2014 was $21.25 per cwt. Due to continued emphasis on improving components and lowering SCC to drive their basis, gross milk checks for some producers have been over $25.00/cwt. These are some of the highest milk checks on record.
Higher milk prices have allowed producers to catch up on accounts payable from the previous year, improve their working capital position and reduce debt, particularly their operating-type credit. These are all important factors in securing your dairy's long-term viability. There is a tendency, however, when times are good, to let some other management factors slide.
Best use of extra cash Producers have been in contact with their lenders the past few months with the question of "where do I put my extra money?" With the higher milk checks, they are wondering where they can get the biggest bang for their buck per se.
A potentially bigger issue during profitable times can be neglecting to pay attention to the details. When margins are tight, producers spend a lot of time paying attention to the minor nuances in their operation. They know exactly where their cost of production is, and they can list off the price of any feed commodity in the ration. They are diligent about ensuring every capital outlay is a sound business decision.
When margins are where they have been during the first quarter, some managers tend to lose the focus they once had on the details. Losing that focus can result in longer loss of profitability and efficiencies. There are some feed costs that have risen lately; do you know which ones they are and how that impacts your operation's Income Over Feed Costs (IOFC)? What about expenses? Continue to monitor your expenses to ensure your operation is still performing. It can be easy to spend money a little more freely when cash flow is not so tight. Continue watching your bottom line, comparing actuals to budget and, more importantly, maintain the discipline you have always had with your financial performance and measures.
Higher milk prices and margins bring a lot of opportunity for producers. Make sure you continue with a disciplined approach to every aspect of your business to really make your cash and capital work for operation. Stay current on accounts payable, keep your revolving/operating lines of credit paid down, and stay focused on the details.
The markets will continue to show some volatility, and managing all of these items will ensure you are secure as the market fluctuates. Additionally, keep a close eye on our export market and global demand, as they are both leading indicators of U.S. milk prices. Best wishes for a safe planting season and continued success in 2014.
Lori Teigen is a Dairy Industry Specialist at AgStar Financial Services. More content from Lori and AgStar's other industry experts can be found at AgStarEdge.com.
Get an exclusive look at weekly dairy market components and fundamentals from Stewart-Peterson's Bob Devenport.
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I have a Toshiba laptop running Vista home OemIt work Great as long as it is as it come from FactoryAfter upgrading to Sp1 I got some problems releated to memory and security permissionThe problems was so anoying i decided not to upgrade to service packs atleast until later when new Sp are releasedSo i uninstalled Vista sp1
Despite the recomendations
of installing the latest Service pack that is not always the best on Windows OEM laptopsthat are tested to work in a certain way from factories.
So my decision
is to atleast for now not install any Service packand run Vista As it is when i got the laptop which then run stable.
I been using Zonealarm since 1998 for my firewall but run into my Big Mayor problem nowthe newest version of zonealarm try to force you to install Service pack first something that is not a option for me.
How can i get Zonealarm to install without it ask me about Service pack.
I guess i have to use a old version but what version is then best ?
And while using a Old version is a option for now over time it is not goodsince zonealarm will keep developing to hopefully be a better programand i am then stuck on some old versions.
Please advice , But i dont want to install Service pack yetThe only program that have so far atempted to force me to do this is Zonealarm.
Yes, i know in time i probaly have to upgrade the service packBut i dont want to do that yet atleast
So suggestions to use install zonealarm without the service packsI ran into both problems both on Zonealarm pro and freeThanks
Operating System:
Windows Vista Home Basic
Software Version:
Product Name:
ZoneAlarm (Free)
Message Edited by Coolvibes on 05-01-2009 10:43 AM
Message Edited by Coolvibes on 05-01-2009 10:43 AM
Message Edited by Coolvibes on 05-01-2009 10:44 AM


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Arkansas Tech defeated Arkansas-Monticello 7-4 and 7-1 to sweep a Great American Conference doubleheader from the Boll Weevils at Tech Field. The Wonder Boys (18-21 overall, 7-8 GAC) bounced back from a 3-2 loss to UAM on Friday to win the three-game series.
Scott Sammons put Arkansas Tech in front for good in game one Saturday with a three-run home run in the bottom of the sixth inning. His first round-tripper of the season gave the Wonder Boys a 6-4 edge.
Chris Reese added an RBI single later in the inning, and that was more than enough for the relief pitching combination of Cody Hatman and Jonathan Finnegan. Hatman (2-3) pitched three and one-third innings of scoreless relief to earn the win. Finnegan got the final two outs for his fourth save of the season.
Arkansas Tech starting pitcher Zak Anstine (4-0) dominated game two. He held the Boll Weevils to one run on two hits while pitching his second complete game of the season. Anstine struck out nine and walked one. He retired the final 11 UAM (15-21, 5-14) hitters.
The Wonder Boys put the lead-off man on base in five of their six at-bats in the nightcap. Finnegan hit his 11th home run of the season — a three-run blast in the bottom of the first inning.
Madison Beaird of Russellville, Thomas Biocic and Nate Wilder all drove in one run apiece for Arkansas Tech in its game two win.
The Wonder Boys will visit Harding University for a three-game GAC baseball series next Saturday and Sunday. Saturday's doubleheader will start at noon, while Sunday's single game is slated for a 1 p.m. first pitch.
Cotton Blossoms complete series sweep
MONTICELLO — UAM completed a four-game series sweep of Arkansas Tech by defeating the Golden Suns 6-0 and 6-3 in Great American Conference softball at Blossoms Field on Saturday.
Kayla Jackson (19-4) pitched a no-hitter for Arkansas-Monticello (28-10, 16-2 GAC) in game one. She struck out five and walked five. Katie Slaughter (9-6) held the Golden Suns (14-22, 8-14) without a hit for five innings in game two, but Arkansas Tech's offense came alive late.
Siarra Gomez delivered a two-run single and Chandler Touchstone drove in a run with a groundout. The Golden Suns pulled within 6-3 with two outs in the seventh and final inning.
Working in a relief role, Jackson recorded a game-ending strikeout for the Cotton Blossoms as they held off Arkansas Tech's rally. Jackson got her third save of the season.
The Golden Suns will host Southwest Baptist for a 3 p.m. non-conference doubleheader at the Chartwells Women's Sports Complex on Tuesday.


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Summaries of EU Legislation
Summaries of EU legislation: direct access to the main summaries page.
Sufficient resources and assistance
Persons residing in the European Union (EU) should have access to sufficient resources and assistance to live in a manner compatible with human dignity. This Recommendation defines the common principles for implementing this right in all the Member States in order to progressively cover all instances of exclusion.
Council Recommendation 92/441/EEC of 24 June 1992 on common criteria concerning sufficient resources and social assistance in social protection systems [Published in the Official Journal L 245 of 26.8.1992].
The Member States of the European Union (EU) must recognise the basic right of persons to sufficient resources and social assistance to live in a manner compatible with human dignity.
This right should be implemented under the framework of the Member States' strategic national policies on combating social exclusion. It concerns all individuals resident in the territory of the EU who do not have access to sufficient resources individually or within the household in which they live.
The level of sufficient resources should be set according to the specific situation of each person, specifically the size of their household, their specific needs and the cost of living in the Member State concerned.
Access by applicants to this right cannot be subject to time-limits, provided that the eligibility conditions continue to be met. However, Member States may create limits concerning students, persons in full-time employment and persons with the capacity to carry out a vocational activity.
Implementation of this right must be ensured within the frameworks of social security schemes. In addition, Member States must in particular:
- simplify administrative procedures and legal appeals;
- provide measures of social support;
- inform the most vulnerable people of their rights;
- take measures to encourage employment;
- adapt taxation, social security rules and the civil obligations of persons.
Report of 25 January 1999 from the Commission to the Council, the European Parliament, the Economic and Social Committee and the Committee of the Regions on the implementation of the recommendation 92/441/EEC of 24 June 1992 on common criteria concerning sufficient resources and social assistance in social protection systems [COM(98) 774 final - Not published in the Official Journal]. In order to continue to improve the situation of minimum income beneficiaries, the Commission proposes to:
- optimise social protection for better coverage of basic needs;
- greater consistency between the minimum social benefits and social benefits, in particular the maintenance of minimum income by topping up income from work;
- improve access to employment and training;
- improve the social and economic integration of the beneficiaries of minimum income.
Last updated: 27.10.2011


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/Not for distribution in the United States or through United States wire services./
TORONTO, June 29, 2012 /CNW/ - Microbix Biosystems Inc. (TSX: MBX) ("Microbix" or the "Company"), a company focused on virology and biological technologies, announces the closing of a private placement financing resulting in the issuance of 1,806,332 Units at a price of $0.30 per Unit for gross proceeds of $541,900. Each Unit consists of one common share of Microbix and one common share purchase warrant. Each whole Warrant entitles the holder to purchase one additional common share at an exercise price of $0.33 for 24 months.
One Insider of the Company participated in the financing by purchasing an aggregate of 500,000 Units. The financing was non-brokered. A total of 193,876 Finder's Warrants were issued, and the Company paid a cash commission of $1,743. Each Finder's Warrant entitles the holder to purchase one Unit at a price of $0.33 for a period of 24 months. The securities issued in the private placement are subject to hold period of four months and one day from the date of issue. The private placement remains subject to the final approval of the Toronto Stock Exchange.
The securities described herein have not been and will not be registered under the United States Securities Act of 1933, as amended, and may not be offered or sold in the United States or to a U.S. Person absent an exemption from the registration requirements.
The Toronto Stock Exchange does not accept responsibility for the adequacy or accuracy of this release.
The securities described herein have not been and will not be registered under the United States Securities Act of 1933, as amended, and may not be offered or sold in the United States or to a U.S. Person absent an exemption from the registration requirements.
The Toronto Stock Exchange does not accept responsibility for the adequacy or accuracy of this release.
About Microbix Biosystems Inc.
Microbix Biosystems Inc. specializes in the development of the most advanced vaccine production technology and markets virology and biological products worldwide. In addition, The Company has intellectual property in large market biotherapeutic drugs, vaccine technologies and animal reproduction technologies. Microbix supplies customers in the U.S., Europe, and Asia. Established in 1988, Microbix is headquartered in Toronto.
This press release may contain forward-looking statements which are subject to risks and uncertainties that could cause actual results to differ materially from those set forth in the forward-looking statements including the risks associated with development projects, operations in foreign jurisdictions, risks associated with engineering and construction generally, risks associated with production including control over costs, quality, quantity and timeliness of delivery of products, foreign currency and exchange rate risk, and risks of raising capital on acceptable terms or at all. These forward-looking statements represent the Company's judgment as of the date of this press release. The Company disclaims any intent or obligation to update these forward-looking statements
SOURCE Microbix Biosystems Inc.
For further information:
Visit www.microbix.com or contact: William J. Gastle, CEO, (416) 234-1624 x 230; or James Long, CFO, (416) 234-1624 x 265
Microbix Biosystems Inc.
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When you think about the European Organization for Nuclear Research, or CERN, you probably think about all of their excellent particle smashing work, which recently culminated in the supposed discovery of the so-called 'god' particle, the Higgs Boson.
But twenty years ago this July, the researchers at CERN were responsible for another watershed moment, not in the history of physics, but in the history of the web: they put up the first ever image on the Internet. And they used a Macintosh to do it.


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Isobar was recently ranked by Forrester as a "Top 10 Innovation Agency." With Fiat Live Store, we opened the first real-time, video-linked car dealership with half a million monthly visitors. We created Sky Tweet, a utility that lets consumers control their TV set-top DVR with a Tweet. And we developed a new virtual reality platform named Chevy Co-Driver that lets car shoppers take dramatic test-drives right on the showroom floor. Much of our innovation work is done in Isobar NowLab: physical labs where we explore new technology from artificial intelligence to robotics, and determine their viability for clients.
"Isobar showed thought-leading vision and consistently high quality project delivery, particularly for experiences intended to disrupt business sectors."


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The unabridged, downloadable audiobook edition of The Power of Six, Pittacus Lore's second instalment in the pulse-racing Lorien Legacies series - now a major movie franchise for Dreamworks.
'We are the last defence.I 've seen him on the news. Followed the stories about what happened to John Smith. To the world he's a mystery, but to me... he's one of us. Nine of us came here, but sometimes I wonder if time has changed us, if we all still believe in our mission. There are six of us left. We're hiding, blending in, avoiding contact with one another, but our Legacies are developing and soon we'll be ready to fight. Is John Number Four - and is his appearance the sign I've been waiting for? And what about Number Five and Six? Could one of them be the raven-haired girl with the stormy eyes from my dreams? The girl with powers that are beyond anything I could ever imagine? The girl who might be strong enough to bring the six of us together?
'They caught Number One in Malaysia. Number Two in England. And Number Three in Kenya. They tried to catch Number Four in Ohio... and failed. I am Number Seven. And I'm ready to fight.'
©2011 Pittacus Lore (P)2011 Penguin Books Limited
"great talking book, if you liked the first one"
This picks up from where 'I am Number 4 left off', so don't attempt it if you are not familiar with the first one. I am half way through and really enjoying it. Moves at a decent pace and some new characters have been introduced. There are two narrators this time, which makes it really easy to follow the plot - a female voice for number 7 and the same male voice who read the characters in the previous book (he does a great job of personifying the different people - never any confusion as to who is talking or what is happening, though Sam's voice is a little whiny). Entertaining, though not high brow. For those that enjoyed the fist book or movie, you will not be disappointed. Mainly aimed at the teenage market (super powers, chase scenes, frissons of light hearted romance), but I am 42 and enjoy this kind of easy listening unpretentious book. Number 4 and 6 have teamed up, and are evading the Mogadorians as best they can, who are hot on their trail. Simultaneoulsy, in Europe, another of the Lorian children has been tracked by a Mogadorian and is desperately trying to escape capture, with a full description of her life to date since the ship arrived. Some nice details that link in with the first book and shows decent pre-planning by the author. More plausible than the first book in many ways. Looking forward to the next installment.
"hard to stop listening too! very good"
Great story, enjoyed the narration. only negative was I really didn't like it when the man did the woman's voice - sounded like a drag act or something and made it hard to picture the character as she was described.
"Okay but nothing more"
This one goes on the okay pile. Nothing great, but not awful either. I don't think I would recommend it.
"Geting Better As It Go On"
Superhero Awesome Funny
When Sam and John talks about Six and it just shows how can just one girl can make you head over heels for her and it was just funny because I be their.
I like Neil Kaplan as he did John and Sam as well Henri and Marisol Ramirez did a good job as well.
Better than the Movie Because I thank this would do better as a tv series.
"Awesome Story"
Another awesome story by Pittacus Lore. Still in love with John Smith and Sam Goode. The power of six continues on from I am number four. We meet 4 & 6 in book 1 and we meet 7 (Marina), 8, 9 and Ella (possibly 10). 1 was killed in Malaysia, 2 was killed in England and 3 was killed in Kenya. We are still to meet 5 but I am sure will it.
Pittacus Lore is a fantastic story teller and I would recommend this book and the series.
"Great book"
It was clear and atmospheric
the chapters wit lots of brilliant description
Marisol performed better because I think that Neil Kaplan's voice didn't suit the teen characters
Power 6
"Fantastic book!"
I would listen to this book again as you are able to interpret the story in many different ways
I would definitely recommend this book to my friend, as I discovered this great book via a friend so would like to pass on that favour. It doesn't matter what genre you prefer, you will love this book
I most enjoyed the scene where number 5 is fighting off the girls at the nunnery
No. There are certain good points in this book to pause your listening.
"Amazing series and left wanting more"
I absolutely loved this and the narrator really did the story justice.
I was left wanting to listen to the next chapter!
"Great Second Book of the Series"
Great follow up to 'I am Number Four', but follows on too directly for you to be able to jump straight in here. The plot develops really well, if at times you have to think about whats going on with each character as it interchanges between the two. The narrators do a great job, even if it took a little getting used to, as I read the first one and imagined voices to be completely different. Highly recommended, as more than just the teen fiction drama that it may come across as
Super quality! Was immidiately hooked to the story, very Nice voices and storytelling, vety recommendable
loved it... want hear more from you... remaining books I want to hear now. good work guys...
"Great Follow up"
I enjoyed this book as much as the first one in the series. It extended on the characters we knew and delved into new ones.
It is read well and the book is worded well so I actually can visual the events happening as I listen.
Six!! Gotta love her.
It made me worry.... oh no will they escape, what happens next :-)
fantastic series, I cant wait to read them all.
"This series is a "must read""
Once again I enjoyed this book and cant wait to continue the series. I think this series rates along with the " Hunger Games" books and know that teenage readers would enjoy these books
"Start of a long journey!"
Yes and in fact I have! It's a great follow up to the first book, and WOW the story went up a notch!
Oooh, to tell that is to tell the story! But, one feels that pain of the characters and that stands out for me.
There is definitely a sense in this book, this is just the tip of a very big iceberg. As with many series, I felt cheated that it ended on a cliffhanger, and hungry for the next book!
"Definately one for younger adults"
I would recommend this book to younger readers who had seen or read the first book,
Some of the voices didn't match the characters as i had imagined them
Definitely need to read the following books as i was left up in the air regarding the outcome of all the characters.
One of the few books in which i had a growing dislike for the main character (John Smith aka No.4 ) I found his constant whining and selfishness increasingly irritating.
"Wait till the entire series is complete..."
This book moves very slowly and leaves you hanging... It does tie up spme loose ends from the first book, but you are left with way to many questions than answers
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The Pre-Fall shows are giving us tons of mono-tone looks, but the most refreshing of them all is the lipstick colors that range from wine to electric! Whether its casual, professional or fit for a night out, it is easier to wear than it sounds. Pairing red toned separates together or accessorizing with colors of the same, you can't go wrong in head to toe rouge.
Giambattista Valli
Maison Martin Margiela
Peter Som
Rachel Zoe
The Row
Sonia Rykiel
(all images via style.com)


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Our goal is to offer our patients, and all our community the most affordable, trustworthy and professional service to ensure your best health....more
Our goal is to offer our patients, and all our community the most affordable, trustworthy and professional service to ensure your best health.
More about Lake Nursing Home
Lake Nursing Home is known for housing experienced General Surgeons. Dr. Moloy Prakash, a well-reputed General Surgeon, practices in Kolkata. Visit this medical health centre for General Surgeons recommended by 63 patients.
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Hi Lybrate user It's may be problematic in future so now avoid it. Use can use ointment kumkumadi tailam lepam with ointment Flora fair for glow of your. Face. Avoid oily spicy fried salty acidic foods. Tc Thank Regards.
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Hi, fissure can be painful and can cause bleeding. Conservative measures like taking high fibre diet ,loads of fruits ,vegetables ,salad and laxatives or allopathic or homeopathic medication after doctor consult can solve your problem temporarily. Definitive treatment is surgical management .laser treatment of fissure is the latest modality .it is painless 10 min surgery .there are no dressing post surgery .you would be given a proper diet chart and certain pelvic floor exercise be taught to you to avoid constipation .you can also consult me through Lybrate for further details.
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Jonathan Butler's debut for Rendezvous Entertainment will be released on May 17. It is by far the guitarist's best smooth jazz work.
Guitarist and vocalist Jonathan Butler has called on trumpeter Rick Braun and saxophonists Dave Koz and Gerald Albright for his upcoming album called, simply enough, Jonathan. The album is Butlers first for the Rendezvous Entertainment label, which Koz co-founded, and also features Dave Dyson on bass, Greg Wachter on keyboards, Eric Valentine on drums and David Diggs with string arrangements.
"Thanks to Dave Koz for twisting my arm and talking me into it," Butler says.
The album marks a return to Butlers smooth jazz roots, as there are nine instrumental songs and two vocal tracks, Baby Love and the first single, a cover of James Taylors Fire and Rain featuring blues guitarist Jonny Lang on electric guitar. Instrumental songs, which feature Jonathans acoustic guitar, include Rio, 10 Degrees South, Sweet Island Love and Sprit Of Our Nation.
1. Rio (Jonathan Butler)
2. Mandela Bay (Jonathan Butler)
3. 10 Degrees South (Jonathan Butler)
4. Randy's Song (Jonathan Butler)
5. Fire and Rain (James V. Taylor)
6. Precious Things (Jonathan Butler)
7. Sweet Island Love (Jonathan Butler)
8. Baby Love (Jonathan Butler)
9. For a Friend (Jonathan Butler)
10. Spirit of Our Nation (Jonathan Butler-David Batteau)
11. Move Me (Jonathan Butler)