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|Volume 20, Number 1
|The CPSR Journal
|Summer 2002
What the Copyright Office Got Wrong
by Karen Coyle
As part of the Digital Millennium Copyright Act of 1998 (DMCA), the Copyright Office was charged with managing an ongoing process of evaluating how technology developments are affecting the copyright law. In June 2000 they asked for comments on the effect of technology on sections 109 and 117 of title 17, United States Code, otherwise known as "first sale." CPSR provided comments relating in particular to the technological aspects of the law1.
In August of 2001 the Copyright Office issued its report2, a document that is shocking in its misinterpretation of technology and law, and dangerous in its conclusions.
First Sale and Technology
First sale is a part of the copyright doctrine that states that the copyright holder (the author or publisher, usually the publisher in today's world) has rights only on the first sale of the physical item. It is first sale doctrine that allows you to sell a book as a used book, that allows you to lend books to friends, and that allows libraries to lend books to their users. The copyright holder cannot claim any rights over the object you have purchased and the wording in the copyright law is that the owner of a copy "... is entitled, without the authority of the copyright owner, to sell or otherwise dispose of the possession of that copy or phonorecord." Title 17, 109 (a)
This concept is very hard to translate into the world of digital objects, especially those that are transmitted electronically and therefore do not have a physical manifestation. The question of whether the concept of first sale should or even could be applied to intellectual products in cyberspace has been hotly debated in legal circles for over a decade. In the "Green Paper" that preceded the development of the Digital Millennium Copyright Act (DMCA), which can be seen as a first draft of the intention to modify the copyright law for digital materials, it was stated confidently that first sale could not be applied to digitally transmitted materials because digital transmission always entails the making of a copy, not just the transfer of a physical copy to another party. Some legal decisions have even declared that the copy of a document in random access memory (RAM) is indeed a copy as referred to in copyright law and therefore could potentially be an infringement of the rights of the copyright holder. Taken literally, this could mean that displaying a file from your computer's hard drive on your screen could be seen as a violation of copyright law.
It is only because a small number of public-minded professionals, mainly lawyers, librarians and educators, objected vehemently to the wording in the early drafts of the copyright law changes that we are still treating the issue of first sale and electronic materials as a question. And it is this question (among others) that the Copyright Office must investigate on a periodic basis, asking essentially "has the DMCA harmed the market or the rights of the public due to limitations on the rights of first sale?"
As is often the case, the answer depends very much on how the question is posed and what responses one chooses to listen to.
Communicating with the Public
To begin with, we need to look at the premise that this document was produced after the gathering of public views on the DMCA. The call for public comment was issued in the usual Washington, D.C. manner through a notice in the Federal Register, something that few people outside the beltway ever consult. The Federal Register is a direct communication between government agencies and the professional lobbyists who spoon-feed them information that benefits the interests they represent. Washington does not hear from the public, as in John Q. Public, and did not in this case. Seventeen individuals and 14 organizations responded to this call. This is a very small sample. However, of these, 14 individuals spoke out against the DMCA, as did seven organizations. Three organizations were proponents of a digital first sale doctrine, while two organizations were directly opposed to applying first sale to electronic materials. (Two of the individual replies were in the "eccentric" category: persons who knew exactly how to fix copyright once and for all, if only someone would ask.)
The public, however, has made some of its views on copyright very clear. In particular, the tens of millions of users of Napster and other sharing protocols have made it clear that they don't intend to respect copyright in the digital age. The gap between the conclusions of the Copyright Office and the actual behavior of the general public is cosmic in proportions. However, the report of the Copyright Office was based entirely on comments received and their own interpretations of law, ignoring the clear statement on copyright that is evident in public behavior.
Now let's look at what they got wrong.
Wrong: Digital Works Do Not Degrade
"Physical copies degrade with time and use; digital information does not." (p. xix)
This is absolutely false. To begin with, digital information must always be stored on a physical device of some type. This can be a disk, a magnetic tape, a CD Rom, a removable disk or drive but it has to be somewhere. Even the elusive "RAM copy" resides, albeit temporarily, on a piece of hardware. All of these devices can, and do, fail at some point. If most members of our computer literate society have a sense of computer hardware as being reliable it is only because most hardware is discarded as obsolete long before it reaches a likely point of failure. With the average life span of a desktop computer around three years, today's computer users are constantly refreshing their hardware.
Digital information in its stored form does not degrade; it fails catastrophically. Whereas a book may have smudged and discolored pages yet still be readable, the loss of even one byte within a digital file generally renders it completely unusable. It's either in perfect condition or it's gone.
Ironically, the next sentence in the report is: "Works in digital format can be reproduced flawlessly, and disseminated to nearly any point on the globe instantly and at negligible cost." This is true, and underlying it is the real truth about the durability of digital information: it is durable because we are constantly making new copies that are as good as the original. Since making copies is exactly what the Copyright Office opposes, it's a shame that they didn't notice that they are attempting to eliminate the very avenue that makes digital works viable over the long term. Any individual copy on a device can only be considered temporary, either because the device will be replaced with new hardware or because the device will eventually fail. It is only through constant re-copying that digital works will have a lifespan of more than a few years.
Wrong: What is in RAM is a Copy
Due to an earlier court interpretation (Mai, Sys. Corp. v. Peak Computer, Inc.) the copyright office concludes that when a computer user opens a document to view it a temporary copy is stored in random access memory. This may be true in some cases with small and simple plain text documents, but for most files today this is not what happens. The Copyright Office's report itself provides an excellent example. The report is in Adobe PDF format and the main section of the report is 835 kilobytes in size. This is a relatively large file in a complex format.
Programs that display documents on the screen, like the Adobe Reader, do not make copies of files, they act on files. This is a very different function from what the Copyright Office seems to imagine. Here's a plausible scenario for how a program will handle the display of a file in a complex format like Adobe Acrobat or Microsoft Word:
To illustrate how this works with the Copyright Office document, when I open up the document in Adobe Acrobat PDF Reader I see that there is activity on my hard drive. When I move from one page to the next the light that indicates hard drive activity does not come on so I assume that some contiguous pages are stored in memory. If I jump to a later section in the document, however, the hard drive is accessed, presumably retrieving sections of the document that had not yet been read into RAM.
I can also open the document in the Adobe eBook Reader. This appears to be a more complex piece of software, judging from its activity. The most recent page that I was reading opens by default. I can jump to page 149 where section b is headed "RAM Reproductions as 'Copies' under the Copyright Act." For a brief moment the light flashes, showing that there is activity on my hard drive. I hit the "next page" button, and aafter another flash of the hard drive light a new page appears. From this simple - and albeit oversimplified - example I conclude that this software keeps in memory only the portion of the file that is needed for a single screen of display, which in this case corresponds to a page in a printed document. If I open the document and look at two pages out of the 232 pages of that PDF document, I have made RAM copies of only those two pages.
Interestingly, the Copyright Office concludes in this same report that "the making of a buffer copy in the course of streaming is a fair use" in reference to streamed audio and video. The streaming that the Copyright Office referred to is related to webcasting, where works are played directly from the Internet. In fact, computer programs of all types make use of this kind of buffering, although within a single computer it is less obvious to the user that this buffering is taking place because the time it takes for the memory to read the next buffer of information from the hard drive is very short. If this kind of functioning is fair use for webcasting, it must be fair use for other programs that invisibly perform that same function.
Wrong: A CD-ROM is an Archival Copy
At various points in its document, the Copyright Office concludes that the need for consumers to make backup copies of items they have licensed or purchased digitally is not necessary because most programs today are no longer distributed on unreliable floppy disks, but on CD-ROM. They conclude that "the CD- ROM itself acts as the archival copy." (p. 77)
For those of us who remember struggling to install programs that required twenty or more floppy disks, CD-ROMs are a welcome improvement for software distribution. But if no archival copies are needed of these CD-ROMS it is only because the average lifespan of a software program is less than the average lifespan of the CD-ROM medium. New versions of software are placed on the market with an ever-increasing frequency. Looking at operating systems, and using Microsoft as the example--since it has been determined to be running on the vast majority of computers in the country today--we can see a constant churn of upgrades from Windows 95 (1995), to Windows 98 (1998), Windows Me (2000), and Windows XP (2001). In terms of applications, again using Microsoft, there was Office 95 (1995), Office 97 (1997), Office 2000 (2000), and Office XP (2001). Few of us make all of those upgrades, but upgrading every five years is not unusual. Given the temporary nature of software versions, the original install CD-ROM is often sufficient to get a software user through the occasional hardware failure or even through a machine upgrade.
But software is a tool, not content. What works for software does not work for literary and artistic works. These works are maintained and used much longer than the 3-5 year life span of a computer program. We still perform and enjoy the plays of Shakespeare and the music of Bach. We have paintings from the early Renaissance, Bibles printed by Gutenberg, manuscripts from many hundreds of years ago. There is a durability to human cultural artifacts that so far has no equivalent in the computing environment. For this content, CD-ROMs are hardly sufficient. Although CDs can last for a decade or more, they can also fail. When the CD is being used for recorded music, these failures are often not perceived because the loss of a few bits out of a complex of sounds may not even be registered by the audio equipment or the human ear. But if the content of the CD is a digital file that will be read by a computer, the loss of even one bit can render the entire file unreadable. And we have no expectation that CD-ROMs created today will be intact and readable in 50 or 100 years, both because of degradation of the physical medium and because of the rapid change in computing technology.Wrong: Device-Specific Protection is Not Widespread
The copyright office concedes that the tethering of individual works to specific devices could be a problem in terms of first sale. (p. 75) They refer to the type of controls, present in some products, that use a unique hardware ID to limit access to the content to a particular machine. They conclude, however, that this is not a widespread practice, used only for some e-books, and therefore isn't a problem at this time. This is an illustration of how quickly change can occur in the computing sector. By the end of that year (2001) Microsoft had rolled out its new operating system, Windows XP, which does have exactly these kinds of controls, as does the current version of Microsoft Office, Office XP. I am writing this on a Sony computer with a special device called OpenMG Jukebox that allows you to transfer to an external device downloaded music files that are protected using the SDMI (Secure Digital Music Initiative) specifications; these files can be played only on the computer to which they were originally downloaded.
Although these software products and devices are not currently widespread and may not be so for another 6-12 months, there is still reason for concern. The fact is that the tethering of content to hardware is the only effective method of digital access controls that we have. Increasing use of this technology is inevitable.
Wrong: Lending Works Damages Market
The Copyright Office writes: "Unlike a typical lending library, where the book, once lent to a patron, is out of circulation for days or weeks at a time, the electronic book in this scenario is available to other readers at any moment that it is not actually being read. Since, at any given time, only a limited number of readers will actually be reading the book, a small number of copies can supply the demand of a much larger audience." (p. 83)
Although the scenario described by the copyright office in their report is possible, they ignore the fact--and it is indeed a fact--that there are library systems3 today lending electronically distributed documents to patrons for days or weeks, using a time limit specified by the library. During that time the item is unavailable to other readers.
That the Copyright Office willfully ignored the facts and provided, instead, a deceptively negative view of library lending shows their prejudice in this area. In addition to the false statement regarding the existence of digital lending, the Copyright Office also makes a statement that no one can substantiate: that digital lending, with return, will result in fewer copies being sold than the current hard copies. The question of the ratio of digital works to hard copy works, and how they will serve the needs of patrons, has no answer at this time because we have very little experience with the digital model of document delivery. My own observation is that as technology progresses, the quantity and range of documents that libraries deliver to users increases. In the place of lending a few book or journal titles to a few patrons, libraries are purchasing or licensing and lending large numbers of titles that previously were not available to our patrons. The amount of information has also increased and library users expect a broader range of titles and services. Technology is not allowing libraries to serve more patrons with the same documents; it is allowing libraries to serve more patrons with many, many more documents. And those documents are purchased or licensed by the library.
Wrong: No Consumer Demand for First Sale
The Copyright Office writes: "Given the expanding market for digital works without a digital first sale doctrine, opponents questioned the consumer demand for such a change in the law." (p. xi) This is a wonderful bit of doublespeak which, although attributed to the representatives of copyright industries ("opponents," meaning opponents of a digital first sale doctrine in this context), is accepted by the Copyright Office without question. There are two things wrong with accepting this assertion. The first is that there is consumer demand for first sale doctrine, and it comes from libraries. Libraries are significant purchasers of intellectual property, primarily in textual form. They are able to allow use of these works, either in the library or through lending, because of the first sale doctrine. A group of library associations was one of the respondents to the Copyright Office's call for comments and they made very clear their need to allow use of digital works that they purchase. Anyone in the business of selling digital content to libraries knows very well that the two big issues for libraries are lending and archiving of digital materials. The lack of a viable model for the lending of digital materials is unquestionably stalling the market for these materials. The greatest struggle is taking place in the e-book arena because these longer works cannot be easily printed or read within the library, and therefore without the capability to lend there is no delivery system for electronic books.
The other thing wrong with this reference to consumer demand is that copyright law is not now, and has not been for a long time, based on anything resembling consumer demand. There was no consumer demand that brought on the creation of the Digital Millennium Copyright Act. What this argument actually reveals is that the Copyright Office has accepted that copyright law today is about sales and market capabilities, not about law or rights. In fact, our copyright law is terribly market-driven. The translation of the quote above could be something like: "People are buying the stuff anyway, so we can get away without giving them a first sale right." There is no consumer interest being represented here, only the interest of the intellectual property industries.
Wrong: No Harm is Done
The Copyright Office writes: "There are two principal ways that consumers could be harmed: by refraining, to their detriment, from activities because they do not fall within the scope of the exemption; and by being subject to legal claims from copyright owners for conduct that falls outside the scope of the exemption. Neither appears to be occurring." (p. 151)
This report comes about because, during the drafting of the DMCA, many advocates for the public interest expressed fears that the restrictions in the DMCA would harm the public. Congress's solution to this was to task the Copyright Office to preparing periodic reports in which it assessed whether or not such harm had come to pass. Exactly what would be considered "harm" was not clearly defined, nor was how the assessment would be carried out. The Copyright Office appears to have chosen to recognize two kinds of harm: the harm of not being able to do something because of the legal restrictions, and the harm of being taken to court for something you did do. The latter can be probably be assessed by following court cases, but the former, unfortunately, is caught in the Catch-22 of needing to prove a negative.
How can you prove that if a library had been able to lend electronic books it would have purchased a particular book that a particular patron then would have found in the library's catalog and would have checked it out? Not only that, you have to prove harm, so you'd have to show that this particular patron was therefore not able to complete a school assignment that then led to the student getting a lower grade that was the main reason that a university rejected the student's application.
Obviously, you can't prove anything based on what didn't happen. Therefore, in the logic of the Copyright Office and the framers of the DMCA, no harm has been done. In reality, we have no way to detect or measure the harm and therefore it will always be concluded that it doesn't exist.
It also seems that few, if any, individuals have been taken to court for violation of this particular section of the DMCA. What they fail to mention is that it is very rare for individuals to charged with copyright violation. Copyright law comes into play generally in business rivalries. Even in the massive individual infringement that took place over the Napster system, the lawsuit was against Napster, the company, not the individuals using it, even though Napster itself was not making the copies. Taking individuals to court, especially on the scale of Napster users, if it is possible at all, is expensive and unlikely to be lucrative. Napster is paying $25 million to settle its suit; it would have been much harder to get one dollar each out of 25 million Napster users who had made an unlicensed copy.
Wrong: Limitation to a Device is Just the Nature of Technology
A number of people commented on the limitations built into the DVD players to place certain restrictions on the playing of DVDs. The main function of these controls is to allow copyright owners to limit the use of their works geographically. This means that if your DVD player is coded for Hong Kong and you purchase a DVD coded for the United States, you can't play it in that machine. This is not really a copyright issue but a market one: it allows the film industry to stage the release of films in theaters before the film is available for home use, thus exploiting the "gotta see it first" market and protecting the theatrical release from competition.
CPSR's commentary in this area related to the tying of encrypted files of content to individual pieces of hardware. This is the only currently viable technique for selling digital content over networks that actually limits piracy. As you download the file it creates a key, essentially a password, that is linked to some hardware identifier, such as a unique number in your CPU or your hard drive. The file can be opened only on that particular piece of hardware, so making a copy of it for a friend is useless because the friend can't open or play the file on her machine. This also means, however, that when you upgrade from one computer to another you lose access to your own, legally obtained files.
The Copyright Office dismissed the arguments in this area with the following statement: "The need for a particular device on which to view the work is not a novel concept and does not constitute an effect on section 109. VHS videocassettes for example, must be played on VHS VCRs." (xvi)
They have the wrong analogy here. Yes, the technology itself means that to view digital content I must have a machine that can transform that digital content, much like a VHS VCR transforms the tape to a screen image. But I can take my tape around the world and play it in any machine that understands the basics of that technology. I can also upgrade my VCR to a new model, and still play my tapes. The restrictions that we are seeing for DVDs and for electronically transmitted digital content are not technological necessities - they are artificial controls that go beyond the technology itself. Some of these controls, such as the encryption of digital files and tethering them to individual machines, fall under the copyright protection device description in other sections of the DMCA. But they cannot be likened to the VHS vs. BETA debate.
Right: There is No First Sale for Digitally Transmitted Works
The one thing that I must agree with in the Copyright Office's report is that we do not know how to apply the first sale doctrine to digitally transmitted works today.
"The transmissions that are the focus of proposals for a 'digital first sale doctrine' result in reproductions of the works involved. The ultimate product of one of these digital transmissions is a new copy in the possession of a new person. Unlike the traditional circumstances of a first sale transfer, the recipient obtains a new copy, not the same one with which the sender began. Indeed, absent human or technological intervention, the sender retains the source copy." (p. 78) The first sale doctrine was developed around analog works, which could be physically handed from one person to another and had some of the natural qualities of property. Digital works do not follow that model, at least not while they are transmitted digitally. There has been some interesting speculation about the creation of massively complex systems that will essentially keep the "state" of a digital work as it passes from hand-to-hand, such that only one version of the work is "live" at any given time. This would emulate the giving and lending of analog works: as you give the work to a friend, their copy becomes "live" while yours goes dormant. If the friend returns the work, hers becomes the dormant one and yours re-awakens. While theoretically intriguing, nothing of this type exists at the moment, and when it does it still might not fall under the letter of the first sale portion of our copyright law, primarily because a copy is being made and copyright law is about copies not about access to works.
We have a long way to go before we have a good understanding of how intellectual property will work for digitally transmitted content. It may be a mistake to even consider applying the old laws to these new materials, but the alternative is worse: letting the intellectual property industries redefine copyright law entirely to their advantage. This report is evidence that even when individuals weigh in with their opinions, facts, and (sometimes) misconceptions, their voices are unlikely to be heard. They weren't heard during the five or more years that the DMCA was being formulated, and they are not being heard by the Copyright Office, whose job it is to listen. Yet there are those who will continue to struggle for public rights, in the hopes that some difference can be made. Our future depends on it.
Recommended Reading
Litman, Jessica. Digital Copyright. Prometheus Books, 2001.
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by Jessica Scott
Peter, my husband, lay there in the bed, unconscious and grey with tubes hanging from him. His limbs sprawled outwards as if he had made invisible roots that were stretching him through the cold floor, layers of foundational concrete and into the earth below.
As I held his hand, he stirred, confused. He smiled, as if I was a nightingale, bringing the sound of the world into his confines.
'Annabella,' he whispered so quietly. A ghost of a voice. He was just hanging on.
I was new in town and reckless, but he gave off waves of calm peacefulness, as he slid past me in the door after my unsuccessful interview for office assistant. His hair was blond and it curled into a slight quiff. He had soft features. Not sharp like mine. I wanted something of what he had. I was informed he got the job, but a month after, I saw him in the shop I now worked in. He was behind another man and I didn't see him till he was close to my counter.
'Could you copy that?' he asked. It was his CV. 'Three copies. That should do, I think. I don't have a printer at home, you see.'
My supervisor wasn't around.
'Who do you think I am, your office slave?' I was so bitter and it was the first thing that came out of my mouth. He irritated me, but I wanted to take it back.
'What's your name?' he asked.
I was reluctant to tell him. I didn't know why he wanted to know it, but I did anyway. 'Annabella,' I said.
'I'm Peter,' he replied. 'I dropped that job.'
I was silent for a while as I focused on his order.
'Did you hear me?' he said.
'Of course I did. So what? I can't have the job just because you dropped it, can I?' I hissed at him.
'Don't snap my face off, I'm only trying to be kind,' he said.
'Well, don't.'
He looked behind, so he could check out if there was a queue forming. There wasn't. It was a dead mid-week afternoon. In any other circumstance he would be my dream man, but I didn't want to get attached.
'Annabella, you're so beautiful,' he sighed. 'You know, your uniform hardly gives your figure justice.'
'Who's fault is that?' I said. I blamed him for the uniform, for not getting the job I wanted.
'I'm trying to give you a compliment,' he said, smiling.
Somehow his smile reached down inside me and I realised how silly I was being.
'I know. I feel like I'm wearing a sack.' I didn't know what I was saying. It wasn't like me at all. Or it was like me, but I had tried to be cold and indifferent since my last bombsite of a relationship.
'You don't realise the power you've had over me. I've been thinking about you over the past month.'
I didn't want to be admired, but I liked the compliment, even if it was cheesy. He made me promise that I would come with him to see a film.
I kissed his forehead. He didn't have enough strength to reach his lips to mine, so I lowered my head for him and let his lips brush my cheek. He wasn't like the man I had come to love and yet he was the same.
He kissed me and I felt as exhilarated as a returning homing pigeon. His eyes were searchlights in the dark. He had found me. I had found him. It didn't matter which, but I was home. This strange man with his familiar ways was more home to me than my wings taking flight into the empty sky, the endless road and the eternal, restless drive to get away, to move on. I was always moving on. I never wanted to be caged, but I let him put his arms protectively around me. It was lovely in the cold dark night to have him there instead of the chilly car seat hugging me and the wheel at my hands.
He gently toyed with my engagement ring. He used to do that when there was something on his mind. Even after we were married, it was still the engagement ring.
I never meant myself to be his, but I let him slip the ring onto my finger like the ring onto a bird's leg. I pushed the ring onto his finger. It gave resistance at the joint, as if his body was rejecting me. I wanted him so much I hardly noticed.
There were no bridesmaids to throw the flowers to. On my side of the family, I had my dad, and a few distant cousins. I never told Peter that I didn't much care for them, but he had at least thirty on his side, and I was glad then that they had come to bulk out the numbers.
I wasn't sure if my dad was even going to arrive. I had written a letter to him. I still remember what I'd said.
I am marrying a man called Peter Hill. He's a good man and would never hurt me. Not like John. I want you to come to the wedding and this time, give me away... properly. Don't get drunk. His family are respectable people. If you don't come, my day will be a disaster and I don't know who else can give me away.
If it all goes to plan, it's going to be a lovely wedding day. I have a stunning sequinned dress. It sparkles like there are diamonds on it. It's puffy. Wear something smart, please.
Whatever you do, don't mention John to Peter. Everyone else knows not to. Peter would only get upset. It's at All Saints' Church, Dovecote Road, on Thursday 5th June at 2.00 P.M.
P.S. Don't drink the free beer at the end. I have asked Cousin Callum to make sure you don't. I'm telling you so don't pick a fight with him, if he tries to pull you away from the booze.
Don't ruin my day. Mum wouldn't... if she was here.
My dad behaved. Everything was better than had I hoped for. The confetti rained on Peter and I. Peter looked so happy. The flash of the camera was like lightening, threatening. The thunder of wings suddenly exploded from a basket and everyone stared.
A cousin's child shouted, 'look Mummy!' Five beautiful white doves were flying in the air.
I looked at Peter, smiling in surprise. He knew that I would love them. He was just so wonderful...
'We didn't even get round to having children,' said Peter. Behind those words was the secret void he would never allude to. I had told him I didn't want it. A child like ours was too painful to go through again. I had told him not yet, every time he asked, but inside, hanging like stalactites were the words, 'not ever,' that could at any moment drop and pierce the heart of our marriage.
It lay on the hospital table. I had insisted on seeing it. Peter sat, lifeless, not even daring to look at it. I stared, shocked, scared. I hadn't wanted it, but now that it was here, born dead, I- I... It was like a wrinkled baby bird, longing even from the womb to be free, independent, to live.
I pushed the bed table close to him. The food lay untouched, but Peter needed to eat. On the plate, egg splattered like shrapnel. Among it, soldiers lay, lined up like buttered corpses, already gone to battle. A cup of muddy brown tea was placed beside it.
I was making an omelette. Peter was still at work. I was hungry. The yellow yolks slopped into the bowl. I was cracking open the last shell and it opened onto a sea of blood. Not like the little red spots that I occasionally found. This was worse. The whole of the yoke and the liquid around was crimson. My hands shook. I dropped it all into the bowl. It oozed into the bowl like a dead body that had been through a blender, condensed and concentrated.
I felt sick. I ran upstairs and curled in my bed, waiting for Peter to come. The disturbing image lay with me, unfolding profoundly in my head. It had been alive once. It had been alive. It was dead like—like—my baby.
Peter's key sounded in the door. 'Anabella?' he shouted.
'I'm up here,' I said, trying not to make my voice sound weak. I brushed away a few escaped tears.
'What's wrong?'
'Nothing,' I said. I didn't hear any more of him for a while. Perhaps he had seen the cause. Then he came up.
'It's gone,' he said. I fell into his arms, thankful that I had him.
Doctor Phillips popped his head round the door and said, 'Mrs Hill, nice to see you.'
I was still surprised by the doctor's manner of talk, though I had grown to know him well. Nice? Why would it be nice? My husband's in hospital and he says nice. I try to keep calm. I know it wasn't intentional, but his words and his grating voice still manage to get under my skin.
'I suppose you know that visiting hours are over?' the doctor continued. 'Mrs Hill? Why are you looking at me like that?'
I must have given him a glare.
'Doctor,' Peter pleaded. 'Can't she stay a little longer?'
'Well.' He looked between us, seeing the fourth dimension of our marriage: an invisible string tied between our pumping, living hearts. 'Well, I suppose another half an hour won't hurt. Just don't let the nurses cotton on. Wait a minute, let me look at your charts. I need to check on any new developments while I've been away. I took the wife to Spain—Huhum,' he cleared his throat, sensing it was not a good time to be telling us of his holidays while Peter was lying on the hospital bed. 'Any worse?' he asked Peter.
'Worse than what?' Peter said, bitterly. I gazed at Peter in surprise. He had suppressed his true feelings from me for as long as he could. Oh Peter, I thought, why didn't you tell me?
'Oh Peter, why didn't you tell me? You should get it checked,' I said.
'But it's embarrassing. I didn't want to worry you,' said Peter.
'It's natural. You shouldn't be embarrassed. I was wondering why you were avoiding the bedroom lately. You could have told me. It might need checking, just in case.'
'But it's nothing,' he insisted.
'How do you know? It could be cancer or something,' I said.
'It's not cancer.'
'But you don't know that. Just have it checked,' I said. 'For me?'
'OK.' He sounded defeated. 'For you, but I bet it's nothing.'
'Would you like me to boost the painkillers?' asked Doctor Phillips, placing the notes back onto the hook, on the end of the bed.
Peter nodded. The doctor gave him a higher dose and left us alone again.
Peter pointed to the Bible. I knew he wanted me to read it. I didn't want to. I just wanted him forever. I know it was wrong, but I didn't want God. Not if he was to take Peter's place in my heart. God couldn't take his form while Peter was slipping away.
I read, '... Are not two sparrows sold for a penny? Yet not one of them will fall to the ground apart from the will of your Father. And even the very hairs of your head are all numbered. So don't be afraid; you are worth more than any sparrows—' I broke off. I couldn't read anymore. I shut the heavy book, saddened, and stared at the golden words, 'The Bible,' against the blue cover.
'Annabella, I need to know, do you believe in God?'
I knew he was going to say that. How did I know? He knew my answer. His lips curled down almost in pain for a moment, considering, praying.
'Father, I know she doesn't believe, but help her to have faith.' I watched him from the ajar door. He didn't know I was watching. It was like I was eavesdropping on a conversation.
'Annabella needs you; she just doesn't know it yet.' Tears welled in his eyes and he choked on the words. 'I pray that you will look after her... when I can't...' He stopped.
I stumbled around, announcing myself, when I would've rather gone over to him and comforted him. He coughed, stood up, removed his slippers and slid into the cold sheets. I switched off the bedside light and curled up next to him, silently. I kissed his face. His cheeks were wet, but he wouldn't tell me. Not yet. But I knew something was wrong. It had to be.
'Sing to me, Annabella,' he said, all at once. I almost started crying. I had to be strong for him, I told myself. I held back the tears, but my heart was caught in my throat. How could I sing just like that? I waited a moment or two. My heart sank to my chest. I walked to the window and observed the ambulances outside coming to and fro.
Maybe I would fly away, when I needed space, but I was his. We were on our way back from a village church. It was Christmas Eve. My dad had died a year or two ago, which left us free to go to Peter's family home tomorrow morning. The country houses were lit up like Christmas trees. I could see the tacky decorations covered a false gaiety, but I still looked on through the empty orange aura-filled windows. It was the same way that I looked down straight roads, with eagle's eye, wondering where they led. It had taken me a long way off my original path, but I still needed more than life at a mere stop sign.
The night was opening up to me, telling me its secrets, but Peter's mind was closed off in skull and caught up in following foggy country lanes.
'I want to move,' I blurted out. The headlights sought out a partridge walking in the road. The car didn't stop. Peter was staring at me. I glanced at him. Why wasn't he paying attention?
'Peter!' I screamed as he hit the bird with the bonnet. It leapt into the air, smacking into the screen in its futile escape of the wheels. It was thrown loose behind the car. He slammed the brakes on.
On the first day of Christmas, my true love sent to me, a partridge dead on the road...
I came back to him. His eyes were an ocean, brimmed with a deep red. Until then, I hadn't really noticed the spent tears. He wasn't afraid of dying. It would be a release for him. And I knew as much that he had cried for me, the one left behind with years and years of loneliness. It hurt to look at those eyes. I stared at my lap and sang.
'Moon River, wider than a mile,
I'm crossing you in style some day.
Oh, dream maker, you heart breaker,
wherever you're going I'm going your way.
Two drifters off to see the world—'
I faltered as I turned to look down at his glazed eyes, his pale features freezing in my mind. I didn't understand and then I was there above him, out of the seat, sobbing. How long had he been like that? Why hadn't I looked at him?
He had taken his final breath and I didn't know. I hadn't known.
The nurses came in, their faces blurred by my tears. They pulled me away. I had to leave him for a moment. There was no hope for him. They were sorry. They left me alone to say goodbye, but it wasn't him.
The road was ahead of me again. And I was alone. I couldn't stay and wait till his family came. If I was with them, if I didn't deny the pain, I think the grief would never stop. My tears blurred my vision. I wiped them away.
I lined up at the traffic lights. Where was I going? I had no idea.
I looked up to the ruby and pink ceiling of cloud and sky. Two small birds were flying, their wings touching for a moment. The first, unexpectedly, darted into the clouds, swifter than a single beat of my heart as if it had never been there at all. But the second bird pulled back, fluttered like a poppy in the wind and fell.
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text:
Graduate Regulations
Satisfactory Academic Progress
William Woods University requires all students to make satisfactory academic progress, which is determined through two measures: GPA and course completion rate.
Following are the minimum requirements for both
Graduate Students:
Graduate students must complete and maintain a grade of B or better in each four-month period of work and complete 70% of attempted work to be progressing academically in the graduate programs. Graduate students will not be eligible for federal financial aid if they do not meet these minimums of academic progress.
Attempted hours include the following:
- Cumulative hours earned
- Hours withdrawn from (received a "W" on transcript)
- Repeated courses
- Failed courses not repeated
- All hours attempted at other institutions


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About Nuveen Premium Income Municipal Fund 2 Inc
Nuveen Premium Income Municipal Fund 2 is a closed-end, diversified management investment company. The Fund seeks to provide current income exempt from regular federal income tax by investing primarily in a diversified portfolio of municipal obligations issued by state and local government authorities or certain U.S. territories. As of Oct 31 2015, the Fund's investment portfolio totaled $1,614,225,703 and total assets were $1,657,595,458. Self directed investors in Nuveen Premium Income Municipal Fund 2 Inc will be interested in keeping up with all
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20719 Surnames | 136016 Records | 2772 Reunions
Dead Fred asks:Are you a Desperate Genealogist?
Click the e-book above for details!
Dead Fred's Genealogy Photo Archive, a free, fun photo genealogy research web site devoted to helping you visualize your heritage!
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Order The Desperate Genealogist's Idea Book: Creative Ways to Outsmart Your Elusive Ancestors (eBook).You can also order The Desperate Genealogist's Idea Book in hardcopy format by clicking here.
Photo #21140
Last Name: Younker
First Name : David
Middle Name: P.
Subject's City:
Subject's State: OH
Subject's County: Shelby County
Subject's Country: US
Date: 1851-1900
Photographer: Erven
Photographer's City: Troy
Photographer's State: OH
Nee: Berkey
Type** : GRP
Comments: David P. Younker (Nee: Berkey) | OH US | 1851-1900 | Comments: A Younker descendant believes this group is wearing black for mourning a dead relative, and wanted to take advantage of having most of the family together for the funeral, and arranged to have this photo taken. When, I cannot tell, as the relatives I know the best are not in the photo. The father of them (or their spouses) was Daniel P. Younker; perhaps it was his funeral that brought them together. Adam Younker, the subject of some other photos, is the bearded but bald gentleman in the back row, second from the right.
Digital Image Only? NO
Everyone Listed In This Photo:
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text:
Ubisoft will release Just Dance: Disney Party in October. The game will be available for Kinect for Xbox 360, in which up to four players can enjoy the dancing. The game will be available for purchase online and at retail nationwide, and will include music from Disney movies such as Beauty and the Beast, The Little Mermaid, Tangled, Lilo and Stitch, and The Jungle Book. Music from Disney Channel shows such as Shake it up, A.N.T. Farm, Jessie, Phineas and Ferb, and Good Luck Charlie, is also included. Just Dance: Disney also includes graphics from the films and the television shows.
This post was originally written by Cynthia Ghazali and published by ToyBook.com. For more news, visit www.toybook.com, follow The Toy Book on Twitter, and like The Toy Book on Facebook. The Toy Book is a bimonthly trade magazine covering the toy industry, published by Adventure Publishing Group.


text:
APB / 6P13 silenced pistol, ready for carry; note how the silencer is attached to shoulder stock
APB / 6P13 silenced pistol, silencer attached
APB / 6P13 silenced pistol, with silencer and the shoulder stock attached. Target has been fired at from 25 meters distance in short bursts of 2 to 4 rounds each
The APB (Avtomaticheskij Pistolet Besshumnyj - automatic silenced pistol) is a further development of the Stechkin APS automatic pistol. APB has been developed by 1972 for Soviet Spetsnaz and KGB units, and has been widely used in Afghanistan and later conflicts. It seems that all APB pistols were reworked from earlier Stechkin APS pistols. The APB, with the silencer fitted, is as loud as a non-silenced .22 caliber pistol, and is very accurate and controllable, especially with the shoulder stock fitted. One can easily achieve multiple hits at ranges of 25 meters and beyond in full automatic mode, firing bursts of 2 - 4 rounds, as seen on the picture above.
The basic action of the APB is the same as in APS pistol, but the barrel is drilled to decrease the muzzle velocity, and is enclosed in the tubular jacket, which extends forward from the slide and has grooves to accept the quick-detachable silencer interface. The clumsy and heavy holster/shoulder stock of the APS is replaced by the much more convenient detachable shoulder stock, made of steel wire. Pistol is usually carried in the special leather holster, with the separate pouch for silencer and shoulder stock.


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Title: Adjunct Instructor
Department: Pastoral Studies
Location: Chicago
School/Area: Undergraduate
Position: Teaching
Start Date: August 1996
Title: Dean of Study Abroad Programs; D. L. Moody Professor of Theology
Department: Theology
School / Area: Undergraduate


text:
Firstlight Power Resources operates a portfolio of
Power generation plants in Connecticut and Massachusetts that are primarily pumped hydro storage and traditional hydroelectric facilities.
Our first solar operation in North America is also among FirstLight's assets in Western Massachusetts. FirstLight's hydro and pumped hydro storage plants constitute the largest fuel sector of North America's renewables fleet. With the ability to achieve full generation output from a shut down condition in 10 minutes, its premier asset—Northfield Mountain—is the largest, most flexible pumped hydro storage facility in New England and among the largest in the United States.
Select one of the options below to learn more
FirstLight Power Relicensing
FirstLight Power Resources is licensed by the Federal Energy Regulatory Commission (FERC or the Commission) to operate the Turners Falls Hydroelectric Project (FERC No. 1889) and the Northfield Mountain Pumped Storage Project (FERC No. 2485).


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- Why Colby?
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Majors: English, Government
London knew she was passionate about journalism when she found herself picking through a Manhattan Dumpster researching a story as a graduate student at the Columbia School of Journalism. Read more »
A former Mitchell Scholar in Ireland and previous chair of the board of the Maine/Ghana Youth Network, this Mainer is now hooked on her daily newspaper reporter job in central Maine. Read more »
Major: Government
Kirtley is cohost of the popular Geek's Guide to the Galaxy podcast. According to the show's website, it receives 25,000 downloads per month. Read more »
Major: Biology
Starting with the Colby Echo, Matt Apuzzo's journalism career has progressed nicely, to the point of being awarded the Pulitzer Prize. Read more »
Occupation: Technology, Writing
Major: Biology
Read how this tech know-it-all manages his time and became a tech journalist for O'Reilly Media. Read more »
Occupation: Communications + Marketing, Writing
Major: American Studies
A reporter for the Washington Post embedded with troops in Iraq and wrote a book about the challenges of coming home from war and reintegrating in a country where the war is not a major part of public consciousness. Read more »
Major: English
Gossip Girl? The TV show is based on books by this Colby alumna, who was writing a new book about a small liberal arts college in Maine. Hmmm. Read more »
Major: English Literature
The creator of a word-and-image exhibit titled "Reproducing Motherhood," exhibited at Stanford, this artist has a second project titled "Inheritance." Read more »
Major: Music
This longtime educator is living, quite seriously, in a fantasy world. The principal of Brentsville District High School, he also writes fantasy novels. Read more »
Major: German
A first person essay reflects on how times and people change—and how a liberal arts education serves one well. Read more »
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text: Well as most of you know Madison lost her kitty a few months ago (he passed away for those of you who don't know) and has been begging for a pet of her own. Well I finally gave in and adopted a 3 month old Chihuahua pup(she wanted a little dog really bad). I brought him home last night and these are pictures of Spanky and Zak. They act like they have been pals for years. Maddy thinks we are just fostering him. By the way she named him Zachary, aka Zak. He is a very sweet little boy, but the little dog thing is all new to me. Maddy's Birthday is Feb 18th so I will tell her then that Zak is all hers


text:
Get The NFL Preseason Schedule Here
Believe it or not, the NFL season is just around the corner. Below, you'll find a complete list of the NFL's calendar including preseason games, roster cuts, and the date of the first regular season games, courtesy of the Associated Press.:
Aug. 3 — Pro Football Hall of Fame inductions, Canton, Ohio.
Aug. 4 — Hall of Fame Game: Dallas vs. Miami.
Aug. 8 — First weekend of preseason games.
Aug. 27 — Roster cutdown to 75 players.
Aug. 31 — Roster cutdown to 53 players.
Aug. 29 — Preseason schedule ends.
Sept. 5 — 2013 season begins, Baltimore at Denver.
Sept. 8-9 — First weekend of regular-season games.


text:
Search results for: Sony Ericsson Show Room
Sony Ericsson Show Room
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- Author: Kathy Keatley Garvey
Life and death in the bee observation hive...
If you ever have the opportunity to check out a bee observation hive--a glassed-in hive showing the colony at work--you can easily spot the three castes: the queen bee, worker bees and drones.
If you look closely, you'll observe the foragers performing their waggle and round dances and the royal attendants circling the queen in a retinue.
The queen will lay from 1000 to 2000 eggs a day in peak season. From an egg, to a larva to a pupa to a newly emerged bee, it's all there.
You'll observe the worker bees performing their specific duties: nurse maids, nannies, royal attendants, builders, architects, foragers, dancers, honey tenders, pollen packers, propolis or "glue" specialists, air conditioning and heating technicians, guards, and undertakers. The worker bees (sterile females) run the hive. They're the "you-go" girls and the "go-to" girls.
The Harry H. Laidlaw Jr. Honey Bee Research Facility at UC Davis has several observation hives. One is in the Laidlaw conference room; another is in an entomology classroom in 122 Briggs Hall. The bees enter and exit through a thin tube connecting the inside of the colony to the outside world.
Avid bee enthusiasts place an observation hive in their homes, often in the living room. It's a honey of a conversation piece, beside being an educational experience.
The saddest part? Watching the undertaker bees carry out the motionless bodies of their sisters and brothers.
Or watching the sisters, as winter approaches, evict their brothers. The girls are protecting their precious food storage and want fewer mouths to feed.
Drones, whose only responsibility is to mate with the queen, aren't needed in the winter months.
But wait 'til spring...


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I'm having some trouble with the time parameter for a banned client in the restrict.cfg of Freesco 0.4.1. What I want to achive is to ban internet access to one of the clients on my network between the hours of 11pm and 6am.
I have the following line in my etc/restrict.cfg file:
I find that this works, as long as the router is already running when 11pm comes around. I don't leave my computers running permanently, I switch them off when they are not in use - including the router. The problem occurs when the router is switched on and boots during the "banned" time.
For example, if the router is switched on at 8pm, then after 11pm the client computer can no longer access the internet (until 6am the following morning). No problem there. However, if I switch the router on at, say, 11:30pm, then the client has full access to the internet! So it appears something goes wrong if the router boots during the time that the client must be banned.
I noticed that if I browse to the web control panel, the current time is given at the top of the page. For example, the following is shown:
FREESCO v0.4.1 [ethernet ethernet] Thu Feb 26 12:27:06 WST 2009
System is up since
Thu Feb 26 19:41:00 WST 2009
up 1:46, load average: 0.18, 0.18, 0.08
The current time on the first line was correct, 12:27 WST on 26 Feb, at the time of opening the control panel. But notice the next two lines: "System is up since 19:41 WST on Feb26, up time 1:46". For a start, this is impossible - how can the system be up since a time AFTER the current time today? Further, if the router was booted 1 hour and 46 minutes ago, and the current time is 12:27, then the boot time should be 10:41 WST (not 19:41). Somehow the indicated time of boot is 7 hours ahead of the actual time of booting.
Note that the time zone where I live is GMT +9 hours (Western Australia Standard Time). I do have the time zone file "perth" in my /TMZ directory.
I may be wrong here, but it seems to me this could be the reason why the router is allowing access to the client if it boots during the "banned" time. Maybe it is working on the incorrect time of booting - even though the current time is obviously corrected soon after - presumably by the synchronize function of the http control/time server.
I don't know why the time of booting appears to be incorrect. I did check the current time in the BIOS CMOS memory of the router PC, and that is correct.
Any ideas would be welcomed.


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Why is it called The Legend of Zelda when Link's the one doing all the work? Just wait until Metroid hears about this; she'll be pissed.
And for the record? I am the Contra.
You can contact Michael Fahey, the author of this post, at firstname.lastname@example.com. You can also find him on Twitter, Facebook, and lurking around our #tips page.


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Surviving the Future
Culture, Carnival and Capital in the Aftermath of the Market Economy
Foreword by Rob Hopkins
Surviving the Future is a story drawn from the fertile ground of the late David Fleming's extraordinary Lean Logic: A Dictionary for the Future and How to Survive It. That hardback consists of four hundred and four interlinked dictionary entries, inviting readers to choose their own path through its radical vision.
Recognizing that Lean Logic's sheer size and unusual structure can be daunting, Fleming's long-time collaborator Shaun Chamberlin has selected and edited one of these potential narratives to create Surviving the Future. The content, rare insights, and uniquely enjoyable writing style remain Fleming's, but are presented here at a more accessible paperback-length and in conventional read-it-front-to-back format.
The subtitle—Culture, Carnival and Capital in the Aftermath of the Market Economy—hints at Fleming's vision. He believed that the market economy will not survive its inherent flaws beyond the early decades of this century, and that its failure will bring great challenges, but he did not dwell on this: "We know what we need to do. We need to build the sequel, to draw on inspiration which has lain dormant, like the seed beneath the snow."
Surviving the Future lays out a compelling and powerfully different new economics for a post-growth world. One that relies not on taut competitiveness and eternally increasing productivity—"putting the grim into reality"—but on the play, humor, conversation, and reciprocal obligations of a rich culture. Building on a remarkable breadth of intellectual and cultural heritage—from Keynes to Kumar, Homer to Huxley, Mumford to MacIntyre, Scruton to Shiva, Shakespeare to Schumacher—Fleming describes a world in which, as he says, "there will be time for music."
This is the world that many of us want to live in, yet we are told it is idealistic and unrealistic. With an evident mastery of both economic theory and historical precedent, Fleming shows that it is not only desirable, but actually the only system with a realistic claim to longevity. With friendliness, humor, and charm, Surviving the Future plucks this vision out of our daydreams and shows us how to make it real.
Reviews and Praise
"I would unreservedly go so far as to say that David Fleming was one of the most original, brilliant, urgently-needed, underrated, and ahead-of-his-time thinkers of the last 50 years. History will come to place him alongside Schumacher, Berry, Seymour, Cobbett, and those other brilliant souls who could not just imagine a more resilient world but who could paint a picture of it in such vivid colours. Step into the world of David Fleming; you'll be so glad you did."--Rob Hopkins, cofounder of the Transition Network
More Reviews and Praise
"Each time I encountered David Fleming, he left behind something whose value I was a little too slow to recognise. A sketch for Tradable Energy Quotas. A critique of the nuclear fuel cycle. And clearest in my memory: a slim working paper entitled The Lean Economy. It took me nearly a decade to respond properly to its call. In Surviving the Future, Fleming has left behind his greatest gift: a remarkable clarity of vision—a way of seeing the world not just for what it is, but for what it might be. Hopefully, this time I'm ready for it."--Tim Jackson, Professor of Sustainable Development, University of Surrey; author of Prosperity without Growth
"David Fleming was an iconoclast in a time when orthodox thinking reasserted suffocating control. When many major environmental voices had, in effect, decided to 'go with the flow', accept the mainstream economy, and do their best to make it greener, David Fleming went the other way. His analysis told him that nothing short of a paradigm shift could ensure our collective survival, and he said so, loudly, without fear of being marginalised. His courage in saying unpopular things is clear in these writings, and we should all thank him. Without the uncompromising clarity of David's writing, we would delude ourselves as to the scale and the immediacy with which we must reshape the economy and our lifestyles. Thank goodness his analysis can now be shared more widely."--Andrew Simms, codirector, New Weather Institute; fellow, New Economics Foundation; author of Cancel the Apocalypse
"David Fleming was an elder of the UK green movement and a key figure in the early Green Party. Drawing on the heritage of Schumacher's Small Is Beautiful, Fleming's beautifully written and nourishing vision of a post-growth economics grounded in human-scale culture and community—rather than big finance—is both inspiring and ever more topical."--Caroline Lucas MP, former leader, Green Party of England and Wales; former Member of the European Parliament
"David Fleming predicts environmental catastrophe but also proposes a solution that stems from the real motives of people and not from some comprehensive political agenda. He writes lucidly and eloquently of the moral and spiritual qualities on which we might draw in our 'descent' to a Lean Economy. His highly poetic description of these qualities is neither gloomy nor self-deceived but tranquil and inspiring. All environmental activists should read him and learn to think in his cultivated and nuanced way."--Roger Scruton, writer and philosopher; author of over thirty books, including Green Philosophy
"Why do some of the truly great books only emerge and exact their influence upon us after the death of their authors? Perhaps it takes a lifetime to accrue and refine the necessary wisdom. Or perhaps it simply takes the rest of us too long to catch up. Like Thoreau, Fleming's masterpiece brims not only with fresh insight into every nook and cranny of our culture and what it means to be human, but with such wit and humour that its challenging ideas and radical perspectives become a refreshing delight. If we're to have a future worth surviving, this book demands to be read, re-read, and—ultimately—acted upon."--Mark Boyle, author of The Moneyless Manifesto and Drinking Molotov Cocktails with Gandhi
"Shaun Chamberlin has edited Fleming's Lean Logic to a string of gems that refract the burning issues of our times."--Professor Alastair McIntosh, author of Soil and Soul and Poacher's Pilgrimage
"'The end is nigh' messages are a dime a dozen these days. Fleming's work doesn't shy away from that, but it's his vision of what could come next—and the potential richness, carnival, and culture of it—that I think is so rare and precious in these books. Less what we stand to lose and more what we've lost already and stand to regain if we do things right."--Jeremy Leggett, founder, Solarcentury and SolarAid; author of The Winning of the Carbon War
"I can't say enough good things about this book. David Fleming's keen interdisciplinary mind was at home in economics, history, and anthropology, so when he imagines the world beyond fossil fuels, the result is not just a schematic diagram but narrative with bone, sinew, flesh, and blood. This is how real human beings could and hopefully will respond to climate change and resource depletion."--Richard Heinberg, senior fellow, Post Carbon Institute
"David Fleming has laid out a logical, persuasive, and very readable pathway to dealing with the most crucial catastrophe we face: the double bind of growth—if no growth the economy fails, if growth the economy fails. He illuminates the 'transition from the global city' to 'habitats on a human scale' and an economy 'organized around the rediscovery of community.' If there will be any survival following the coming collapse, it will be through following the wisdom provided here."--Kirkpatrick Sale, author of Human Scale
About The Author
|304 pages
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|Chelsea Green Publishing
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|August 12, 2016
Available In/Retail PricePaperback, 304 pages, $20.00USD, £13.99GBP
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text:
Never give money to any organization unless you've investigated it first. The Tampa Bay Times did a lot of investigating for you, and compiled a list of the 50 worst — it seems a shame that we don't have a law that sets a threshhold for the ratio of money spent on salaries to money disbursed for the actual cause — below this number, you're a legitimate charity, above that number, you're a grifting operation preying on the generosity of the public.
They probably can't do that, though, because then every priest would get labeled as a con man.
The worst are the cancer charities, and the article singles out the Reynolds family and their nepotistic mill for turning dying people into salaries. Cancer is so easy for these crooks: everyone hates it, there's no plus side to the disease, and there's a wealth of tragic heart-string-tugging tales to be mined from it. And you can't tell from the names what they're doing! "Breast Cancer Society," for instance…how can you refuse to support that? "Children's Cancer Fund of America" — OMG, children with cancer? Here's $50. And then the members of the family doing the bilking make 6 figure salaries for shipping boxes of surplus junk to cancer patients.
It reinforces my opinion that most people are good, but that there are always parasites who know what buttons to push to exploit them.


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Gwynedd Portmerion. Porthmadog, Wales. Vale of Glamorgan Dyffryn Gardens. Vale of Glamorgan, Wales. … [Read more...]
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Gardens to visit in Wales
April 3, 2010 by admin Leave a Comment
Filed Under: Wales Tagged With: Anglesey, Antrim County, Blaenau Gwent, Bridgend, Caerphilly, Carmarthenshire, Ceredigion, Conwy, Cornwall County, County Antrim, County Armagh, County Fermanagh, County Londonderry, County Tyrone, Denbighshire, Dumfries And Galloway, Dyfed, Dyffryn Gardens, East Sussex, Fermanagh County, Glamorgan, Glamorgan Wales, Gwynedd, Gwynedd County, Isle Of Anglesey, Isle Of Wight, Merthyr Tydfil, Mid Glamorgan, Monmouthshire, Neath Port Talbot, North Yorkshire, Pembrokeshire, Porthmadog, Portmerion, Powys, Rhondda Cynon Taff, South Glamorgan, South Yorkshire, Torfaen, Vale Of Glamorgan, West Glamorgan, West Sussex, West Yorkshire, Wrexham


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Like the rock monument on our coastline, Goat Rock is the stalwart blend of our line. A consummate cup well suited for any time of day, any season, and for any taste. Inspired and soothing, like a visit to Goat Rock Beach.
Regions: Cajamarca, Peru & Matagalpa, Nicaragua, & Aceh, Sumatra, Indonesia
Elevations: 975 – 1800m
Cultivars: Typica, Caturra, Pache, Bourbon, & Catimor
Processing: Semi-washed, washed & sun-dried
Roast Level: Medium-dark
Tasting Notes: Dark, nutty, & balanced
Certifications: USDA Organic, Fair Trade & Kosher
is backordered. We will ship it separately in 10 to 15 days.


text:
Nikon 28-300mm f/3.5-5.6G AF-S ED VR Lens
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The Nikon AF-S 28-300mm f/3.5-5.6G ED VR Lens has a very broad zoom range that is ideally suited for travel photography. The Silent Wave Motor autofocus system provides smooth and quiet AF action, which is particularly helpful when shooting video. It sports Vibration Reduction, which helps to reduce the appearance of camera shake by up to 4 shutter speed stops for better handheld shooting in low-light situations. The Nikon AF-S 28-300mm f/3.5-5.6G ED VR Lens can be paired with both full frame sensor cameras, such as the Nikon D810, and with crop frame sensor cameras, such as the Nikon D7200. The focal length equivalent on crop frame sensors is 42-450mm. This lens has a versatile wide/normal to super-telephoto focal range, with a relatively fast maximum aperture on the wider end of the range. It is a great option for vacations, events, wildlife, and everyday shooting.
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Blackhawks shut out Wild to take 3-1 series leadby Dan Myers
ST. PAUL, Minn. -- Chicago Blackhawks defenseman Duncan Keith hasn't slept in days. Following his team's 3-0 victory against the Minnesota Wild on Tuesday night in Game 4 of their Western Conference Quarterfinal series, he and his teammates appear ready to put the Wild to bed.
The victory gives the Presidents' Trophy winners a 3-1 lead in the best-of-7 series as it shifts back to the United Center for Game 5 on Thursday night (9:30 p.m. ET; NBCSN, CBC, RDS2).
The last 36 hours have been a whirlwind for Keith, who said he last slept Monday morning. After practice at Xcel Energy Center, Keith learned his wife Kelly-Rae was ready to give birth to the couple's first child, a boy, who was born Tuesday morning.
Keith was by his wife's side in Chicago, then flew to Minnesota and played a team-high 23:57 seconds in Game 4 -- spearheading a stifling defensive effort that blocked more shots than it allowed and helped secure Corey Crawford's second career playoff shutout.
Keith also played a pivotal role in stonewalling the Wild's power play, which went 0-for-6 on the night and is 0-for-15 in this series.
"It's just been non-stop, on the go. So much excitement," Keith said. "I might sleep until the next game."
Chicago finished the night with 26 blocked shots -- nearly three times as many as Minnesota, keeping Crawford clean for a good chunk of the evening. He made 25 saves in a ho-hum effort for him that was, for lack of a better word, simple.
"We just go about our business. We've had that calm, collective confidence all year long," Crawford said. "I think we definitely showed that tonight."
Minnesota came out with good momentum to start and drew a power play 1:06 after the opening faceoff. Unfortunately, that was the problem for the Wild all night. Chicago used its penalty kill to gain momentum instead of lose it, and often used such kills to start pick up its own pace.
"Our PK definitely won us the game tonight," Crawford said. "So many power-play situations for them and we just kept out cool, we didn't freak out at the refs or lose it on each other -- we just stuck with it, played hard. Obviously we came through."
"I thought the penalty kill was outstanding," Hawks coach Joel Quenneville said. "It starts with the goaltender in those situations. Six isn't a normal number for us, two or three is usually our quota. Just an outstanding job blocking shots, getting clears. I commend them for doing an outstanding job."
It didn't help Minnesota that it was down to its third goaltender of the series at the start of the second period after backup-turned-starter Josh Harding sustained what looked like a lower-body injury.
With 4:23 remaining in the first, Blackhawks forward Jonathan Toews attacked the Wild net with the puck. After going forehand-to-backhand, he lost control of the puck into the corner. Harding sprawled to make the stop, and Toews landed awkwardly on the goalie's left leg.
Harding remained down for several seconds before getting to his feet. Play continued for more than a minute until the next whistle, when Harding could get looked at by a trainer.
Minnesota killed off a penalty and Harding finished the period, stopping five of six shots before being replaced by rookie Darcy Kuemper.
Harding's injury is the second to strike a Wild goaltender in this series. Niklas Backstrom, scheduled to start Game 1, suffered a lower-body injury during warm-ups prior to that game and hasn't played since. After Harding's injury, he dressed and served as Kuemper's backup.
Just over a minute into Kuemper's first career playoff appearance, Patrick Sharp beat him with a snap shot through a screen on the first shot he faced. The goal, Sharp's second of the game and fourth of the series, pushed the Blackhawks' lead to 2-0, delivering a serious mental blow to a team ravaged by key injuries.
"I would have shot that puck no matter who was in net," Sharp said. "Anytime you can gain the blue line with speed and use the defenseman as a screen, it's a good idea to shoot the puck. More often than not, they go in."
"It's a tough situation for Kuemps to come into," Wild coach Mike Yeo said. "You can't worry about those things. You take what's given to you, put your head down and get back to work."
Chicago jumped ahead 8:48 into the game when a failed breakout pass by Mikko Koivu at the right half-wall ended up on the stick of Marian Hossa. He dished to Michal Handzus on his left, who fired a wrist shot that was tipped in by a crashing Sharp in front.
Had the pass connected, Zach Parise and Charlie Coyle would have been sprung on an odd-man break. Instead, Chicago turned it into the eventual game-winning goal.
"It's one of those… it's the right play by [Koivu], if that gets through, we have a 2-on-1," Parise said. "Unfortunately, it didn't."
The two-goal effort by Sharp was his second of the series. He also scored a pair in a 5-2 victory in Game 2. Chicago hasn't suffered a regulation loss in any game Sharp has played in this season, going 25-0-3 during the regular season. Minnesota's Game 3 win came in overtime.
Bryan Bickell added an insurance goal for the Blackhawks with less than eight minutes to play, his third tally of the series.
Kuemper stopped 16 of 18 shots but did not figure into the decision. Despite playing only 20 minutes and seeing six shots, Harding was tagged with his third loss of the series.