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So its become quite fad these days - discussing the big controversy where Google alleges Bing of using Google search results to improve their own search service.
The Story
So to cut a long story short, Google believed Bing was secretly making use of their search results to improve its own service; and ran a 'sting operation' to prove this behavior. They created an artificial result for a search query ("hiybbprqag") that originally returned no results, and tweaked their index to return a hand crafted result that had no relationship to the original query.
A few days later, searches on Bing for the same keyword returned the same results that Google did (Here's the whole story). As expected, Google claims this is unethical behavior and would like this practice to stop.
Microsoft's Take
Microsoft responded quite strongly, stating that
"To be clear, we learn from all of our customers. What we saw in today's story was a spy-novelesque stunt to generate extreme outliers in tail query ranking. It was a creative tactic by a competitor, and we'll take it as a back-handed compliment. But it doesn't accurately portray how we use opt-in customer data as one of many inputs to help improve our user experience."- Harry Shum, Bing Corporate Vice President
Bing - a better way to Google?
But with all this controversy around, the popular opinion indeed is that Bing copies results from Google. This video on College Humor probably says it best:
"Bing helps you Google the best choice, faster. And shows related Googles right there on the results page. Bing knows what you like to Google."
An interesting Analogy
Here is an interesting analogy that I came across, of the events of this entire Bing-Google episode:
The Bing Cafe head chef is waiting at his usual bus stop and overhears someone saying"Hey, I had unusual dish X with unusual ingredient Y last night, and it was pretty good."
But he doesn't think anything of it, because nobody ever asks for unusual dish X at the Bing Cafe.
Until one day, voila! Someone comes in and orders off-menu: dish X!
The chef has never made dish X before, but he remembers that unusual bus stop conversation and decides to try to make dish X with unusual ingredient Y.
And then the customer peels off his fake moustache and says
"Aha, gotcha! That was *our* idea, at the Google Deli across the street! *We* invented the idea of making dish X with Y!"
And he explains to his dining companion, the local restaurant reviewer, that they sent twenty people to the chef's bus stop to *deliberately* have conversations in front of him, and a whopping *7%* of the time, the chef later made dishes with the unusual ingredients they mentioned. And the local restaurant reviewer, who isn't entirely clear whether 7% of dishes ordered by 20 people is a big or small number, presses his editor to make this "scandal" a front-page story.
And the editor isn't good at math or ethics either, but it's a slow news day in their town, so voila: Front page news.
So then a reporter asks Bing Cafe chef about the article and he says
"Huh? That's ridiculous. I'm not reselling Google Deli food at the Bing Cafe."
And then he reads the article, and he says "You gotta be kidding me. The Google Deli has been deliberately sending spies to my bus stop?"And the chef tries to respond, but hey, it turns out that today is the opening day of the "Whipped Cream Pie Convention", and soon there are pies flying through the air so that everyone is messy and nobody wins, except for the Keystone Kops Production Company, who have diligently filmed the whole thing for your internet viewing pleasure.


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Posted by Editor on 03/20/99
Lots Happening Today...
As well as the Sea Otter Classic (road and mtb), there is also the Milan-San Remo and Women's World Cup #3 (Primavera Rosa) races happening in Italy. So expect a stream of updates all day.
Currently at Milan-San Remo, there is a breakaway of 3 riders (Francisco Cerezo Perales (Vitalicio Seguros), Robert Hunter (Lampre) and Marco Antonio Di Renzo (Cantina Tollo)), who have been out in front since the 44 kilometre mark. Their lead reached a maximum of twelve and a half minutes, but is down to just over four minutes at the 210 kilometre mark (84 kilometres to go).
Sara Felloni of Italy has won the 118 kilometre Primavera Rosa in front of Gabriella Pregnolato (Ita) and Chantal Beltman (Ned). The winning time was 3:02:52. More to follow.
Langton in Points Jersey at Sea Otter
Team Elita's Kim Langton is wearing the Points Jersey at the Sea Otter Classic stage race after yesterday's stage, when she won both points sprints. We are trying for more information, but the organizers are NOT very organized...
Frostbite Mtb Race, Ontario
Sun. Mar. 21 is the 9th annual Frostbite festival. The fun begins at 9 am ( sign - in from 7:30 am ), with a post race party to follow in the clubhouse. To get there go North on the 400 or 404 and get off at Davis Dr. ( Hwy 9 ) and proceed to Yonge St. ( Hwy. 11 ) in Newmarket. Head north to the Holland Landing Rd. and turn right. At the bottom of the hill bear right and proceed north again ( 5 min. ) to Cedar St. and turn right. Look for the Snowmobile clubhouse at the end of the street.
This is a citizens event and is suitable for any level of rider. The trails are groomed and well marked. The race will be scored cyclocross style ( 90 min. - most laps wins ). Studded tires are permitted, although the trail is not as icy this year as in years past. For the more novice riders - platform or BMX style pedals are recommended.
Will Eric once again get his name on the famous "Snowman trophy"? Come on out and find out. Lots of fun.
For more info: call Jayme at 905-853-9545
The Easter Sunday Loops - Sunday April 4, 1999
Cobourg, Ontario
Get a little Loopy this Easter Sunday at the second annual Easter Sunday Loops organized by the Cobourg Cycling Club (last years OCA race organizer of the year) and Jet Fuel Coffee.
Categories Include Junior, Masters, Senior 3, Women and Senior 1,2. For more information go to our web site at www.eagle.ca/cobourgcycle.
The web page has all times, costs, directions and important information on where to place your race numbers for the photo finish. For any further information contact: Dave Naish (905)372-9502, Dave Singfield (905)372-6391 Dave Butler (416)465-6245 or email email@example.com.
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subset: commoncrawl


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Keating scored her 22nd career goal in her final game (photo courtesy Gil Talbot). Scroll down to view video of the Senior Day ceremony.
CAMBRDIGE, Mass.—Visiting Columbia scored three goals in the first half and held off a strong second half by the Harvard field hockey team to hang on for a 3-1 win in the Crimson's season finale Saturday afternoon at Jordan Field.
Chloe Keating scored her team-leading sixth goal of the season in her final game for Harvard (3-14, 1-6 Ivy League). Cynthia Tassopoulos made five of her six saves in the first half, while Christie O'Hara made all six of hers for the Lions (10-7, 3-4) in the second half. Columbia held a 16-10 edge in shots, while Harvard owned a 7-6 advantage in penalty corners.
The Crimson started strong, keeping the Lions pinned in their own end for much of the first 10 minutes and got a great early scoring chance when Christy Haughey ripped a ball just wide of the left post and just out of the reach of hard-charging teammate Emma Keller.
Columbia, however, turned the tide with some offensive pressure of its own and got on the board first in the game's 13th minute. After her first shot hit the right post, Gabby Kozlowski got to her own rebound and slipped the ball over the end line.
The Lions added a second goal about six minutes later, when Carson Christus streaked toward the net to redirect in a feed from Caitlin Mullins on the left side. Julia Garrison made it 3-0 with a goal off a penalty corner just before halftime.
Harvard finished its season with an energetic second-half performance, outshooting the Lions, 9-5, and earning seven penalty corners to Columbia's three. One of those corners, in the 59th minute, led to Keating's goal. Following the stick stop, Carly Dickson slipped a pass inside to Keating, who scored from the middle of the circle.
The Crimson continued its pressure after scoring, but O'Hara made three second-half saves on Dickson, two on Haughey and one on Mariah Pewarski.


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Anti-Spam Policy¶
If you have been a victim of spam (unsolicited commercial email), you will find our position below in addition to some ways in which you can confront spam-related problems.
1. Correctly identify the spam's origin¶
Do you think Gandi is responsible for the spam?
- The sender or the recipient of the spam has an address ending with …@gandi.net: spammers often use fake names. Gandi does not spam, does not maintain a list of its customers for spammers and does not sell such lists to third parties. The addresses in the "To" and "From" fields are simply faked, and definitely do not mean that Gandi created or sent the spam. To find the real sender, you need to look at all the emails' "headers" and examine this information using the available tools on the Stopspam website.
- By following one of the links in the spam you received, you came to an error page saying that the domain name is registered by Gandi and uses our default servers.
- You see names such as redir-mail-telehouse1.gandi.net in the "Received" field of the spam, and think that Gandi has open relays: Gandi does not have open relays. We are very diligent in checking this constantly. If the Spam was relayed by one of our servers, this means it was sent by an email address on one of our domains, using one of our free forwarding services. Email from this domain was therefore received by our servers and then relayed to the address specified by the domain's owner.
- By looking up the domain name displayed in the email, you see the domain is registered with Gandi: As an accredited registrar for each TLD's authorities (ICANN for example), Gandi registers domain names on behalf of its customers. The use of a domain name purchased from us depends on the person that owns it and/or its contacts, visible in the Whois. However, in some cases we can take direct action against the domain name.
2. What can I do to fight spam?¶
- You can file a complaint with the Internet service provider or web host used by the spammer, in the hope that they might deactivate their email account or website. We cannot take any action in this regard, but if you have difficulties in identifying the Internet access provider or web host of the spammer, please feel free to contact us, we will do our best to help you identify them.
- Protect your email address: If you have your own domain name, your contact information can be found in the Whois database; your email address is therefore also available through the Whois: it is a good idea to protect this address by enabling anti-spam protection in your Account Management page (free service).
- Try to get the registrar to suspend the domain, namely if the Whois information of the domain is incorrect.
- Complain to the legal authorities
3. What more can Gandi do?¶
Gandi is only a technical intermediary in the registration of domain names. However, this does not mean that Gandi encourages or condones spam. It is quite the opposite. This only means that our position as a Registrar limits what we can and cannot do about it. We can only modify, suspend, or delete a domain if:
- The spam was sent through our forwarding service:
- Such a practice hinders the smooth operation of our technical and general services by taxing our IT system and/or by generating many complaints by third parties, and is grounds for the suspension or termination of forwarding services, or even the deletion of the domain name (Sections 14 and 19 of Gandi's General Terms and Conditions of Domain Name Registration).
- Personal contact information in the Whois is invalid:
- As with any ICANN-accredited registrar, Gandi must assure that the information present in the Whois is valid. If you think the information provided in the Whois is incorrect for a domain name tied to spam you have received, please contact us through our free Complaint for Inaccurate Whois page. If the information on the offending website is not updated within 15 days, the domain will be put on hold. If the contact information is clearly false, the domain will then be put on hold immediately (Sections 16 and 19 of Gandi's General Terms and Conditions of Domain Name Registration).
- Gandi protects your email address:
- If you believe your spammed email address was found in Gandi's whois, you can enable an "anti-spam system" in your account. It's free, harmless and can be reversed: you will still receive some spam, but the encryption system used will nevertheless reduce it significantly.


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North Sea Storms are especially gnarly, so if you need to abandon a ship or drilling platform, it must be done quickly. That's why lifeboat and davit manufacturer Schat-Harding designed their newest escape pod-like vessel to withstand a 60 meter freefall.
The height from which the torpedo shaped boat was dropped during testing set a new record, plunging the craft 11 meters below the surface before its engines shot it clear of the splash-in site. Designed to carry 70 passengers to safety, the boat will be used initially in Norwegian offshore operations where if they had to happen, emergency drops would be from 33 meters above the sea surface, in pretty nasty weather conditions.
So far, 47 orders have been placed.
Riding in this thing would be crazy. It's lightweight and streamlined to minimize its impact with the water, but all of the seats inside are kitted out with five-point racing style safety harnesses. When do I get to try one (preferably not as a ship or platform is sinking into the churning North Sea)?


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Nuweiba News
News About Nuweiba, Egypt by Gasser Riad of Nature Travel in the Sinai.
Please feel free to email Gasser (email@example.com) with any news items you would like to have posted.
The Official Tour Egypt Voice in Nuweiba November 11th, 2005
Zaman, the Castle by the Sea
According to Modern Bride, the average couple forks up about 3,657.00 USD for a honeymoon. Thats a bit short probably of what would be needed, but imagine treating your new princess to this: Its one of those soft, Red Sea evenings. Just a bit of wind, but thats because your terrace sits atop a cliff overlooking the sea, in a castle. The only sound is that which nature provides, well, at the moment. The servants are busy toiling elsewhere, and it is just you and your new spouse, feeling as though you are soaring over the lovely sea, its color shifting between blue, turquoise, green and gray, here high up in your perch. Tonight, and for the next few, this is your castle. There are no other rooms available for other guests, because there are no other rooms.
It doesnt have to be this quiet. Inside your lavish quarters are all the modern amenities. It consists of two floors providing what many of the most luxurious honeymoon suites in hotels do not. First of all, there is the view of the sea, from many windows. But there is also a satellite, large screen TV, DVD, stereo and even internet access, but for once, web browsing is not on your mind. Sitting by the fireplace on a comfy cushion might be better, toasting a loving commitment with a glass of fine wine, or perhaps a bit of snuggling in the hammock with its real mattress, or a soak in the carved marble bath. Need something? Just ring for your private barman, your private chef, or the masseuse.
Of course, you could also take a dip in your private natural spring-fed swimming pool right on the edge of the rocky cliff, or maybe take a soothing stroll around the Japanese Koi pond, the cascades and waterfalls about your castle.You might even stroll down to the level of other mortals, and walk along your private beach.
This is Castle Zaman. As it turns out, Geziret Faraum, the old Crusader fortress on Pharaohs Island in the Gulf of Aqaba is no longer the only castle on the Eastern Sinai coast. But unlike Geziret Faraum, this much more comfortable and well appoined castle can be yours, at least for a while, for about $1,000 USD per night. That may be a rather stiff amount, though not for a suite in many fine hotels, but it is a penance for a honeymoon in a castle by the sea that will live on in your memories forever.
When architect turned cartoonist Hany Roshdy was denied a residential license to build a house near Nuweiba, he decided to build something just a bit grander, and it seems that the commercial license was easier to get than the residential one. Roshdy is the mastermind behind the popular pharaoh cartoon in Egypt known as King Dude, as well as Say Cheese rats that are now printed on many greeting cards and t-shirts. Some have even called him the Walt Disney of Egypt, so perhaps his endeavor is not so surprising. And yet, Walt Disney his is not, for old Walt made most of his dreams from concrete and steel.
He now has his view of the Red Sea that he wanted, but from the lofty grandeur of the Zaman Castle. Zaman is actually Arabic for "the past", and he took steps to make sure that the touristic castle is as close to an actual monument as he could. Architecturally, strict adherence was given to ancient construction techniques, which were revived specifically for the project. Every single stone in its construction was handpicked from nearby mountains, and neither metal nor concrete were used in the construction process. Together with local craftsman, Roshdy painstakingly collected granite and basalt stones from dried spring beds around the cliff. The stones, shaped and polished by once gushing water, were color coordinated and used to create Zamans imposing walls. These were lined on the inside with stone slabs specially transported from El Arish. A true architectural achievement, its construction revived ancient techniques of building stone vaults and cross vaults. In fact, many first time visitors who are unaware of its history end up believing it is actually an ancient monument, and even those who know its secrets are hard pressed to find a flaw that might reveal its more modern construction.
There are even environmental awareness features. Reclaimed wood was used in all construction and furniture, and chandeliers and lighting fixtures are all handcrafted from recycled glass bottles.
An underground treasure room has been excavated from beneath the castle. Here one can experience the marvel of an ancient party trick. Midday on April 22, August 20, December 31, and January 1, a sunbeam passes directly through a hole, and subsequently through a glass lens, to magically light a candle in the darkness of the dungeon. This striking, Abu Simbel-like shrine has been constructed to evoke images of pharonic times, and indeed it does. What a neat trick. Now days, there is a treasure hunt-style gift shop in the treasure room where one can purchase a few physical memories of their visit to the castle.
At about 35 kilometers distance from the Taba airport, this thoroughly comfortable and modern, yet authentically executed structure is completely Egyptian, and not very difficult at all to visit. When it is not being rented for honeymooners, it is available for special parties and other events, and when none of that is going on, one can simply visit the castle, have a drink in the bar or a rather authentic medieval dinner in the restaurant. In the end, this is not the sort of creation that a corporation could, or would dream up. A real commercial endeavor would figure out ways to cut costs, perhaps with a bit of plastic or steel here and there. But there is love in these stones, the furnishings, not made so much of wood, but of dreams, and the pools are full of memories in this castle by the sea.
Zaman Castle
Telephone: +2 012 214-0591
Posted by Administrator: - 11:27 am - 1 Comment
August 29th, 2005
Last month we, my husband and my 2 children Dudu (8) and Duva (5) went for a real adventure experience. Nature Travel wants to introduce an adventure of rock climbing to the region and in the Sinai we have beautiful places that invite rock climbing.
Naturally Gasser wanted to have a first hand respond from his family. So, accompanied by our professional guide and friend Sam we drove out into the desert by jeep all excited about what this would be like. About 15 km south of Nuweiba we left the asphalt road and drove towards Bir Zrair, a Bedouin settlement. A few km before the settlement we turned into Wadi al Sid which provides perfect conditions for a snappling tour. The Wadi ends in a gap of about 10 meters.
We left the car and Sam gave us an introduction. It is like swimming , he said. Lay back, the rope will hold you. Have confidence. Put your legs on the rock, and be sure that you have a good hold. Move down step by step but dont look down.
We were all excited. Gasser was the first one to go. He connected the belt and the rope and put on a safety hat to protect against small loose stones that might fall while climbing down. With a loud good bye and a big smile, Gasser let himself down and slowly descended step by step, while we were watching and shouting and laughing. Then it was Dudus turn. As a young boy fond of the mountains and outdoor living he had no problems, though my heart was pumping watching him descending easily.
Duva refused. Sam brought a huge basket for Duva to sit in while we pushed the basket over the edge. With loud laughter and happy screaming Duva made his way downwards.
Then it was my turn. Connected to the rope I moved my leg over the edge searching for a hold on the flat rock. Then slowling moving my other leg downwards until I found a small crack for support I began the descent. This was the most difficult part. Under the guidance of Sam I relaxed my body as if I was swimming and let my legs do the work, not looking down nor up, just concentrating on the rock in front of me. Each step seemed to be easier and my self confidence rose. When my feet reached safe ground I was happy and proud to have mastered my first rock climbing experience.
At the end of the tour, which took about 5 hours, we enjoyed a picknick of fresh bread baked in the campfire and tea and headed back to the car driving to the beautiful bay of Ras Abu Galloum where we spend the night under a million stars.
Posted by gasser: - 12:07 pm - No Comments
August 19th, 2005
Web address of the new SwissCare Nuweiba Beach Resort
Here is the web address for the new SwissCare Nuweiba Beach resort, including some nice pictures.
Posted by Administrator: - 8:37 am - No Comments
July 23rd, 2005
world crazies
Dear All, Good day from Nuweiba. We are 170 north of Sharm el-Sheikh and we felt very very badly about what happened. In fact, my wife and my children was too close to the accident with one English friend and thank god they came back to Nuweiba early in the morning after the attack safely. I believe what happened in the UK could be happen any where in the world. I pray for those who lost their lives and their families. Let us pray all of us to the whole world to be save from terrorism.
Posted by gasser: - 7:43 am - 1 Comment
June 23rd, 2005
New Hotel
Coming soon Swiss Care Nuweiba Resort Hotel The resort is located on over forty thousand Square metries of beautiful front land in Nuweiba some 3 km from thr port and 5 km from the town The beach is sandy and flat, with a lovely long Coral reef, that offers excellent snorkelling and swimming. The resort shall efentually consist of: 1-48 one bedroom suites 2- Six restaurants and bars 3- Reception, lounge and meeting rooms 4- 13 shops Large selecion of recreation activities with a large fresh water swimming pool, children area, beach volley ball and soccer, billiardes, darts, water sports, inter net service, massage service, beautiful spacious beach and gardens and a dive center operated by the renowned British owned.
Posted by gasser: - 1:06 pm - 2 Comments
June 21st, 2005
Ras Abo Galoom
The best and most peacful night you can have while you are in the Sinai can be found at Ras Abu Galoom, one of the natural protected area on the east coast. I was recently there with my family celebrating my older sons birthday with our Beduin friends, eating fresh fish cooked by the Beduin ( Ahmed and Aied ). It was a grand time.
Posted by gasser: - 5:33 am - 2 Comments
June 16th, 2005
Connected to the world
We now have DSL Internet connections in Nuweiba for the first time. It is operating fast and very well. Its a lot of fun to use the computer to keep in touch with all of our friends abroad and I hope it will improve business. In addition, many of the hotels are also getting the DSL service and providing it to the tourism market. This has all really helped because prior to this we had many problems with the internet. However, we hope you come to Nuweiba and forgot about everything and just enjoy the holiday away from the daily routine.
Posted by gasser: - 2:27 pm - 3 Comments
Last Updated: June 22nd, 2011


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Busting Coke Traffickers in the Peruvian Amazon
Home to the world's number two cocaine market, Brazil is adopting a controversial American strategy: Reaching across borders to stop cocaine at the source. WSJ's John Lyons reports from a drug raid in the Amazon.
This transcript has been automatically generated and may not be 100% accurate.
I ... tht ... tht ... the ... Moody's has to be making ... I had to choose Amazon jungle just across the border from Brazil ... members of ... the police it's just another Ding belonging to the time the scheme could impede traffic ... is it working ... steel plates ... it's ... a movie ... he has kids toys like ... families with the hair ... it's kind of ... typical for me and in ... some ways and there is a teacher and you ... find that operates this ... happened on ... the disk or girl farmers ... and ... many other ... options to ... stay here and and may contain ... eight sees operations different is the presence of Brazilian police in you ... in fact ... this mission net from a Brazilian airport in a helicopter running on Brazilian fuel ... to destroy a target provided by a Brazilian paid informant ... officially ... the resilience were meant to be unarmed observers will imbedded with improving team and produce oil ... but the two Brazilian observers on this raid carried military grade weapons faced hostile fire soon after landing in its scope of the ... new Zealand officials insisted that we should not cross the border from ... their warranties mission should be limited to intelligence and logistics ... government officials said the men were carrying guns and air ... and did not explain how it happened ... but no one on the mission seem to have a problem that ... the explanation may lie in the all hands on deck nature of operating in the deepest regions with resources are limited impact far away ... Brazilian officials once criticize similarly aggressive tactics used by the United States but Brazil has become home to the world's Number two coking market after the US ... and now countries adopting one of the most controversial American strategies reaching across borders to stop cocaine at the stores ... a flight of the John Murray River that divides his own truth helps explain why ... the true the inside of the river is the longest beach in its home to some of the world's fastest expanding farms of Coca the raw material in cocaine ... in virtually all the cocaine me here goes to Brazil ... that something new in industry's long dominated by American consumers ... in addition to true Brazil shares Bason remote borders with the world's two other main cocaine producing countries Colombia and Bolivia the frontier with Bolivia alone is longer than the border the U S shares in Mexico ... in the Amazon smugglers use arteries rivers to drugs and chemicals to limit the flow of cocaine over the border ... Brazil is purchasing unmanned surveillance drones ... hiring more Federal police sending troops were hotspots incorporating closer with me doing these forces and joint operations ... to search ad cocaine that such is the ... deforestation caused by cocoa farming is and then along the way ... the team leads to jumbo screens ... the word ... the water ... it was ... I ... what does ... he provide clues about the cocaine industry taking a huge supply Brazil ... the Syrian government can go play ... we discovered and installation processes or email away what they use the Columbia processing ... it ... if you go ... to the members and investigators take samples of cocaine being processed ... before it's time to load all of using this team detonator cord and barrels of gasoline in the cookie makers ... the ... the the ... I ... this one today ... the Wall Street Journal this is John Lyons and through the snowboarder ...


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Home Daily - Local Routes Drivers Average $77K/year!
Our drivers hold the keys to our success! As a driver for Gordon Food Service you are important to everyone - our customers, our company and your family. It's one of our Cornerstone Values - and we know you need balance in life and to feel appreciated for the time spent here with us. We put our values into action in many ways, including:
Committed schedules that allow you to be home regularly
Exceptional benefits, pay, and incentives
High-quality, well-maintained trucks
Dedicated to your safety
Take a look at what it's like to be a local route delivery driver :
You're home daily - here's what you'd be doing each day:
We'll teach you a lot, but we do have a few minimum requirements:
Find out more about our values, culture, and benefits at gfs.com/careers. Be part of it!
Gordon Food Service values our customers and understands that their success is largely dependent upon their workforce. To demonstrate our commitment to our partnership, we will require any candidate who works for a Gordon Food Service customer to provide a letter of support from their management if they are selected for the interview process.
Gordon Food Service is an equal opportunity employer. All qualified applicants and employees will receive consideration for employment, or in terms or conditions of employment, without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, status as a protected veteran, or status as a qualified individual with disability. The EEO is the Law poster is available here: http://www.dol.gov/ofccp/regs/compliance/posters/pdf/eeopost.pdf
If you require a reasonable accommodation for any part of the application or hiring process due to a disability, please submit your request to firstname.lastname@example.com and use the words "Accommodation Request" in your subject line. Please keep in mind this method is reserved for individuals who require accommodation due to a disability.
All Gordon Food Service locations are tobacco-free.
Gordon Food Service is a drug-free workplace and drug tests all employees.
Software Powered by iCIMS


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After pumping for 5-10 minutes I was able to produce a couple of drops of milk out of each breast. That might not seem like much, but Lyn and I were both thrilled! This thing may actually work. This morning when I woke up my breasts were noticeably heavier. I let Leigh "help" me pump which meant holding onto one of the shields while I turned on the machine and later pressing the "let down" button. While she watched me, she said, "Ima, your belly button is going up and down!" I corrected her confused anatomy and told her about how I was trying to make milk for the baby. She wants to do it now too.
In other news, I've gone this week from being worried sick to feeling like we have things under control to feeling intense sadness at losing our second chance at a homebirth to feeling ready to take on the problem and back around to feeling worried sick. I'm a bit unstable.
Yesterday, Leigh and I took the bus to the hospital where we peeked in at the maternity ward and ate in the cafeteria. Leigh enjoyed herself (I let her have two cartons of chocolate milk, teddy grahams, and some potato chips in order to encourage maximum enjoyment). However she is complaining about not being invited to the birth itself ("But I want to watch Mama squeeze the baby out"). It was nice to have something fun to do with her and to start feeling more comfortable around the hospital myself.


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Okay, let's think back on all the lessons I have submitted over time that where chibi based. Now take that number and try to figure out how many of those chibis, where of Pokemon characters. I counted three, including this one that I'm about to submit now. Today, I thought it would be cool to upload a lesson that can teach you "how to draw chibi Charmander", step by step. Charmander is one of the more popular Pokemon species, and this is probably due to the fact that he is one of the main characters when the series first started. Along with Pikachu, Charmander, Charizard, Bulbasaur, and a few others have really set the foundation to how Pokemon is today. As far as this tutorial, well, let's just say that I think there is a lot of fans of the well known series, and because of that, I think that a lot of people will like this lesson that teaches you "how to draw chibi Charmander", step by step. This version of Charmander is going to be easy to replicate. I mean, after all it is a chibi. When you are done with this lesson, I would really like for you guys to upload your finished work because as you know, almost every member here likes looking, rating, and commenting on other artists drawings, including me. I will be back tomorrow with more drawing fun. I had fun with you guys today, and I know that you await to see what I will upload next. Peace out ya'll, and make sure you come back tomorrow!
DragoArt members upload artwork and drawing tutorials! They are also allowed to leave comments on tutorials, profiles, etc. Many more features, as well; it's way better than just being a boring guest! Register Now!


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Wheat Land Logo Template is a great abstract logo design for wheat harvest bakery, flour production and many more, it is an easy, fully editable logo .PSD shape layers.
Whats in the file?
- .PSD Document (Layered) 100% editable
- CMYK (Fully adjustable)
- Free fonts
- Available for help/li>
- 300dpi
- Photoshop shapes


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This chapter describes the various components that you must configure in order to use an object-relational data type array mapping.
Note:To map a collection of aggregate structures, use an object-relational data type object array mapping (see Section 40.1.4, "Object-Relational Data Type Object Array Mapping"). To store information in a separate table from the parent structure's table, use an object-relational data type nested table mapping (see Section 40.1.5, "Object-Relational Data Type Nested Table Mapping").
This chapter includes the following section:
For information on how to configure TopLink mappings options common to two or more mapping types, see Chapter 121, "Configuring a Mapping".
For information on how to create TopLink mappings, see Chapter 120, "Creating a Mapping".
Table 44-1 lists the configurable options for an object-relational data type array mapping.
Table 44-1 lists the configurable options for an object-relational data type array mapping.
Table 44-1 Configurable Options for Object-Relational Data Type Array Mapping
|Option to Configure
|Oracle JDeveloper
|TopLink Workbench
Attribute name (see Section 41.4, "Configuring Attribute Name")
Field name (see Section 41.5, "Configuring Field Name")
Structure name (see Section 41.6, "Configuring Structure Name")
Read-only (see Section 121.2, "Configuring Read-Only Mappings")
Method or direct field access (see Section 121.6, "Configuring Method or Direct Field Accessing at the Mapping Level")
Serialized object converter (see Section 121.9, "Configuring a Serialized Object Converter")
Type conversion converter (see Section 121.10, "Configuring a Type Conversion Converter")
Object type converter (see Section 121.11, "Configuring an Object Type Converter")
Container policy (see Section 121.14, "Configuring Container Policy")
For more information, see the following:


text:
Here are some things make does well:
1. make's key use is in the expression of dependencies. make has a compact, syntactic cruft-free way of expressing a dependency between a file and other files.
2. Since make is so dependent on handling lists of dependencies it has built-in list processing functionality.
3. Second to dependency management is the need to execute shell commands. make's syntax for including dependencies in shell commands is small which prevents the eye from being distracted from the commands themselves.
4. make is a macro-language not a programming language. The state of a build is determined by the dependency structure and the 'up to dateness' of files. There's no (or little) need for any other internal state.
To see the ways in which make is superior to other similar, more modern, systems this post will compare GNU Make and Rake. I've chosen Rake because I believe its illustrative of what happens when people create new make-like systems instead of just fixing the things that are broken about make.
Here's a simple Makefile showing the syntax used for updating a file (called target) from a list of dependent files by running a command called update.
target: prereq1 prereq2 prereq3 prereq4
update [email protected] $^
(If you are unfamiliar with make then it's helpful to know that [email protected] is the name of the file to the left of the :, and $^ is the list of files to the right).
Here's the same thing expressed in Rake. The first thing that's obvious is that there's a lot of syntactic noise around the command and the expression of dependencies. What was clear in make now requires more digging to uncover and things like #{t.prerequisites.join(' ')} are long and unnecessarily ugly.
file target => [ 'prereq1', 'prereq2', 'prereq3', 'prereq4' ] do |t|
sh "update #{t.name} #{t.prerequisites.join(' ')}"
The biggest 'problem' that the Rake syntax fixes in make is that the target and prerequisite names can have spaces in them without difficulty. Because a make list is space-separated and there's no escaping mechanism for spaces it's a royal pain to work with paths with spaces in them.
make's terse syntax [email protected] is replaced by #{t.name} and $^ is #{t.prerequisites.join(' ')}. The great advantage of the terse syntax is that the actual command being executed can be clearly seen. When the command lines are long (with many options) this makes a real difference in debug-ability.
This terseness is better can be seen in an example taken from the Rake documentation:
task :default => ["hello"]
SRC = FileList['*.c']
OBJ = SRC.ext('o')
rule '.o' => '.c' do |t|
sh "cc -c -o #{t.name} #{t.source}"
file "hello" => OBJ do
sh "cc -o hello #{OBJ}"
# File dependencies go here ...
file 'main.o' => ['main.c', 'greet.h']
file 'greet.o' => ['greet.c']
which rewritten in make syntax is:
SRC := $(wildcard *.c)
OBJ := $(SRC:.c=.o)
all: hello
cc -c -o [email protected] $<
hello: $(OBJ)
cc -o hello $(OBJ)
main.o: main.c greet.h
greet.o: greet.c
If you want to fix make then it's worth considering the following make problems that don't require an entirely new language:
1. Fix the 'spaces in filenames' problem. Not hard, just needs consistent escaping or quoting.
2. make has a concept of a PHONY target which is a target that isn't a file (used for things like clean and all). These are in the same namespace as file targets. This should be fixed.
3. make can't detect changes in the commands used to build targets. It would be better if make could do this. You can hack that into make but it's ugly.
4. make relies on timestamps for 'up to date' information. It would be better if make used hashes (in some situations, such as when files are extracted from a source code management system, timestamps can be unreliable). This can also be hacked into make if needed.
5. Ensure that non-recursive make is handled in an efficient manner.
Overall I'd urge make reimplementers to do as Paul Graham has done with LISP: his arc language is very LISP-like rather than something brand new.
And one final note: building and maintaining software build systems is inherently hard. Visualizing and getting right the graph of dependencies and handling cross-platform problems isn't easy. If you do come up with something good, please write good documentation for it.


text:
By Airman 1st Class Bobby Cummings
9th Reconnaissance Wing Public Affairs
The court was shining and cameras flashing as a crowd of thousands gathered in the Sleep Train Arena to watch the Dallas Mavericks duel the Sacramento Kings April 5.
Beale Airmen and 9th Reconnaissance Wing commander, Col. Phil Stewart gathered to witness the contest and meet former 9th Security Forces Squadron, Staff Sgt. Bernard James, who is now a forward on the Mavericks.
"Meeting Bernard James was a unique experience. His positive representation of the Air Force in the past and present remain steadfast," Stewart said. "I'd like to thank him for his service and wish him well during his career in the NBA."
An NBA court is a drastically different environment from Bernard's humble beginnings at the Harris Fitness Center here.
"Beale is where I started playing basketball and from there my opportunities opened up," James said. "I really appreciate the support from the Air Force. I wouldn't be where I am now without the Air Force."
His time in the Air Force was not always spent honing his skills within the safe confines of a gymnasium. Bernard has deployed to Iraq, Kuwait and Qatar. While at Camp Bucca, Iraq, the Operation Iraqi Freedom veteran guarded detainees and survived a mortar attack which claimed the lives of six detainees. The life-threatening experience has not diminished Bernard's outlook on the military.
"My experiences in the Air Force and downrange have made me a better person," James said.
The 28-year-old NBA rookie was a high school dropout and joined the Air Force at 17. His experience was limited until he was advised by his supervisor to begin playing on an intramural squad. From there, he dedicated day after day to improving his skills.
"The Air Force instilled in me discipline, a hard working mentality, and a sense of direction," James said.
That sense of direction led him to the starting lineup for the Florida State Seminoles. As a senior in 2012 he led Florida State to its first Atlantic Coast Conference championship in school history and to the NCAA tournament. During his senior campaign, the former Airman averaged a career-high 10.8 points per game, 8.1 rebounds per game and 2.3 blocks per game. Later that year his dreams of becoming a NBA pro came true when he was selected 33rd overall in the 2012 draft.
"Being in the NBA is really crazy; my teammates are guys that are hall of famers that I used to watch on TV," James said. I get to step on the court and compete with players like Kobe Bryant, Dwight Howard and Lebron James. It's a great feeling, and great motivation to continue to work hard and get better."


text: MacX DVD Ripper Pro Serial Key v7.6.4 For WindowsMacX DVD Ripper Pro: MacX DVD Ripper Pro Serial Key is the tool used for the back up DVD to ISO or ripping it to MP4, AVI, WMV etc. for different platforms i.e Iphone & Android. It is the lightening fast ripper for the DVD for the Windows and converts and Rips …Read More »


text:
Le Grand Tour, an ambitious cultural agenda
Presentation of Le Grand Tour
France remains the world's number one tourist destination due to its rich and varied territories, extensive cultural events and ability to welcome other cultures. Visitors can choose from over 1,200 museums, 1,500 festivals, 14,100 listed monuments and 41 UNESCO World Heritage Sites. As the "bookshop of the world", all types of foreign literature and ideologies are translated into French. France is a cosmopolitan cinema, an art gallery, a theatre and a land of festivals, as well as being the third ranked destination for international students, with over 300,000 foreign students each year.
The aim of Le Grand Tour is to highlight and illustrate this wealth of French culture throughout the country, and to develop and stimulate it to make it even more attractive.
All cultural actors want to embrace Le Grand Tour: by so doing they can make it, for the network and the operators of the Ministry of Foreign Affairs and International Development, a way to promote their work in France, abroad and in the territories, and to make the largest festivals which are open to world cultures and labelled as partners essential tourist locations for the French cities and regions hosting them.
On 9 March 2016, the "Culture: Destination France" Forum brought together all cultural attractiveness actors in Paris, including in their political and economic aspects. This provided an opportunity to set out a first series of recommendations on how to structure cultural attractiveness to further France's territorial, economic and tourist development.
The interactive map of all stages of Le Grand Tour
"With over 40 stages throughout France, this Grand Tour is as much aimed at French people to make them aware of the international value of these exceptional cultural events and the importance of developing them, as it is at people from around the world who want to visit France from a different perspective."
—Olivier Poivre d'Arvor, Ambassador responsible for the Cultural Attractiveness of France
From the Night of Ideas to festivals focusing on books, cartoons, the art of gardening, dance, theatre, cinema, music and plastic arts, see every stage of Le Grand Tour on our interactive map.
The passport for cultural attractiveness
The Grand Tour program (PDF 918ko) will be available in many languages in all countries where French embassies and their cultural services make efforts to encourage foreigners to visit France. As a result, tens of millions of people around the world will see this schedule and map.


text:
The State of Jazz Composition SymposiumState of Jazz Keynote Address: Tania Leon
Please see the full events listing for upcoming events.
Cuban-born Tania León, a vital personality on today's music scene, is a highly regarded composer and conductor recognized for her accomplishments as an educator and advisor to arts organizations.
She has been the subject of profiles on ABC, CBS, CNN, PBS, Univision (including their noted series Orgullo Hispano, which celebrates living American Latinos whose contributions in society have been invaluable), Telemundo, and independent films.
In 2013, she was the recipient of the prestigious 2013 ASCAP Victor Herbert Award, and in 2012 received both a Grammy nomination (for Best Contemporary Classical Composition) and a Latin Grammy nomination (for Best Classical Contemporary Composition). Among her numerous awards are a Pulitzer Prize nomination for Ácana, a Guggenheim Fellowship, and commissions from the Fromm Music Foundation and Koussevitzky Music Foundation.


text:
For high school seniors, the start of college is far away. To pay for that college bill, however, they've got to start moving now.
College-bound students who haven't submitted the Free Application for Federal Student Aid, better known as FAFSA, as soon as they can after Jan. 1 should do it sooner instead of later, say college aid experts.
FAFSA was established in 1992 to help students learn what types of financial aid they're eligible to receive for college. It includes grants, scholarships and loans that are based in part on income and how much money a family should be contributing to a child's education.
"It's just one more family-involved step in the whole college process," says Joseph Audette, vice president of education at NerdScholar.
[Credit Score Tool: Get your free credit score and report card from Credit.com]
The deadline to apply for federal student aid is June 30 of the following year or the end of the spring semester, whichever comes first.
But some states have much earlier deadlines, such as February and March, and some states and colleges award money on a first-come, first-served basis. Connecticut, for example, has a Feb. 15 deadline for priority consideration, according to a NerdScholar list of deadlines. Federal, state and college deadlines can also be viewed at the U.S. Department of Education website.
Filling out the form isn't an exercise in futility. The Central Texas Student Future Project found that low-income students who fill out the FAFSA increase their chances of enrollment by 200%.
Students should use the end of March as the absolute deadline to fill out and submit the FAFSA, because colleges typically assign financial aid in April and May, according to the Texas Guaranteed Student Loan Corp.
Since the FAFSA asks for specific numbers from a federal income tax return, it can be difficult to complete the form if a family hasn't filed its taxes yet or doesn't have all of its tax information at hand.
Estimated income tax numbers can be used on the FAFSA, Audette says, and errors can be corrected later by updating the application online. Pay stubs, W-2s and bank statements can be used to estimate taxes, along with a previous federal tax return.
Some students may be under the mistaken impression that they have to know which college they're going to before submitting the FAFSA. They can list the schools they've applied to, and should soon have a better idea with letters of acceptance arriving around this time of the year in the mail, Audette says.
[Related Article: 4 Student Loan Scams to Watch Out For]
"You don't have to know exactly the schools you're going to attend, you just have to know the schools you applied to and submit the FAFSA as quickly as you can," he says.
And certainly don't wait until you've been admitted to a college to submit a FAFSA form, says Pat Watkins, director of financial aid for Eckerd College in St. Petersburg, Fla.
"Some applicants are concerned that their admission to a college may be jeopardized if they apply for financial aid," Watkins says in an email. "In many instances this is not the case. Admission to the college is made regardless of ability to pay."
Submission errors on the FAFSA are common, as are numbers being input incorrectly by administrators, says Audette, who recommends double-checking the figures online.
Meeting the early priority filing deadlines that some states and colleges have will get applicants further up in a line where grant money is given out to those who apply first.
"The priority filing dates are what the states suggest you have the application in by to have the best chance of financial aid," Audette says.
Whether filled out online or in hard copy, a little bit of financial literacy is needed, and the FAFSA should take about 30 minutes to complete if you have your tax information at hand, says Kevin Sully, school partnership manager at College Summit, a nonprofit organization that works to send low-income high school students to college. You won't need an accountant to help you fill it out, but a financial aid will help, Sully suggests.
"The money is out there," he says. "It is just up to them to take advantage of it."
[Free Resource: Check your credit score and report card for free with Credit.com]
Image: iStockphoto


text:
Jack White
Making a gut decision has never been hard for Jack White. "If somebody asked me, 'We're going to record a guitar part in a hotel room: What do you want in the room?' I'd say, 'I want a 15-watt amp with a reverb, that Supro guitar, a ribbon microphone, and a reel-to-reel,'" he reveals. "Somebody else would say, 'Why don't you bring down ten of my Les Pauls, three Stratocasters, a Tele, four of the Silvertones, the Marshall, a Twin Reverb, six other amps, and we'll record 45 guitar tracks. And then I'm going to go on vacation and you engineers pick the best one.'"
While many famous guitar players like to surround themselves with nearly endless options, that's not a process that appeals to White. He's most comfortable making resolute selections made in the blink of an eye. "I make my decisions early on and eliminate right from the get-go so I don't have to make those choices down the road, because that just makes it harder on you," he says.
The youngest of ten siblings, White took on a love for rock, blues, and country and started out as a drummer in local bands in Detroit. The singer and multi-instrumentalist has since paid his dues leading the White Stripes, The Raconteurs, and the Dead Weather, and he's collaborated and/or produced artists ranging from Alicia Keys and Loretta Lynn to Conan O'Brien, Bob Dylan, the Rolling Stones, and even Insane Clown Posse. His latest project is his first solo effort, Blunderbuss, which debuted in April and was his first album to hit Number One on the Billboard 200 chart.
He also heads up a record label and store, Third Man Records, as well as his own studio, Third Man Studio, in Nashville. He loves vinyl, and he likes to produce expensively made novelties such as liquid-filled and triple-decker records. "I want to make those things exist," he says. "I want to put vinyl in kids' hands."
White is also an analog-tape loyalist, nostalgic for the days before the advent of DAWs. "You just didn't have any choices to labor upon back then," he laments. "When people say, 'I like this guy's record, but it's overproduced,' as a producer I think, 'What does that mean, overproduced?' I wouldn't want someone to say that about my music, and I don't even know what that word means. All I can think of as a synonym of that word is 'opportunity.' And that can be a bad thing for some people."
The former chief engineer for Blackbird Studio in Nashville, Vance Powell—who engineered and mixed Blunderbuss at Third Man—is a bit more outspoken on the subject of "opportunity."
"To me, the biggest thing destroying modern music is that no one will make a f**king decision," Powell says with a laugh. "'I've gotta have all these tracks and all these playlists of different takes 'cause we might want to change it later.' No! Don't do that. Just say, 'Yes! I boldly go forward with this.' And that's the great thing with Jack is that he makes bold decisions."
To Powell, the lack of commitment in recording these days stems from fear. "That's what putting off those decisions is," he says. "I have this motto, and that is, 'Just because you can do it doesn't mean you should.' Just because you can align and tweak and tune and make a performance perfect, that doesn't mean you should do it. Humans are humans. The world I live in and definitely the world Jack lives in, sometimes the warts are the diamonds, so to speak."
Powell also believes the old tools to be tried and true: "Egyptians built pyramids, and they didn't have any laser saws or huge trucks or anything. And those things are pretty cool. [Laughs.] Let's put it this way: We sure haven't built anything cooler that will still be standing in 5,000 years."
Recording in an analog studio, it helps that White is a confident guitar player and musician and doesn't mind losing good takes. "Many times I have actually recorded over something we liked," Powell says. "We're working on a tape machine that works ludicrously slow, and it's just really hard to punch in and out on. Sometimes you get it, sometimes you don't. There have been times when we didn't and I'm like, 'Well, we really liked that part, but now it's gone. I'm sorry.' And he'll just go, 'It's okay. We'll just do it again better.'"
While White goes with his gut, he's also apt to change his mind about things like arrangements. And when that happens in an analog studio, it's nothing like a quick Pro Tools Shuffle. It takes hours. And when he doesn't change his mind, he'll occasionally regret it later. "There's a consequence to making quick decisions," he says. "But it's like any mentor or parent will tell you: Just go with your gut. You're going to be wrong sometimes, but in the end you'll at least know that you went with what you felt was the right thing to do at the time."
Bob LudwigIn the Live RoomBlunderbuss was largely tracked live at White's Third Man Studio, with few overdubs. The studio includes two 2-inch 8-track Studer A800 tape machines and a stereo-modified Neve desk originally from a broadcast studio in Johannesburg, South Africa. The Studers run at the superslow rate of 7-1/2 ips. "You get an hour and six minutes on a reel of tape, and it has a dense, effected sound," Powell asserts. "What goes in isn't exactly what comes back, but what goes in is enjoyable. It allows you to be able to make a great-sounding rock record that can be played really loud if you want because there's none of that digital harshness. We listened to 15 ips, and we were like, 'Wow, that sounds great.' Then we listened to 7-1/2, and we were like, 'Wow, that sounds really . . . interesting.'"
Although only four of the 13 songs on Blunderbuss went to more than eight tracks (maxing out at 14), the track limitations still left plenty of decisions to be made. "You have to make hundreds and hundreds of taste choices all day long while you're working," White says. "If you're recording one song, and you have a few musicians with you and a four-track, you have to decide the tone of the bass, the tightness of the snare drum, how long the decay on the ride cymbal is, what compression you're using on your vocal microphone, and if you're using real reverb compared to digital reverb. You have to make those choices over and over and over again."
At Third Man Records, there's a vault with tapes of outtakes. There's not an abundance of extra material, though. "If you take a White Stripes album like Elephant: There's only one take of every song," White says. "That's it. If it didn't sound good, we just erased it."
In the past few years, White streamlined his decision-making process even more by producing 45s for other artists. "I started this thing called the Blue Series where an artist—say, Tom Jones—would come into the studio in Nashville, and I would ask, 'What do you want to work on?' And he would say, 'I would like to do "Jezebel,"' this Frankie Laine song. I'd be like, 'Okay, what if I got a harp player in here, pedal steel, a drummer, maybe I'll play acoustic guitar?' And I'll start making some calls and see who's in town and available.
"An hour or so later that day, a handful of musicians walked in the door to work on 'Jezebel.' None of those musicians knew they were going to be work on 'Jezebel' or Tom Jones' record that morning. If I told them two weeks ago this is what they were doing, all these cats would have gone and learned 'Jezebel' off of YouTube, would have come with a preconception of what it would have been, and they wouldn't have brought the urgency or excitement to that scenario."
That sense of urgency played out repeatedly through the course of recording Blunderbuss. The album's first single—a quiet, drum-less ballad called "Love Interruption"—was recorded live, in a 20x24-foot room, in one take. The full band recorded it once, but they ended up using the pared-down version with White on vocals and acoustic guitar, singer Ruby Amanfu singing backups, and Brooke Waggoner playing Wurlitzer. Clarinet/bass clarinet player Emily Bowland overdubbed her parts later.
For "I'm Shakin'," a cover of the 1960 hit song written by Rudolph Toombs for Detroit-based R&B singer Little Willie John, White and a few other musicians rehearsed it, and the second run-through ended up on the record. "We had a talkback mic out in the room so that while they were rehearsing, Jack could shout out chord changes or talk to people in the room," Powell explains. That setup—an Ampex mic going through a Union Tube & Transistor More line-driver pedal and plugged into an Ampex 672 tube-amp speaker with an SM57 miking the amp—was used for White's vocals. "That amp is buzzing like crazy, but you know what? It doesn't really matter," Powell says with a shrug. "That happened. It was real, and I would never in a million years think of jumping through some hoop to get the buzz out."
White also sings through a Neumann U47 or RCA 77, the signals for which go into the Neve console into a Universal Audio 1176 compressor or Neve 2254 compressor in the desk. "Often I'll put the 77 and the 47 up real close to each other," Powell says. "And if Jack decides he wants to use the 47, we'll just swing the 77 out of the way at 90 degrees, and then I'll use that as a room mic to get the sound of his room into the vocal. So there will be two vocal mics, the mic plugged into the amp, maybe an amp-mic DI, and a mic on the actual amp, and they're all combined to one track to make the collective entire sound. That's called commitment. [Laughs.]"
Bob Ludwig's tape mastering rig.Let It Bleed For White's solo work and the last Dead Weather record (Sea of Cowards), Powell sometimes used two tracks for the drums, giving the kick drum its own track to "really punch it to tape," he says. But oftentimes, as with the Lone Ranger soundtrack they've been working on, the drums get bounced to one track to leave space for the unknown, such as strings. While Powell uses gobos in front of the drums and bass amp, there's still a lot of sound melding together. "The bleed is what makes the record sound right," Powell says. "That's what glues the whole thing together."
White's drum kit is a '60s-era, four-piece Ludwig kit with a 22-inch kick (no hole). Powell miked the kick drum with a Klemt Echolette ED12 mic (a modified AKG D12). He also placed a Shure SM57 on the top of the snare, SM57 on the bottom, an occasional AEA R92 ribbon mic for the rack and floor toms, and an AEA R88 overhead mic. For compression, Powell used an 1176 for the top snare, an 1176 or Fairchild on the kick, and a Neve 32609 or RCA BA-6A as the final compressor to tape. Bouncing everything to one track, Powell was careful not to make the snare too loud: "You only have so much flux on the tape, and since it's running at 7-1/2, you've got to be careful that you don't crush the transients," he says.
One challenge Powell had while managing bleed was with the parlor-sounding double pianos on "Hypocritical Kiss." White, drummer Carla Azar, Waggoner, and guitarist Olivia Jean tracked it with White playing electric bass, as upright bass player Bryn Davies was on her way from another session. Waggoner initially played piano on an upright Steinway (miked from behind on the soundboard with a single mono U47 fet). "When we played back the take, I noticed that there were a lot of drums in the piano track," says Powell. "Carla played pretty loud, and Jack has this huge 26-inch ride cymbal that is the loudest ride cymbal on the planet. It's coming through everything. I was like, 'We should really clean this up,' and he said, 'Well, we'll just have Brooke play it.'"
As this was a live take, Waggoner had to contend with an inexact time frame while recording her overdub. "She was having a hard time nailing it exactly, but she ended up playing this cascading part where she's playing an eighth note or a quarter note behind her original track," Powell explains. "Then when we were mixing, I fooled around with having the pianos panned left and right and having the drums in the middle. But when it got to the solo at the end, the piano washed out the drums. So I panned the drums to the right, and the tracking piano with the room and the drums to the left, and then I put Brooke's piano on the right with the drums. When you listen to it, it sounds like one huge piano, but it's really a double track."
Because there were so many commitments made early on, mixing Blunderbuss was not a long, arduous process: mainly panning, levels, and a little bit of parallel bus compression via an Acme Opticon. "There's not a single song on this record that took more than four or five hours to mix tops, and that's with us going to lunch in the middle of it," Powell says with a laugh.
Blistering Guitar One of the most powerful guitar parts on the album is the riff on "Sixteen Saltines," which White happened upon by accident. "That's really funny because I was testing a '60s Fender reverb tank to see how long the reverb was lasting for whatever we were going to record that day," he says. "It has a Dwell knob, and I was trying to see where to put it. So I played that riff on my Telecaster because I wanted that riff to stop, and I was like, 'Man, record this riff real quick. I'm starting to like it.'" [Laughs.]
Vance Powell Powell miked up a '63 Fender Vibroverb with a Neumann U 67, White played it twice, and Powell panned the tracking guitar to the right and overdub double—played through the More pedal for a clean gain—to the left. "The amp was on the floor, and I put the 67 right on the speaker, right on the outside edge of the cone," Powell elaborates. "That's a single 15-inch driver. That U 67 went to Jack's Neve 1073, and I go in the line input, not the mic pre, because the 67 has enough level that you don't need the mic pre. If I pad the mic, it always sounds bad, so I'll use it without the pad and just go in the line input."
Guitar solos tend to be blisteringly loud on Jack White's albums. "I will push back on that sometimes with him and be like, 'Do you think it's too loud?'" Powell says. "But he's like, 'It can never be too loud.'" One happy accident really pushed a solo to the extreme: Powell intended to send the guitar signal through the line input for "Take Me with You When You Go"—but didn't. "That's a patching mistake," he admits. "We'd been using this ribbon mic for some fiddle and mandolin, and I wanted to use it on his guitar solo. We'd used a couple of Helios modules as EQ on another tracks, so they were set up to go into the line input, which was perfectly great because I knew the level coming out of this mic would be loud. He was playing that riff, and I patched into the Helios and slowly turned the fader up, and when I did, I realized that it was patched into the mic input. Out on the floor, we have a remote mic pre for the ribbon, so the ribbon was sending a huge, line signal into the mic pre, and it was blowing up the Helios module in a most unbelievably fantastic way."
Compressionless Mastering One stipulation White had for mastering engineer Bob Ludwig was that he wouldn't use any dynamics processing in the mastering process. "There was a study from Earl Vickers [sfxmachine.com/docs/loudnesswar] about the 'loudness wars,'" Powell says. "As the loudness war escalated, record sales went down. I'm not saying we're killing the volume war. But I think it's a very bold move for Jack to say, 'I realize that there are records out there that are going to be louder, but I don't care.'"
Mastering without compression is something that White wanted to do for a while. For years when he asked engineers about it, he didn't get a definitive answer. "I read this book, Perfecting Sound Forever [by Greg Milner], and it was very interesting, talking about the loudness wars and the speed wars back then—33 versus 45 [rpm]—and how history has gone through all this bizarreness of trying to get the best-quality sound. So this album came up, and I was like, 'Can we just not change the dynamics of the song? Just make it louder, but don't compress or limit it?' Bob Ludwig was like, 'Of course we can do that.' And I was like, 'Why the hell didn't anyone tell me that you can do that?! I've been asking this question for years!'" So the master came back, and it sounded great. There's nothing squashed or lost in the dynamics, and it still sounded really loud."
While leaving dynamic processing alone, Ludwig did have to do a double session for Blunderbuss. "Jack wanted to have a vinyl record that had no digital processing whatsoever on it," he says. "So he wanted to record from the one-inch to another one-inch. I haven't done that in, wow, a pretty long time. And of course to make CDs and downloads, I also recorded at high-resolution digital, at 96/24. Mastering in this case was basically just signal path integrity, level rides, and equalization."
Ludwig's studio has two modified Ampex one-inch, 2-track tape machines. "Tim de Paravicini of Esoteric Audio Research [EAR] used to make these beautiful tube electronics that we used on one of the cuts," he explains.
"Our machine has different sets of playback electronics: his tube and then Mike Spitz's Aria Electronics with the solid-state, Class-A electronics. And then the recording machine was an Aria Class-A machine, as well."
For the analog session, Ludwig used Manley Massive Passive, George Massenburg, and SPL EQs. "If it was something that was a clinical thing that needed a cleaning up, I used the Massenburg or SPL," Ludwig says. "And when it was an overall, fat kind of sound, it was the Massive Passive."
For the digital pass, Ludwig used a Pacific Microsonics digital converter and a Merging Technologies Pyramix digital workstation. In order to match the one-inch sound as closely as possible, Ludwig did careful alignment. "When I did the EQ master for the one-inch, I went through five alignment tones—the 1k, 10k, 15k, 100Hz, and 50Hz—to make sure that the playback of it was as accurate as I sent to it."
Ludwig spent some time doing subtle gain rides to push choruses and splicing together edits of different mixes. As the album had to be mastered twice, it also had to be edited twice, so much of his work went to splicing into the one-inch master and then editing again in the digital domain. On "Freedom at 21," Ludwig spliced in one of the background vocals from the vocal-down mix for just one second. Another microscopic fix on a song was a popped "P" on the word "Put." "I had to do a separate pass using the Manley Massive Passive with a 122Hz hi-pass filter to get rid of the pop and edit in the 100 millisecond fix into both the one-inch and the digital," he says. And "Hip (Eponymous) Poor Boy" required multiple versions. "Jack went through it with a fine-tooth comb until every mix and every note was just right," Ludwig reveals.
In the end, White was pleased that he was able to avoid compression overload for Blunderbuss. "Nowadays when you're recording," he says, "you put a compression pedal on your guitar going to your amp. The microphone from your amp to the tape has compression on it. Then you compress in a submix to another track. Then you compressed it again with the bus compressor to the final stereo mix. Then the stereo mix goes to mastering and gets compressed yet again. Then the album comes out and gets played to radio and gets compressed yet again. Sometimes you're talking about seven or eight compressions of that original signal before someone actually hears it on the radio."
And let's not forget MP3 compression: "Oh God, yeah, totally!"
On tour for Blunderbuss, White brings two bands: one with all-female musicians and one with all-male musicians. "I said, 'What if I had two bands, and neither of them knows if they're going to play that night?'" he explains. "The idea behind the experiment is that it's really shaking things up. It's been a really funny, strange learning experience for everybody in the camp. The novelty of it competing with the reality makes you think. You have people vocalizing stereotypes, like, 'I saw both bands, and I thought the girls were gentler and warmer.' And I'm like, 'Are you crazy? The girls are kicking ass. They're playing twice as loud as the guys last night.' It's funny. Sometimes people's preconceptions overpower what they're seeing and hearing with their eyes and ears."
Kylee Swenson Gordon is a writer, editor, and musician based in Oakland, CA. Her first book, Electronic Musician Presents the Recording Secrets Behind 50 Great Albums, comes out this month.


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Horses have a small bone just below their front knees called the third metacarpal, or shin bone, which supports their whole weight even when galloping. Only about the thickness of a human wrist, the bone must endure a lot of stress without fracturing. To make matters worse, a pea-sized hole, called a foramen, cuts through the small bone to make room for blood vessels. In manmade structures, similar holes are a frequent source of weakness and failure. So at first glance, horse legs appear to be poorly designed.
Taking a closer look at the equine leg bone, however, scientists have discovered unexpected features that give it amazing strength and may inspire new engineering ideas. They found that the bone tissue surrounding the hole is arranged in a way that directs stresses away from the hole toward stronger regions of the leg bone. The hole is also elliptical, with its long axis pointed along the length of the bone. This geometry provides extra strength under compression, as the horse walks or runs. Occasionally a horse may experience a broken metacarpus (a special hazard for racehorses), but the fracture seldom takes place at the opening, as you might expect.
Instead of being a weak link in bone design, the foramen is a source of strength.
Engineers at the University of Florida have modeled the horse metacarpal bone to understand how it remains so strong under pressure. First they drilled small holes in plates of various materials. Then they surrounded these openings with polyurethane foam and tested the structures by applying forces. When the plates were stressed to the point of cracking, the fractures were found to be separate from the openings, as is the case for horse fractures. Instead of being a weak link in bone design, the foramen is a source of strength.
This discovery may point to solutions to some age-old engineering challenges. Traditionally, openings or holes in manufactured structures must be reinforced with extra thick material. Think, for example, of portholes on a ship, surrounded by heavy ring-shaped plates and bolts. The horse design suggests that by varying the type of material around such openings we may accomplish the same purpose. Such lightweight solutions are especially desirable in aircraft design, where openings are needed for wires and hydraulic lines. Engineers would love to increase the plane's strength while reducing weight (and fuel costs).
It is assumed that fossils show evolutionary progress and improvements over time. However, horse fossils typically have third metacarpal bones very similar to present-day horses, complete with foramen openings. Many other mammals, including people, have similar bone openings for blood vessels. This skeletal structure shows exquisite design.
It is ironic that mankind attributes to chance—and natural selection—things that we intelligent beings have not even thought of yet. But it makes more sense for us to study what the Lord has designed, looking for structural innovations that we might be able to imitate.
The Lord long ago asked Job to remember mankind's limitations: "Do you give the horse his strength or clothe his neck with a flowing mane?" (Job 39:19, NIV).
"From the Bone of a Horse: A New Idea for Aircraft Structures," http://www.sciencedaily.com/releases/2002/12/021206075907.htm, December 6, 2002.
N. Gotzen, A. Cross, P. Ifju, and A. Rapoff, "Understanding Stress Concentration about a Nutrient Foramen," Journal of Biomechanics 36, no.10 (2003): 1511–1521.


text: Senior Judge. b. New Mexico. Attended public schools in Los Angeles, CA; B.S., University of California, at Los Angeles, 1964; J.D., University of Southern California School of Law, 1967. Practiced law in Los Angeles, member in law firm of Abbott & Cohen. American Bar Association, Section of Taxation, and Continuing Legal Education activities. Received Dana Latham Memorial Award from Los Angeles County Bar Association Taxation Section, May 30, 1997; Jules Ritholz Memorial Merit Award from ABA Tax Section Committee on Civil and Criminal Tax Penalties, 1999; and Joanne M. Garvey Award from California Bar Taxation Section on November 7, 2008. Appointed by President Reagan as Judge, United States Tax Court, on September 24, 1982, for a term ending September 23, 1997. Served as Chief Judge from June 1, 1996 to September 23, 1997. Reappointed on November 7, 1997, for a term ending November 6, 2012, and served again as Chief Judge from November 7, 1997, to May 31, 2000. Assumed senior status on October 1, 2012.


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"Pilgrims: The Next Generation"
From the Sacred Sandwich, a humorous site I recommend visiting often:
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Who were the Puritans?
"A loosely organized reform movement originating during the English Reformation of the sixteenth century. The name came from efforts to 'purify' the Church of England by those who felt that the Reformation had not yet been completed. Eventually the Puritans went on to attempt purification of the self and of society as well."(Mark Noll, "Puritanism", Evangelical Dictionary of Theology, 1984)
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Tuesday, November 18, 2008
"Pilgrims: The Next Generation"
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"All those nick-names of Puritan, Precisian, Hypocrite, &c. with which lewd tongues are wont to load the saints of God, are so many honourable badges of their worthy deportment in the holy path, and resolute standing on the Lord's side."
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|WHEN PEOPLE INTERPRET THE QUR'AN ACCORDING TO THEIR OWN LOWER SELVES, HAZRAT MAHDI (AS) WILL CORRECTLY TURN THEIR THOUGHTS TO THE QUR'AN AND PLACE THEM UNDER THE SERVICE OF TRUTHS OF THE QUR'AN. AFTER THAT HE WILL SHOW YOU HOW THE BOOK AND THE SUNNAH HAVE BEEN FORGOTTEN AND REVEAL THEIR LIVING MEANINGS. Nehcü'l Belağa, sermon 134.
In the End Times, when Hazrat Mahdi (as) appears, some people will interpret the Qur'an according to their own lower desires and interests, and will seek to turn people toward these interpretations. But Hazrat Mahdi (as) will reveal the true meanings of the verses of the Qur'an. In this time, when people have spiritually turned away from the verses of the Qur'an and the Sunnah of our Prophet (saas), he will expound the true meaning of the verses.


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Eastern-PA Community College Now a Motoman Robot-Training Site
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Tuesday, May 1, 2012
Harrisburg Area Community College (HACC), in Eastern PA, has been certified to provide training on Motoman robots as a registered Motoman Endorsed Instructor Training Center. The center will deliver basic and advanced training courses on the NX100 controller, and maintenance. The robotics courses build on HACC's existing mechatronics program.
See also: Yaskawa America, Inc.
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How to
Use the Activities
Inquiry Question
By studying "The Rockets' Red Glare": Francis Scott Key and the Bombardment of Fort McHenry students have learned about the bombardment and about how it led Francis Scott Key to write "The Star-Spangled Banner." They have also investigated how the War of 1812 and Key's song strengthened Americans' identification with their nation. The following activities will help students integrate and expand on what they have learned.
Activity 1: "You Are There"
Ask students to imagine they are soldiers inside Fort McHenry during the bombardment. They will need to review the materials in this lesson and will also want to consult Fort McHenry's website. Ask them to write a letter home describing their experience.
Activity 2: Debating the War of 1812
Francis Scott Key was not the only American to oppose the War of 1812. At its start, the war was intensely controversial, with the country deeply divided along political, economic, and regional lines. After the war, however, many people called it the "Second War of Independence." Ask students to explore some of the accounts of the war in their textbooks, in other history books, and in materials listed in the "Supplementary Resources" section of this lesson plan. Have them create charts or matrixes comparing the positions of different political parties, different economic groups, and different areas of the country before the outbreak of the War of 1812, during the war, and immediately after it. Hold a whole class discussion on the question, "Was the War of 1812 a good thing or a bad thing for America?"
Activity 3: "The Theme of Our Nation"
In its obituary for Francis Scott Key, the Baltimore American wrote, "So long as patriotism dwells among us, so long will this song be the theme of our nation." Just as Key embodied contradictions—between opposing the war and rejoicing over the victory at Fort McHenry, between praising "the land of the free" and owning slaves—"The Star-Spangled Banner" calls up both pride in the nation and its ideals and questions about America's ability and willingness to live up to those ideals. Ask the students to list some of the ideals that they associate with "The Star-Spangled Banner." Ask them to suggest situations where they think the nation has not acted in accordance with those ideals. The discussion may well lead to strenuous disagreement, a demonstration of how deeply Americans feel about their national anthem. Then ask the students to identify for themselves what they think the ideals of the nation should be and to write a patriotic song that represents those ideals. Ask students to volunteer to perform their songs for the class.
Activity 4: Whose "Star-Spangled Banner"?
The legislation that made "The Star-Spangled Banner" the national anthem did not say how it should be performed. In 1957, the National Music Council developed a "Proposed Official Version of 'The Star-Spangled Banner.'" The performance guidelines that went with the proposal said, "the anthem should always be performed in a manner that gives it due honor and respect."7
Many versions of "The Star-Spangled Banner" have been sung over the years, some in celebration, some in protest. Many have been controversial, particularly the performances of José Feliciano in 1968 and Jimi Hendrix in 1969. Ask the students to bring in any recordings of "The Star-Spangled Banner" that they can find. A number of performances are available on the web. Have the class listen to them and try to determine whether they meet the standard proposed in 1957. Ask them to try to come up with their own guidelines for how the anthem should be performed.
Activity 5: Places That Define the Community
Fort McHenry is an important part of how Baltimore defines itself. Many other communities have such iconic places, like the Washington Monument in Washington, D.C., the Old Water Tower in Chicago, Illinois, or the Space Needle in Seattle, Washington. Some of these places are imposing, some modest. Some are historic, some recent. In each case, residents think that something important would be lost if the place ceased to exist.
Ask students to search out places that help create their community's identity. Perhaps the Chamber of Commerce or the local historical society uses a particular place in its advertising or on its websites or brochures. Sometimes groups of historic places in a community work together to create its character. Assign groups of students to find out more about each of these places. The National Register of Historic Places, the nation's official list of places worthy of preservation, maintains an online database that students can search by county or state. Most of the historic places listed in the National Register are the ones that people really wanted to protect. Remind the students to get current photographs as well. If they are unable to find places in the local community, suggest that they investigate their county or state.
Ask them to use what they have learned to create a walking tour that would help visitors and newcomers understand what it is that makes the community unique and special. They also may want to consider creating an on-line travel itinerary. The National Register of Historic Places "Discover Our Shared Heritage" travel itinerary for Baltimore might be a useful model. Submit the completed walking tours and travel itineraries to the local chamber of commerce or historical society.
If the students identify a historic place that is threatened by neglect or destructive change, like an old movie theater, perhaps they could volunteer to work with the local historical society or other interested group to care for or protect the place. They may even want to consider helping document the historic place for possible listing in the National Register of Historic Places. The National Register website contains information on how to go about doing that.
7Richard S. Hill, "A Proposed Official Version of 'The Star-Spangled Banner,'" Notes, 2nd Ser., 15, no. 1 (December 1957), 33-42, cited in Taylor et al, The Star-Spangled Banner, 56.