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Tag Archives: Mike Bloomfield
What's big and purple and lives in the ocean?…Moby Grape: the greatest band that never was…
What's big and purple and lives in the Ocean? Moby Grape of course. The joke is as old as the hills, but it is literally where the band got it's name. The same year (1967) that the band "Touch" was making their eponymous masterpiece in L.A., Moby Grape was making their eponymous debut album in San Francisco. Moby Grape should have been a huge success. In many ways they were, but they were ultimately overshadowed by their fellow San Francisco based pals The Grateful Dead and the Jefferson Airplane. While L.A. was embarking on the exploration of Progressive Rock, San Francisco was on the cutting edge of Psychedelic rock. This album by Moby Grape is one of the finest LP's to come out of the 1960's San Francisco rock scene. I don't think the Jefferson Airplane or a lot of other bands ever made an album as good as this one. Alas, fate doomed Moby Grape almost from it's Genesis…
Moby Grape was formed in 1966 by Skip Spence and Mathew Katz. Katz had been the manager of Jefferson Airplane and Spence was their first drummer. Skip Spence even wrote some songs that Jefferson Airplane performed.
Both were booted out of the Jefferson Airplane after the first album. The proof of the wisdom in that decision is obvious based on the fame the Airplane achieved verses the obscurity of Moby Grape. Katz was nothing but trouble for the Airplane. He was considered unreliable and over-controlling. Skip was also unreliable. Shortly after the release of the Airplane's first album Spence bolted to Mexico with a couple of girls and didn't tell any of the band members. Erratic and unreliable behavior would eventually become Skip Spence's legacy.
Katz wanted Spence to form a band that had multiple lead singers and song writers just like the Jefferson Airplane had. Spence had played drums for Jefferson Airplane but with Moby Grape he moved back to his primary instrument, the Guitar. He was a powerful, energetic, and charismatic rhythm guitar player. These atributes would be his primary gifts that he would bestow on their debut album. The energy and excitement of the performances are amazing.
The group was formed from a wide range of musical influences. Jerry Miller and Don Stevenson were from Seattle Washington. They were in a band called "The Frantics". They came down to San Francisco and met Jerry Garcia. Jerry encouraged them to relocate to San Francisco. Once Miller and Stevenson relocated, they met and added Bob Mosley to the group. Mosley was from San Diego and had been in a surfer band called "The Misfits". Peter Lewis also joined "The Frantics". He was from southern California too. He had also been in a surfer band called "The Cornells". So, the surfer sound joined with the sound of Seattle, and combined with the psychedelic americana sound of San Francisco to create a brand new sound; a sound that really never got repeated. This is a very unique album that blends all of the above into a powerful rock & roll statement. It is replete with great 3 guitar rock. At times all three players are dueling it out in an amazing wall of sound. Even Buffalo Springfield, (the other great 3 guitar band of the times) must have been envious.
I have no idea how"The Frantics" hooked up with Spence and Katz. One could assume that Jerry Garcia may have played a role in putting Katz and Spence together with the rest of the guys. If anyone knows please add your comments. Neither Spence or Katz revealed that they had been kicked out of The Jefferson Airplane. The new band signed with Katz and unfortunately gave him all the rights to their name and their albums. The seeds of destruction had been sown.
The original cover of this album featured Don Stevenson "giving the finger". The photo was taken by the famous rock & roll photographer Jim Marshall . "The finger" was discovered and airbrushed out on later album covers. The album also contained a poster of the album cover. As the air-brushers caught up to the offensive finger, some albums had the finger on the poster and not on the cover and vice-versa. Unfortunately my copy does not have the original uncensored cover. It is also missing the poster. Otherwise it is in very good condition. Naturally, the "finger" cover and poster are highly collectible.
While the rest of the San Francisco rock scene was getting caught up in extended jam sessions that attempted to replicate an acid trip, Moby Grape was focusing on short, tightly focused rock songs.
They began to attract enormous attention because of their powerful live shows. Al Kooper said they were the only band he really liked that came out of the San Francisco rock scene. He eventually recorded with the band on "Grape Jam". Their tight interwoven guitar sound attracted even more attention. Buffalo Springfield and Janis Joplin started showing up for rehearsals. Just like in the case of Touch, record company exec's started showing up too. A bidding war ensued. Columbia won.
This album is about as good as debut albums get. Columbia spared no expense in the making of this record. There's not a weak song on the record. It is unique to establish a band where every member is a great singer and great musician. Stevenson was one of the pioneers of drummers who also sang lead vocal and simultaneously played drums. So take a listen to one of the great hidden treasures of rock & roll. Ladies and Gentlemen: MOBY GRAPE!
Side 1
Hey Grandma
The album opens with this great rocker written by Jerry Miller and Don Stevenson. It's a great example of their powerful, energetic performances and the competing 3 guitar sound.
Mr. Blues
This sounds like Steven Stills from his Buffalo Springfield days. Hear we hear Moby Grape out Buffalo the Buffalo Springfield. Is this a reply to "Mr. Soul"? This song was written by Bob Mosley.
Fall On You
This song was written by Peter Lewis. Another strong song featuring great guitar, great lyrics, and great harmonies. I am very impressed by the lead guitar of Jerry Miller. All in all they have guitar riffs that don't sound like anyone else.
The first acoustic Americana sounding cut on the album. This song was also written by Jerry Miller and Don Stevenson. It's a beautiful song. Great harmonies.
Come In The Morning
This song was written by Bob Mosley. This song sounds like it should have been a hit song. Great vocals, melody, production. What a shame not many people know it.
This song was written by Skip Spence. All I could say after hearing this song was WOW! An awesome three guitar battle. Great music and a very intense performance. The energy and power is about to blow the speakers apart. This is the best example of the powerful performance energy that Skip Spence brought to "Live" performances.
Naked If I Want To
This short little acoustic number is a real charmer and makes me smile. I really Like the last line about trying to buy an amplifier on credit…
Side 2
Side two opens with this quiet beautiful song written by Jerry Miller, Skip Spence, and Don Stevenson. Great harmonies and awesome vocals at the break. The value of having multiple lead singers allows you to change up the vocal texture and add emotion. There is a great piece of guitar playing at the end of the song as it fades out. I believe that is Jerry Miller again on lead guitar. They fade the song out a little to quick.
Ain't No Use
This song is written by Jerry Miller and Don Stevenson. This is the most country rock sounding song on the record. Very Grateful Dead sounding. I bet Jerry Garcia wished he had written this one.
Sitting By The Window
This song was written by Peter Lewis. It is magic. What a great song. Beautiful guitar work. Very unique sound.
This song was written by Jerry Miller and Don Stevenson. This sounds like it should have been a hit too. It has all the hallmarks. I like the ending of this song.
Lazy Me
This song was written by Bob Mosley. Now they out Jefferson The Jefferson Airplane. The vocals and harmonies sound like the Airplane. The only problem with this song is that it's too short.
The album ends with this song by Skip Spence. It is a very strong closing song. This song also has some Airplane influences. I love the emotion in the vocals. The guitar work and harmonies are awesome. This is one of the earliest examples I know of where a song fades out and then fades back in. The song ends as it started. But then it kind of fizzles out. Real life can be so ironic…
So what happened to this band? How did so much good go so wrong? First of all Columbia mishandled their launch. When they signed Moby Grape they proclaimed them "The Beatles of San Francisco." The record company over-hyped them in a time when hype was suspect. This turned a lot of music fans off. Next Columbia threw a giant party for the album release. Purple was everywhere. Unfortunately a few of the band members were arrested for smoking marijuana with minor females. OOPS! This generated some bad press. Next, the record company released 5 singles from the album simultaneously. Can you believe that shit??? 10 of the 13 cuts were released as singles. As a result the songs canceled each other out and none of them ever made the top 40. De-Jay's were put off by the number of singles and all the hype. There was a backlash. Sales of the album were less than stellar.
Because the band members were all new to each other, there was no leader, no center. The band began to bicker among themselves.
Katz screwed up the band's appearance at the Monterey Pop Festival. He wanted $1,000,000 for the rights to release the video for the film. Because of Katz demands Moby Grape went on stage Friday at sunset instead of in the evening right before the headliner, Otis Redding… Valuable exposure was wasted. Katz still has the video locked up in court. By the time they got to New York the band was coming apart. Skip Spence was really starting to get strange.
Skip met some strange people in New York City and he started using more serious drugs. He eventually flipped out and attacked Stevenson's hotel door with a fire axe. This landed him in the criminal ward at Bellevue Mental Institution. He spent most of the rest of his life in and out of mental institutions. After he was released from Bellevue he left Moby Grape, went to Nashville and made a solo album called "Oar". I would love to find this record. It is supposed to be a great "Acid-folk" album. It was released in 1968. Spence never produced any other meaningful work after that. Sadly he died in California of cancer in 1999. Skip Spence was a causality of the fast lane.
Bob Mosley left the band next. He was frustrated by the infighting in the group. Inexplicably, he joined the Marine Corp in 1969. The Military quickly diagnosed Bob Mosley with Schizophrenia and he was medically discharged. He ended up homeless for years. After the members of Moby Grape won their 39 year court battle with Katz for the rights to their songs and name, Peter Lewis went looking for Bob Mosley. He found him living under a highway overpass in San Diego. Peter dusted Bob off and they went back to work in the music business.
Jerry Miller is still alive and kicking and has had a great music career through this entire time period.
Peter Lewis is also doing well and still performing with the remaining members of Moby Grape as well as other music projects.
Don Stevenson is still performing with Moby Grape as well as solo projects.
Matthew Katz tied up Jefferson Airplane, It's A Beautiful Day, and Moby Grape in court battles for over 30 years. He ultimately lost his battles. He is still around and trying to cause legal trouble to the members of Moby Grape. But the Grape finally owns their work again.
So this is not the end of tale. Maybe Moby Grape can have a renaissance and finally gain the recognition they deserve. Some of the members recently performed together at South By Southwest in Austin Texas. I hope so. They may be the greatest band you never heard…
Posted in Rock Music, Vinyl Tagged Al Kooper, Buffalo Springfield, Janis Jopin, Mike Bloomfield Leave a comment


text:
by Christian Cantrell
27 January 2010
27 January 2010
Prerequisite knowledge
This article assumes a familiarity with ActionScript 3.
User level
As the Flash Platform continues to proliferate and reach more devices, developers need to adopt techniques for authoring with multiple screen sizes and resolutions in mind. This article discusses several techniques to help Flash developers author content that will render properly on any device, regardless of its screen resolution and pixel density.
The techniques explored in this article are somewhat "low-level" in that they show the programmatic creation of vectors and the use of algorithms (albeit simple ones) to dynamically size and position assets. There will always be a need for this level of authoring control for some applications, but there will also be "higher-level" and simpler alternatives in the future.
Adobe is currently working on a mobile Flex framework (codenamed "Slider"), which will automatically apply some of what's discussed here, and will make it much easier for you to write applications that adapt to different screens. Until Slider is available, however—and for those whose applications might not fit into the framework model—the tips and tricks discussed in this article will help to jumpstart your multi-screen development.
Before exploring specific techniques for authoring SWF-based applications for multiple screen sizes, it's worth covering some relevant terminology. Although you are probably familiar with the general meaning of these terms, a thorough understanding is necessary to actually put them to use:
- Screen size: Screen size simply refers to the diagonal size of a screen, usually in inches. Although screen size is related to resolution and PPI, you cannot determine a screen's resolution or pixels per inch just from its size.
- Resolution: Screen or display resolution refers to the number of pixels a screen contains in each dimension. The Motorola Droid has a screen resolution of 480 × 854. The 27" external display I'm using right now has a resolution of 1920 × 1200. Multiplying the number of pixels in both dimensions gives you the total number of pixels a screen is capable of displaying.
- PPI, DPI, and pixel density: PPI (pixels per inch), DPI (dots per inch), and pixel density all refer to the same concept: the number of pixels (in either dimension) per unit of physical distance. It may be hard to imagine that this is an important property for authoring for multiple screen sizes but, as I explain below, PPI is every bit as important as resolution—and in some cases more important.
The goal of a multi-screen application is not necessarily to look identical on every device; rather, it should adapt to any device it's installed on. In other words, multi-screen applications should dynamically adjust to the resolution and the PPI of their host devices, displaying more information on larger screens, removing or shrinking elements on smaller screens, ensuring buttons are physically large enough to tap on, and so on. In order for applications to work across different screens, they must be architected in such a way that they draw and redraw themselves at the proper times and using the proper constraints.
Before laying out your application, it's important that you set the Stage's scale mode and alignment. This should be done in your Sprite's constructor, just before or after registering for the Stage resize event (more on this below):
this.stage.scaleMode = StageScaleMode.NO_SCALE;
this.stage.align = StageAlign.TOP_LEFT;
Setting the Stage's scale mode to NO_SCALE indicates that you don't want any kind of automatic scaling or layout of your content to occur, and that you will handle all the layout and scaling yourself. This is what enables applications to dynamically adapt themselves to different screen sizes.
Setting the Stage's align property to TOP_LEFT indicates that you want to lay content out relative to the top left-hand corner with the coordinates of 0,0.
The best place to do rendering in a multi-screen application is in a Stage resize event handler. The Stage will dispatch a resize event when the application is initialized and the size of the Stage (the area your application has to work with) is set. In a pure ActionScript application, you will want to listen for a Stage resize event in your main Sprite's constructor, like this:
this.stage.addEventListener(Event.RESIZE, doLayout);
After registering for resize events on the Stage, doLayout will get called whenever the Stage is resized. For example:
- When your application first initializes.
- When the window is resized (when running on the desktop).
- When a device changes orientation.
By performing your layout in the Stage resize event handler, your application will automatically lay itself out whenever the size of the Stage changes, regardless of why it changes.
Note:To determine the size of the Stage, use the stage.stageWidth and stage.stageHeight properties.
It is not necessary to set the dimensions of your SWF file using SWF metadata. In fact, doing so may prevent your resize event handler from being called when the application initializes. It's best to set the width and height of your application in the initial window section of your application descriptor file like this:
<!-- several other properties... -->
Applications designed to run on devices with different screen sizes and resolutions will often need to determine the size of assets dynamically. In other words, a button that looks and works perfectly on one device might be far too small to read or tap on devices with higher resolutions. Consequently, it's important that developers know how to think in terms of both pixels and inches.
In order to add a solid-colored background to an application, you need only think in terms of pixels. For example, it doesn't matter how big or small the screen is—the background will always need to match the screen's dimensions in pixels. The code below shows adding a solid-colored background to an application of any size:
var bg:Sprite = new Sprite();
bg.x = 0;
bg.y = 0;
bg.graphics.drawRect(0, 0, this.stage.stageWidth,
The stageWidth and stageHeight properties on the Stage object indicate the dimensions in pixels of the content's Stage. This information is all you need to create a background that works with any size application on any size device.
Sizing assets in pixels works in cases where the assets can be sized relatively (as in the case of a background), but not when assets need to be sized absolutely. In other words, it doesn't matter how big or small a background is as long as it's the size of the entire Stage; however, the size of things like fonts and buttons needs to be controlled more precisely. That's when you have to think in terms of physical units, or PPI.
Using PPI to determine an asset's dimensions allows you to control the exact size of an asset regardless of what kind of screen it's being rendered on. For example, to make a button that is always ¾" × ¼" whether it's being rendered on a huge desktop monitor or a small mobile screen, you must use the screen's PPI.
Note: Research has shown that a hit target should be no smaller than ¼", or 7mm, in order to be hit consistently and reliably. The only way to make sure your buttons are usable across devices is to think in terms of physical units.
The PPI of the current screen can be determined by the Capabilities.screenDPI property. Of course, assets are always ultimately sized in pixels rather than inches, so it's necessary to convert PPI into pixels. I use a simple utility function like this:
* Convert inches to pixels.
private function inchesToPixels(inches:Number):uint
return Math.round(Capabilities.screenDPI * inches);
The code below demonstrates how to create a sprite that will appear as ¾" × ¼" on any device:
var button:Sprite = new Sprite();
button.x = 20;
button.y = 20;
button.graphics.beginFill(0x 003037);
button.graphics.drawRect(0, 0, this.inchesToPixels(.75),
So as not to be too American-centric, and because the metric system is superior at smaller scales, here's a version for converting millimeters to pixels:
* Convert millimeters to pixels.
private function mmToPixels(mm:Number):uint
return Math.round(Capabilities.screenDPI * (mm / 25.4));
Now that your application is architected in such a way that it can be authored to adapt to multiple screen sizes, and now that you have techniques for determining asset sizes, it's time to start laying out assets.
The key to laying out assets capable of adapting to different screen sizes is to know what to hard-code and what to calculate based on properties of the current screen. For example, to create a title bar at the top of your application, you know that you want the x and y coordinates to be 0,0 which means those properties can be hard-coded. In other words, regardless of what kind of device your application is running on, you will always want your title bar positioned in the top-left corner. The following code shows creating a new Sprite to be used as a title bar, and hard-coding its position:
var titleBar:Sprite = new Sprite();
titleBar.x = 0;
titleBar.y = 0;
Although the position of the title bar won't change from one device to another, its width will. On high-resolution devices, the width needs to be greater.
Determining the width of the title bar is as easy as using the stage.stageWidth property, but what about the height? You could hard-code the height in pixels, but the size of it will change pretty dramatically from device to device depending on resolution. In this case, a better approach is to think in terms of physical units which will give your title bar a consistent look across all devices.
The following code creates a title bar that demonstrates all of the following concepts:
- Hard-coding an absolute position when appropriate
- Using
stage.stageWidthto dynamically determine the width of the title bar in pixels
- Setting the height of the title bar in inches in order to ensure a consistent look across devices
var titleBar:Sprite = new Sprite();
titleBar.x = 0;
titleBar.y = 0;
titleBar.graphics.drawRect(0, 0, this.stage.stageWidth,
The examples above demonstrate how to dynamically size assets, but what about dynamically positioning them? For example, the position of the title bar is obvious since it always originates from the top-leftcorner, but what about positioning a footer whose x coordinate is always 0 but whose y coordinate is determined by the height of the Stage?
The code below shows how to create a footer that will always span the entire width of the application, and always be positioned at the bottom, regardless of the height of the screen:
var footer:Sprite = new Sprite();
footer.graphics.drawRect(0, 0, this.stage.stageWidth,
footer.x = 0;
footer.y = this.stage.stageHeight - footer.height;
There are three primary ways to lay out assets (two of which I've already covered):
- Use a hard-coded position as we did with the application's background and the title bar
- Calculate a position as we did with the application's footer
- Calculate a position based on other assets
Calculating the position of an asset based on another asset is referred to as relative positioning, and it's an extremely important technique for designing multi-screen applications. Going back to the title bar example, we succeeded in creating a title bar that will always be positioned and rendered like you want it to, but what about the title itself?
You could always hard-code a y position, which would place it a few pixels down from the top, then calculate an x coordinate based on the width of the Stage and the width of the title, but that won't always yield the best results—for two reasons:
- Since the height of the title bar will change depending on the screen's PPI, the text won't always be centered vertically.
- If you decided to move your title bar for any reason (for example, if you decide to get rid of the footer and put your title bar at the bottom), you would also have to change the code for the title.
Both of these issues can be addressed by positioning your title relative to your title bar. Since this is something I find myself doing often, I have a simple utility function that does it for me:
* Center one DisplayObject relative to another.
private function center(foreground:DisplayObject,
foreground.x = (background.width / 2) -
(foreground.width / 2);
foreground.y = (background.height / 2) +
(foreground.height / 2);
Using the center() function above, positioning my title is simple:
var title:SimpleLabel = new SimpleLabel("My Application",
"bold", 0xffffff, "_sans", this.inchesToPixels(.15));
this.center(title, titleBar);
Dynamically sizing and laying out things like title bars is one thing, but actual application content can be more challenging. For example, consider a game whose main content is a grid of squares. What's the best technique for making the game playable on multiple devices? Should the squares simply be scaled up or down depending on screen size, or should rows and columns be added or removed?
Both are valid approaches, depending on the game. For example, in the case of a chess or checkers game, you can't add or remove rows or columns based on the size of the screen. In this case, it's usually best just to scale your content up or down in order to keep it consistent.
Some games can actually adapt their game play based on the size of the screen. For example, a real-time strategy game may be enhanced on a larger screen since higher resolutions can accommodate more tiles, or in the case of smaller screens, it may be best to remove tiles so that the remaining tiles can be larger and render more detail. In this case, you need your content to adapt.
There's no single strategy or formula for adapting content to various screen sizes since content is so diverse, but there are some standard techniques that can be used. The following describes the logic of adapting a game board to any size screen:
- Determine the size of your tiles or blocks. If your tiles contain bitmaps, the size will be predetermined by the pixel dimensions of your bitmaps (since bitmaps don't scale as well as vectors). If your tiles are vectors, you may decide to standardize on an absolute size for your tiles.
- Determine how much space you have to lay out your tiles. The amount of space you have to lay out your tiles should be the total size of the screen less things like title bars, navigation, etc.
- Calculate the number of rows and columns that will fit into the remaining space. Be sure to take into consideration any gap you may want between your squares or tiles.
- Lay out your tiles in the available space. This is a little trickier than it sounds since there will almost always be space remaining both above and below your game board which you will most likely want to split evenly across vertical and horizontal margins.
The code below demonstrates the logic of laying as many ¼" blocks as possible in the allotted space while maintaining an equal margin both above and below the game board:
// Display as many blocks on the screen as will fit
var BLOCK_SIZE:Number = .25;
var BLOCK_BUFFER:uint = 3;
var blockSize:uint = this.inchesToPixels(BLOCK_SIZE);
var blockTotal:uint = blockSize + BLOCK_BUFFER;
var cols:uint = Math.floor(this.stage.stageWidth / blockTotal);
var rows:uint = Math.floor((this.stage.stageHeight -
titleBar.height) / blockTotal);
var blockXStart:uint = (this.stage.stageWidth - ((cols *
blockSize) + ((cols - 1) * BLOCK_BUFFER))) / 2;
var blockX:uint = blockXStart;
var blockY:uint = ((this.stage.stageHeight + titleBar.height) -
((rows * blockSize) + ((rows - 1) * BLOCK_BUFFER))) / 2;
for (var colIndex:uint = 0; colIndex < rows; ++colIndex)
for (var rowIndex:uint = 0; rowIndex < cols; ++rowIndex)
// Use a private function to draw the block
var block:Sprite = this.getBlock(blockSize);
block.x = blockX;
block.y = blockY;
blockX += blockTotal;
blockY += blockTotal;
blockX = blockXStart;
The code below is the function that generates each block:
* Get a new block to add to the game board
private function getBlock(blockSize:uint):Sprite
var block:Sprite = new Sprite();
block.graphics.drawRect(0, 0, blockSize, blockSize);
block.cacheAsBitmap = true;
return block;
Note: As each block is created, its cacheAsBitmap property is set to true. Although mobile application optimization is beyond the scope of this article, it's always best to set the cacheAsBitmap property to true for DisplayObjects that you don't anticipate will need to be scaled or rotated frequently. Although this improves performance on the desktop, it can have dramatic results on devices with less powerful processors.
Fonts are a key element of almost all applications, and must be handled with the same care as other assets when designing for multiple screens. Below are three tips for using fonts in a way that will successfully adapt across devices:
- Use FTE (Flash Text Engine): I highly recommend using FTE, or the new Flash Text Engine introduced in Flash Player 10, Adobe AIR 1.5, and Flash Lite 4. Not only is rendering better than with
TextFieldobjects, but FTE gives you the ability to position your text much more precisely. The properties of
textWidth, and
textHeightmake it possible to position text with pixel-perfect accuracy.
- Consider creating a component: In the title example previously, I use my own very simple component called
SimpleLabelwhich encapsulates my use of FTE and makes creating text far simpler. Not only do I save several lines of code everyplace I want to add some text, but I also have one central location where I can make universal text changes, or fix text-related bugs.
- Override width and height getters if necessary: In my SimpleText component, I override the
heightproperties in order to make text fields work better with some of my utilities like the
center()function above. Following are the
heightgetters that give me the best results:
public override function get width():Number
return this.textLine.textWidth;
public override function get height():Number
return (this.textLine.ascent - 1);
Where to go from here
As the Flash Platform proliferates, so do opportunities for Flash developers. The ability to use the same tools, skills, and code to build applications across an increasing array of diverse devices is hugely powerful, and gives Flash developers the chance to reach an unprecedented number of users. In order to take advantage of the ubiquity of the Flash Platform, however, developers need to build applications with multiple screens in mind. Fortunately, the understanding and mastery of just a few relatively simple techniques give developers the tools they need to make the most of the Flash Platform.
More Like This
- Creating the Kuler panel for Flash CS3 Professional
- Formatting text for localized Flash projects
- Augmented reality using a webcam and Flash
- Multitouch and gesture support on the Flash Platform
- Augmented reality with animated avatars using the 3D drawing API
- Using timeline labels to dispatch events with the ActionScript 3.0 TimelineWatcher class
- Designing for a multi-device, multi-resolution world
- Automating tasks in Flash Professional CS5
- Optimizing Flash performance
- Optimizing performance for mobile AIR applications

subset: commoncrawl


text:
Positions Vacant
Our purpose is to transform the lives of every student, every day.
We're one of the largest employers in Western Sydney and Blue Mountains and we're looking for passionate people who can respond to the challenges and opportunities of schooling in today's world.
Whether you're office or school-based, or looking for a leadership role, you'll part of a system committed to ensuring the best outcomes for every learner within a Catholic faith environment.
So what are you waiting for?
Please note we are transitioning to a new recruitment system that manages everything from finding your perfect role to preparing for your first day.
or alternatively search for other opportunities.


text:
zadig necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 90 diseños de 43 diseñadores freelance.
I need a logo for an advertising agency called : 622 . This is a new company based in an Arab Gulf country. Desired format is a vector file (.eps, svg..). No colors instructions for the moment. Logo can be simple or complex as long as it convey the message of the company (cf question C).PLEASE READ UPDATE MESSAGE
Dear All,
I thank you for you effort in trying to design this difficult logo. My choice to leave the brief open was to actually make it easier for you to come up with something exclusive. I spent myself a lot of time trying to design it so I know how those 3 numbers offer few combinations.
I liked a couple of logos being submitted (and I think it reflected on my feedback ) and their overall quality but not enough for me to declare a winner and use the logo..
I am thinking of (Alphabetical order):
-Blaze 2
-claurus 1
-D-signer 1
-logoholik 2
-lemuriadesign 1
-letshaveago 8
-smirty.c 1
Instead of closing this contest (which is unfair at this stage) I rather offer the possibility to improve directly on my own last good concept and make it ready for print with :
(better curves for the numbers, more harmony,proportions, thickness,colors and effects (if discreet),etc....anything really that is taken into consideration by professional designers.(if you re one, then you know better).
I need something, contemporary, modern, sophisticated yet simple. I will pay a lots of attention to details.Any good idea that would reflect well on printing is highly appreciated (texture, embossed...).Please show sample of how it would look if branded on a stationary item of your choice.
I guarantee that someone will win this contest, and it's not going to be me. Future business will be seriously considered starting from the stationary to new design requirements...
Thanks again for your participation and reading this post.
P.S :You will find my concept on the gallery under fu-ed.
Initial brief :
I need a logo for an advertising agency called : 622 . This is a new company based in an Arab Gulf country. Desired format is a vector file (.eps, svg..). No colors instructions for the moment. Logo can be simple or complex as long as it convey the message of the company (cf 3rd question C).
A. What does 622 mean ?
622 CE (Common Era) is the first year of the Arabo-Islamic calendar.
Possible design directions :
-(Cancelled : Maybe some touch inspiring history,papyrus and manuscript...)Just focus on a very contemporary and classy look.
-The logo can if possible give some kind of tips that this is an annum
B Why a number ?
-To avoid having to choose between an Arabic and an English name.
-To be different.
Possible design directions :
-Has to be clearly a logo vs an area code number lost in my stationary.
-Instant impact is required, we have to read 622 straight away.
C What is particular about the company?
The agency will try its best to :
1*.Abide by the rules(best practice,codes...) of ethics in advertising and marketing.
2*.Match with Arabo-Islamic cultural values and principles.
3*.Listen to what anti advertising people are saying.
Possible design directions :
*1.Colors and shape inspiring Transparency,Honesty, Responsibility,Ecologist kind of thing
*2. Arabic style shapes and colors.PLEASE don't insist on the Islamic symbols, they are mostly used on real building in this part of the world.If you don't master this aspect focus on point 1 and 2.
*3.Urban feel, concrete,alternative..
My advice is work on the design directions you are comfortable with, (especially if you are not familiar with the Arabic culture).
Thank you for reading this brief and good luck to you
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Catalog Details
AG3600 - Advanced Photoshop and Illustrator Techniques
Credits: 3
Continued study of 2 premier software packages featured in AG 2330. Proceeds from the student's familiarity of Photoshop and Illustrator into the higher skill levels necessary for creating truly outstanding digital graphics. Provides a mastery-level achievement experience with the software and reveals capabilities through progressive techniques and variations that have students creating graphics with true authority. Students garner many new digital shortcuts, key commands and time-saving techniques in these programs that allow them to concentrate on their creative abilities, instead of experiencing technical roadblocks. The path to true creation on the computer for the practicing designer is to not be limited by technical shortcomings, but instead to be able to create and produce whatever the mind imagines. Students have hands-on instruction at Macintosh computer workstations. Springs. Prerequisite(s): AG 2330.


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The POI was used, many years ago, by the indigenous Maori people of New Zealand to increase their flexibility and strength in their hands and arms as well as improving coordination.
Wahine (female) dancers perform the Maori Poi, a dance performed with balls attached to flax strings, swung rhythmically. The POI dance was originally used by the Maori women for keeping their hands flexible for weaving and by the men for strength and coordination required during battle.
The above Fabric Poi are more thought of as International Poi . Hand made using a variety of modern fabrics and lasting materials.
What types do you have available?Home of Poi has a wide range of Contact Poi, including large and small Poi Balls sizes as well as Led Contact Poi.
Pendulum Poi - Flex?What is the difference between flex and regular Pendulum Poi?
The 'Flex' uses a 6mm Polyester Rope which as the name implies provides a more flexible cord.
The regular Pendulum Poi uses a thicker 8mm Polyester Rope, which can help with vertical stalls or any moves requiring a stiffer rope/cord.
Benefits of Poispinballs poi is a great low impact exercise for the body, improves co-ordination, self-image, confidence, increases brain functionality, and proven to make you even more clever.
Doing Poi is also a great way of meeting new people, by breaking down traditional barriers and creating interest to develop new friends and relationships.
Start doing Poi today! You will not regret it.
When you purchase from Home of Poi you also get hundreds of free video lessons to help you quickly impress yourself, and others, with your skills. "It really can change your life!"


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Transform assessment, transform education. We've revolutionized how teachers evaluate writing and in doing so we've created the tools and data necessary to modernize and optimize education.
|(a work-in-progress collaboration with Gerald Graff and Cathy Birkenstein)
"Keith's ingenious approach provides welcome support to harassed and beleaguered teachers everywhere. In reducing the more tedious parts of paper grading, EssayTagger.com frees teachers to concentrate on the most substantial aspects of student writing."
—Gerald Graffco-author, They Say, I Say: The Moves That Matter in Academic Writing
Professor of English and Education, U of IL at Chicago
2008 President, Modern Language Association of America
no wasted effort
You spend 20 minutes carefully analyzing and commenting on an essay. The student drops it straight in the recycling bin. Poof! All that effort wasted.
No more. Now all of those evaluations, all of that data lives on and informs instruction. You get value out of it, even if the student chooses not to. (learn more)
you mark errors, students correct
Why do we meticulously correct students' writing when they get so little benefit out of our effort?
Instead simply flag the problematic passages and then hold students accountable for figuring out the error and submitting corrections. (learn more)
fast, effective formative assessment
Speed, detailed diagnostics, and quality feedback are all vital aspects of formative assessment. But it seems impossible to satisfy all three criteria.
Ignore the "Essay" part of EssayTagger and leverage our incredible tools to hit the formative assessment trifecta. (learn more)
common rubrics, individual voices
You want your PLT to be coordinated, teaching to the same targets, assessing with the same rubric. But the rubric isn't your voice.
Now it is. Standardize your PLT's rubric structure but customize it with your own feedback comments. And the resulting data will still be directly comparable across your team. The best of both worlds! (learn more)
align to Common Core with almost zero effort
Build custom rubrics with a specific Common Core State Standard aligned to each element and then track students' progression through those Common Core standards over time. (learn more)
align formative and summative assessments
Align your learning targets to Common Core and you'll be able to see the exact Point A to Point Z connections as your formative assessments progress and culminate in a summative assessment.
EssayTagger is not an auto-grader. You still do all the grading yourself, but now you can do it faster!
These core elements are the backbone of your rubric.
You also have full control over the rubric's quality levels:
You customize the comments — add, edit, delete them — however you like. These are your comments, your feedback. We're not going to leave you stuck with canned, pre-written comments that don't suit your needs or style.
Think about how much repetition there is when you grade, how many of the same comments you find yourself writing on paper after paper. That's the kind of inefficiency we're trying to eliminate.
As you grade each essay you'll add more and more comments for each core element in the rubric. Pretty soon you'll end up with a very robust collection of comments that cover the gamut of student skill levels. And it will all be perfectly organized and easy to retrieve.
And, of course, that rubric and all of its comments are saved and ready to be reused on the next assignment.
It's everything you normally do, only more efficient.
This might not seem like much, but with the organizational and cross-referential power of a database at our fingertips we can do some pretty freakin' amazing things with that data.
And that's just after one assignment. Things get even crazier and cooler as you grade subsequent assignments (progression analysis coming soon).
All of this specific data tracking was possible before, but it simply was not practical for a busy teacher to keep track of on her own. Getting it all into an easily accessible database changes everything.
We believe that this data is an insanely powerful tool and is a game-changer that will transform your classroom.
We've gone through great efforts to make EssayTagger an impressive, intuitive, and gorgeous tool. We hope that we look and perform like a million dollars, but we are not a mega-corporation.
The reality is that we are a tiny startup that was created by a high school English teacher.
After becoming a teacher it became pretty clear that no one outside of education can understand just how brutal and time-consuming it is to be a teacher — especially when it comes to grading essays.
But on the flip-side most teachers don't know how or where technology can help them. Or worse, they're surrounded by all this awful technology that's been forced upon them. My district's attendance system required three separate logins! Three! Argghh!
Last year I had four sections of the same Senior English prep. That meant 96 papers would come in all at once. I was super-passionate about getting these regular-level students ready for the rigors of college so I would find myself spending 15, 20, 30 minutes per paper. That multiplied by 96 is insane.
That's where EssayTagger.com came from — as a teacher I felt the same pain you're feeling but my programming background allowed me to see where a little bit of technology could go a long way.
And the beauty of good uses of technology is that they don't just solve the problem at hand, they open new doors that weren't previously possible. It's a bold claim that we provide "revolutionary student data" but I really think we do.
I know that you will view us with great skepticism — and you should be skeptical. But when you boil it all down our approach is pretty dang simple: it's just rubrics, quality levels, and comments. It's what you normally do when you're grading papers but without most of the redundancy and inefficiency.
I think it's a helluva solution and I hope you agree.
Keith Mukai, M.Ed.
High School English Teacher
EssayTagger.com Founder and CEO
classroom impact
better & faster grading
award-winning innovation
enhance PLTs/teacher teams
fast formative assessment
training and professional development
revolutionary data
no vendor lock-in
RtI implications
Turn in assignments here: https://www.essaytagger.com/upload
© 2018 EssayTagger.com, LLC. Patent pending.


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Never one to miss an opportunity to grab a headline Sarah Palin has jumped onto the anti-Mitt, Bain Capital bandwagon.
"This isn't about a politician making huge profits in the private sector. I think what Governor Perry is getting at is that Governor Romney has claimed to have created 100,000 jobs at Bain and people are wanting to know is there proof of that claim?"
Well if they weren't "wanting to know" before this week Gingrich, Perry and now Palin are going to make sure they do heading into South Carolina.
Related: Sarah Palin's 2008 beehive appears to have made a permanent comeback....perhaps she's hoping her political relevance will follow?


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Last week marked the 1 year anniversary of the release of the first cohort of whooping cranes at the White Lake Wetlands Conservation Area. We received the first cohort of 10 cranes on 16 February 2011 but they weren't truly released until we opened the gate and let them out of the top-netted pen on 14 March. From that day forward they were considered released. Most of them including #'s 3 & 4 stuck around the pen and took advantage of the food that was provided for the next 2 months but they still had to survive - picking safe places to roost at night (since most nights they roosted outside the protected pen) and safe places to spend the day foraging and resting. Sadly only 3 of those original 10 birds survived to celebrate this anniversary and while that number isn't as high as we'd like it to be numbers don't tell the whole story. Today we celebrate the 3 survivors and hope they'll all still be around next year to mark another milestone.
#5 was different from the start. When she came out of the top-netted pen she separated from the other birds and spent only a short time in the marsh north of the release pen before moving into crawfish fields in Acadia Parish. She never joined the other birds or returned to the pen, so she, more than any other released crane I've ever worked with, was truly on her own from the very beginning! She has moved around some, likely responding to changing water levels as the fields she used were drawn down and flooded. She is currently residing in Jefferson-Davis Parish, which has truly become one of the more popular parishes among the released whooping cranes.
Once food was no longer provided at the pen #3 moved north to rice fields in Evangeline Parish with three other birds. He separated from them several months later after they had moved into Jefferson-Davis Parish. It turned out to be good that he separated from them as his previous companions were L8 & 10 who were shot and killed and L1 who disappeared at the same time as the shooting incident. He too has moved around some and was seen several times this winter with a small number of sandhill cranes. Most recently he moved further north than he's ever been into Avoyelles Parish. We believe the birds that have used agriculture fields move in response to changing management in the fields but we're still learning and I'm certainly curious what prompted his recent move to a brand new area. Hopefully time will tell but we don't know for sure.
And finally there is #4. In some sense he has been the most predictable of the bunch. When most of the birds dispersed and moved away from the pen he was part of a trio that simply moved to another location in the marsh, one that still had water despite the drought conditions. He spent all summer and most of the fall in the marsh not too far from the release pen with #2. Then in late October they left and moved to several different locations ending up in Jefferson-Davis Parish where unfortunately #2 was found dead, likely killed by a predator. #4 moved around a bit more after his companion died before ultimately coming back to the release pen on 31 December. Of course when he arrived he found the 2011 cohort of 16 juveniles who, believing the release pen belonged to them, did not welcome him into the flock. However #4 was persistent and hung around, eventually outlasting the aggression directed at him from the newly released juveniles. In fact as spring approached the tables turned and he became the more aggressive one – directing his aggression towards the young males while he tried to win over the young females. It didn't take long before he'd found a female who was as interested in him as he was in her and that lucky young bird is L7-11! The two have been seen unison calling together as well as displaying pre-copulatory behavior and we hope they will become our first breeding pair once they are both old enough!
While these three have a lot of milestones left to meet, they have succeeded at meeting their first major milestone – surviving one year on their own in the wild of Louisiana and we couldn't be prouder or more excited!!
Update and photos (well 2 of the 3) by Sara Zimorski


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Job Information
Oracle Project Director in Atlanta, Georgia
This senior director position is responsible for an increasingly diverse practice based upon complexity of the customers, the solutions, and the dollar value of the practice. Directs business operations and resources of a given practice that can be defined by industry, service line, technology center, specialty area or region. Accountable for managing the three main pillars of a practice: people management, portfolio/delivery management and sales enablement. Has profit and loss responsibility or financial/expense management of practice.
Accountable for operational/financial metrics and overall business results of practice. Responsible for setting and driving strategic direction, ensuring profitable growth of the practice, quality of consulting delivery, and maintaining customer referenceability. Actively develops new approaches and opportunities for expanding customer base. Creates and implements operational processes to drive consistency and support achievement of practice business strategy. Responsible for cultivating Oracle cross-functional communications through the creation and maintenance of strategic relationships with other lines of business which may include Product Development, Product Marketing, Support, Consulting Sales, and License Sales. Interacts with executive levels both internal and external regarding matters that influence policies and strategies. Assesses and manages business risk in pursuit of overall business goals. Accountable for managing and growing a substantive revenue stream and customer base. Manages and leads through management team and/or senior level individual contributors. Resolves staffing issues for very complex engagements. Identifies, leads, or oversees the development of customer-facing business solutions and offerings that have an impact on the market. May serve as advisor or project sponsor role for complex engagements.
Directs and ensures the implementation of operational policies through subordinate managers Interacts internally and externally with executive management involving negotiation of difficult matters to influence policy. Bachelor*s Degree in Computer Sciences or Business or equivalent. Balance of advanced technical skills, functional knowledge, client consultative skills and operational management experience. Has 4 years of consulting services senior management experience with P & L responsibility and at least 10-15 years consulting or industry experience. 12 years of experience relevant to this position including 4 years of consulting management experience with financial management responsibility. Direct line Management experience including project, people, customer, financial management preferred. Second-level Management experience preferred; proficient at managing managers and large teams. Product, technology or industry expertise relevant to the practice focus. Ability to develop and maintain relationships at the executive level. Proficient in using selling and negotiation techniques and tools. Undergraduate degree or equivalent experience. Ability to travel as necessary.
Oracle is an Affirmative Action-Equal Employment Opportunity Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, sexual orientation, gender identity, disability, protected veterans status, age, or any other characteristic protected by law.
Job: *Consulting
Organization: *Oracle
Title: Project Director
Location: United States
Requisition ID: 19001JZL
- Oracle Jobs


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w w w . h a a r e t z . c o m
Last update - 16:53 01/03/2008
An invention called 'the Jewish people'
By Tom Segev
Israel's Declaration of Independence states that the Jewish people arose in the Land of Israel and was exiled from its homeland. Every Israeli schoolchild is taught that this happened during the period of Roman rule, in 70 CE. The nation remained loyal to its land, to which it began to return after two millennia of exile. Wrong, says the historian Shlomo Zand, in one of the most fascinating and challenging books published here in a long time. There never was a Jewish people, only a Jewish religion, and the exile also never happened - hence there was no return. Zand rejects most of the stories of national-identity formation in the Bible, including the exodus from Egypt and, most satisfactorily, the horrors of the conquest under Joshua. It's all fiction and myth that served as an excuse for the establishment of the State of Israel, he asserts.
According to Zand, the Romans did not generally exile whole nations, and most of the Jews were permitted to remain in the country. The number of those exiled was at most tens of thousands. When the country was conquered by the Arabs, many of the Jews converted to Islam and were assimilated among the conquerors. It follows that the progenitors of the Palestinian Arabs were Jews. Zand did not invent this thesis; 30 years before the Declaration of Independence, it was espoused by David Ben-Gurion, Yitzhak Ben-Zvi and others.
If the majority of the Jews were not exiled, how is it that so many of them reached almost every country on earth? Zand says they emigrated of their own volition or, if they were among those exiled to Babylon, remained there because they chose to. Contrary to conventional belief, the Jewish religion tried to induce members of other faiths to become Jews, which explains how there came to be millions of Jews in the world. As the Book of Esther, for example, notes, "And many of the people of the land became Jews; for the fear of the Jews fell upon them."
Zand quotes from many existing studies, some of which were written in Israel but shunted out of the central discourse. He also describes at length the Jewish kingdom of Himyar in the southern Arabian Peninsula and the Jewish Berbers in North Africa. The community of Jews in Spain sprang from Arabs who became Jews and arrived with the forces that captured Spain from the Christians, and from European-born individuals who had also become Jews.
The first Jews of Ashkenaz (Germany) did not come from the Land of Israel and did not reach Eastern Europe from Germany, but became Jews in the Khazar Kingdom in the Caucasus. Zand explains the origins of Yiddish culture: it was not a Jewish import from Germany, but the result of the connection between the offspring of the Kuzari and Germans who traveled to the East, some of them as merchants.
We find, then, that the members of a variety of peoples and races, blond and black, brown and yellow, became Jews in large numbers. According to Zand, the Zionist need to devise for them a shared ethnicity and
historical continuity produced a long series of inventions and fictions, along with an invocation of racist theses. Some were concocted in the minds of those who conceived the Zionist movement, while others were offered as the findings of genetic studies conducted in Israel.
Prof. Zand teaches at Tel Aviv University. His book, "When and How Was the Jewish People Invented?" (published by Resling in Hebrew), is intended to promote the idea that Israel should be a "state of all its citizens" - Jews, Arabs and others - in contrast to its declared identity as a "Jewish and democratic" state. Personal stories, a prolonged theoretical
discussion and abundant sarcastic quips do not help the book, but its historical chapters are well-written and cite numerous facts and insights that many Israelis will be astonished to read for the first time.


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thenobodies80 wrote:
---The Beta period has concluded for the Balkan Peninsula Map. All objections have had their time. The Foundry and I hereby brand this map with the Foundry Brand. Let it be known that this map is now ready to be released into live play.
Congratulations MrBenn and ZeakCytho, your shiny new medals are well-earned
Conquer Club, enjoy!
Another one bites the dust


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Hey guys,
GREAT feedback on yesterday's post! It was so interesting to hear how you all negotiate the zone between eating consciously, but without dogma and fear. Thanks for chiming in!
It's no great secret that parmigiano-reggiano — or Parmesan, as we like to call it here in the US of A — is one of the world's most beloved cheeses. No surprise there: it's salty and unmistakably flavorful, and a little goes a long way. So what do those of us who aren't into the fromage do to replicate some of that effect? Well, we have a few options. There's Parma, a product I love: vegan, raw, and out-of-control tasty, it's sure to add flavor to your dishes. There's Rawmesan, which I haven't tried, but looks pretty good, too. There's Galaxy's vegan Parmesan, which isn't raw, but if your body tolerates soy nicely, is a tasty alternative (and great for those who are used to a more traditional Parmesan texture). And for those of us who like to keep things really simple, there's always a healthy sprinkle of nooch.
Last night, as I threw together some raw pasta leftovers, I noticed that I had only a few tablespoons of nooch left in my pantry. I also noted that I was down to a few tablespoons of hemp nuts. I'd wanted to experiment with a light, yet protein and nutrient rich topping for a while — especially since many of my clients are in search of a parmesan substitute. So I decided to experiment with a hemp based "cheese." Into my food processor went 3 tbsp of hemp seeds and 3 tbsp of nooch. I pulsed for a few moments, and came up with this:
It was absolutely delicious! And a wonderful offering to my clients who are a little worried about protein intake with a mostly vegan diet: hemp seeds, as we know, are a rich source of complete protein, and nutritional yeast packs eight grams in a tablespoon and a half. I'll definitely be recommending this topping to clients, and enjoying it's nutty, salty, and earthy taste myself.
Last night was also a fun exercise in leftover usage. I have a small vat of carrotini dressing at home, and I've been wondering how I'll make a dent before it goes off. Since I also had some spare zucchini, I decided that carrotini noodles would be the order of the day. The recipe? No recipe. Just one spiralized zuke, 1 cup of chopped mixed veggies, and about a quarter cup of carrotini dressing mixed in, like so:
Then, of course, came a small mountain of the hemp-esan:
Along with some steamed broc and cauliflower, it was a tasty and hasty meal:
Two thumbs up! I admit, I'm not a leftover fan: I love variety, and leftovers don't give me much room for that. But when leftovers offer me new and unexpected ideas for using up a dish I've already made (like turning a salad dressing into a "pasta" sauce), well hey, that's pretty cool.
What about you guys: leftover fans? Not so much? Would love to know! More importantly, let me know what you think of hemp-esan. I'm a fan 🙂
Happy hump day, all.


text: The languages children learn in school might not be the most useful for their future. from www.shutterstock.com March 27, 2017 What languages should children be learning to get ahead? Warren Midgley, University of Southern Queensland There is usually a historical reason why schools teach certain languages. But as new economies emerge, such languages may no longer be the best ones to learn.


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This is a post from our WordofMouth.org project. Check it out for more great word of mouth marketing tips like this every day. If you empower your customers to do something great, they'll be excited and proud to take action for your brand. As Dan Holm and Ken Bott of Outback Steakhouse explain, that's exactly […]
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How Outback Steakhouse enables super fans to spark amazing word of mouth
January 25, 2014
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- Compliance
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PowerLinux 7R4 Server
High performance, open technology server for data intense workload
The way the world works is changing. Consumers want instant answers and ubiquitous access from smart devices. They are having billions of conversations on global social networks. Businesses selling goods and services to these consumers are utilizing newly available information and instantaneous communication capabilities to more effectively market. Born-on-the-web companies are delivering massive amounts of information to millions of users. These smart companies have one thing in common—they are exploiting Linux and emerging solutions to deliver the right services at the right time to the right clients.
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Lease it from Zones! Learn more


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We begin our journey on the Capitol, the highest of Rome's seven hills, once the religious centre of the Roman Empire.
In the courtyard of the Capitoline Museum we find the monumental head of Constantine, born in Nis (today's Serbia), and only one of a number of Roman Emperors of Balkan origin. For centuries all of South East Europe was part of the Roman Empire. Constantine even moved the centre of his Empire from Rome to his new capital Constantinople (Istanbul) at the very edge of the Balkan peninsula.
The administrative divisions of the Empire into an Eastern and a Western half later gave rise to two Imperial traditions that have continued to shape European history: revived 'Roman' Empires of Catholic Western Europe, still symbolically centred in Rome itself; and the traditions of Byzantium, as Constantinople came to be called, the Rome of the East and of the Orthodox Church. From early modern days until today both of these traditions have shaped the destiny of South Eastern Europe.
Today, however, the Capitol is also a reminder of a political promise: the commitment, expressed in the Treaty of Rome that created the European Economic Community in 1957, to peacefully overcome the divisions of Europe, to revive the Pax Romana as a democratic Pax Europea. The Treaty of Rome was signed by six countries in the richly decorated Sala degli Orazi e Curazi in the Palazzo dei Conservatori (today part of the Capitoline museum) filled with pictures depicting the founding myths of Rome. Some decades later, the European Community welcomed the first country of the Eastern Orthodox world with the accession of Greece in 1981. In 2007 the first Slav Orthodox country (Bulgaria) became part of this community.
Giuliano Amato, today Italian Minister of the Interior, was the president of the International Commission on the Balkans until 2006. His commission travelled through the Balkans in search of answers to a set of questions: how long will it take for all of South East Europe to become part of the European Union, Europe's post-war 'Empire', by invitation? What is the EU's promise to the people of the region today? And how will the region need to change in order to overcome its isolation?
- Literary walk: The Head of the world
- Literary walk: Prophet of Yugoslavism
- Report of the International Commission on the Balkans
February 2007


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Tech Update
Pre-Engineered Application-Specific Robotic Cells
The common platform minimizes mechanical and electrical engineering design costs, and the volume production of a common unit reduces labor, assembly and material costs. It's built with modular equipment, allowing the cells to be used independently or as part of a multi-cell assembly zone, an assembly line or a complete workshop.
Standard features include an IRB 1410, 1600 or 2400 robot with controller and graphical HMI teach pendant; a 180-in. manually indexed two-station positioner; all of the required safety equipment and perimeter guarding; a metal mounting base; and dual cell doors with interlock device. Customize the USC for assembly, arc welding, cutting, deburring, grinding, trimming and polishing.
ABB Robotics: 800/435-7365; www.abb.com/robotics
See also: ABB Robotics
Related Enterprise Zones: Automation
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Elizabeth Gould Photography by Reynard Li
Professor Elizabeth Gould has a picture of a marmoset on her computer screen. Marmosets are a new world monkey, and Gould has a large colony living just down the hall. Although her primate population is barely three years old, Gould is clearly smitten, showing off these photographs like a proud parent. Marmosets are the ideal experimental animal: a primate brain trapped inside the body of a rat. They recognize themselves in the mirror, form elaborate dominance hierarchies and raise their young cooperatively. If you can look past their rodent-like stature and punkish pompadour, marmosets can seem disconcertingly human.
In her laboratory at Princeton University's Department of Psychology, Gould is determined to create a marmoset environment that takes full advantage of their innate intelligence. She doesn't believe in metal cages. "We are housing our marmosets in large, enriched enclosures," she says, "and with a variety of objects to support foraging. These are social animals, and it's important to let them be social. Basically, we want to bring our experimental conditions closer to the wild."
But Gould is not a primatologist. She doesn't give her marmosets adorable names, or spend time cuddling with their young. In fact, these marmosets don't even know she exists: Gould prefers to observe them remotely, on a little video screen. Staring at the televised frenzy of this little marmoset world, it is poignant to know how their lives will end. Their brains will be cut into thousands of transparent slices. Their dissected neurons will be stained neon green and the density of their dendritic connections will be quantified under a powerful microscope. They will live on as data.
The naturalistic habitat that Gould has created for these marmosets is essential to her studies, which involve understanding how the environment affects the brain. Eight years after Gould defied the entrenched dogma of her science and proved that the primate brain is always creating new neurons, she has gone on to demonstrate an even more startling fact: The structure of our brain, from the details of our dendrites to the density of our hippocampus, is incredibly influenced by our surroundings. Put a primate under stressful conditions, and its brain begins to starve. It stops creating new cells. The cells it already has retreat inwards. The mind is disfigured.
The social implications of this research are staggering. If boring environments, stressful noises, and the primate's particular slot in the dominance hierarchy all shape the architecture of the brain—and Gould's team has shown that they do—then the playing field isn't level. Poverty and stress aren't just an idea: they are an anatomy. Some brains never even have a chance.
Viewed through the magnified eyes of a confocal microscope, a newborn neuron looks fragile, almost lonely. Everything around it is connected to everything else, but the new cell is all alone, just a seed of soma and a thin stalk of axon desperately trying to plug itself into the network. If it doesn't, it will die. Staring at this tenuous neuron, it is hard to believe that so much depends upon its presence.
Dr. Gould insists on being called Liz. She wears faded jeans to work and ties back her long dark hair in a loose braid. She smiles easily, and intersperses discussions of marmoset families with stories about her own children. Gould doesn't talk about her research in listless sentences full of acronyms. Instead, she takes you through the experimental process, confessing all the difficulties and ambiguities along the way.
Gould's casual air conceals a necessary tenaciousness: It is not easy to shift a paradigm. Four days after giving birth to her third child, Gould was back at work, lecturing to a room full of undergraduates. She has always worked long hours, and expects nothing less of her employees. (Saturdays in the Gould lab are indistinguishable from Mondays.) And even though her research has set off a frenzy of activity—neurogenesis is now one of the hottest topics in neuroscience—Gould has managed to remain at the cutting edge of the field she helped to
For such a high-profile scientist, Gould's lab at Princeton is surprisingly small. Lavishly outfitted (she has her own $400,000 confocal microscope and large marmoset colony) the lab consists of just two post-docs and two grad students. They are a close knit group, and work on overlapping problems. "When I first began at Princeton," Gould says, "I had tunnel vision. I was just so determined to answer my critics and prove that adult neurogenesis was real. But now I'm finally able to think about neurogenesis in a broader context. We are free to figure out what all these new cells actually do."
To understand how neurogenesis—the process of creating new brain cells— works, Gould's lab studies the effect of two separate variables: stress and enriched environments. Chronic stress, predictably enough, decreases neurogenesis. As Christian Mirescu, one of Gould's post-docs, put it, "When a brain is worried, it's just thinking about survival. It isn't interested in investing in new cells for the future."
On the other hand, enriched animal environments—enclosures that simulate the complexity of a natural habitat—lead to dramatic increases in both neurogenesis and the density of neuronal dendrites, the branches that connect one neuron to another. Complex surroundings create a complex brain.
Gould's field is a new one. Only a decade ago, the idea that the primate brain is constantly creating new neurons, and that these new neurons are not only functional but responsive to changes in the environment, was unimaginable. Indeed, the fact that neurogenesis did not exist was one of modern neuroscience's founding principles. This theory, first articulated by Santiago Ramón y Cajal at the start of the 20th century, held that brain cells—unlike every other cell in our body—don't divide. They don't die, and they are never reborn. We emerge from the womb with the only brain we will ever have.
The most convincing modern defender of this theory was Pasko Rakic, the chairman of Yale University's neurobiology department and among the most respected neuroscientists of his generation. In the early 1980s, Rakic realized that neurogenesis had never been properly tested in primates. He set out to investigate. Rakic studied 12 rhesus monkeys, injecting them with radioactively-labeled thymidine which allowed him to trace the development of neurons in the brain. Rakic then killed the monkeys at various stages after the injection of the thymidine, and searched for any signs of new neurons. There were none.
"All neurons of the rhesus monkey brain are generated during pre-natal and early post-natal life," Rakic wrote in his 1985 paper, "Limits of Neurogenesis in Primates." "Not a single" new neuron "was observed in the brain of any adult animal." While Rakic admitted that his proof was limited, he persuasively defended the dogma. He even went so far as to construct a plausible evolutionary theory as to why neurons can't divide: Rakic imagined that at some point in our distant past, primates had traded the ability to give birth to new neurons for the ability to retain plasticity in our old neurons. According to Rakic, the "social and cognitive" behavior of primates required the absence of neurogenesis. His paper, with its thorough demonstration of what everyone already believed, seemed like the final word on the matter. No one bothered to verify his findings.
The genius of the scientific method, however, is that it accepts no permanent solution. Skepticism is its solvent, for every theory is imperfect. Scientific facts are meaningful precisely because they are ephemeral, because a new observation, a more honest observation, can always alter them. This is what happened to Rakic's theory of the fixed brain. It was, to use Karl Popper's verb, falsified.


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Real Salt Lake
Real Salt Lake Head Coach Jason Kreis
On what impressed him about LA's performance:
"I think they were good certainly in the 50/50 challenges but I don't think that we made them defend enough, we weren't good enough with the ball. We gave the ball away so cheaply, so many times in very dangerous spots and so even the goal comes from our giving the ball away in our defensive third of the field on just an easy pass that's just missed. So we can talk all we want about how we have to be better defensively but for me, we wouldn't have to defend as much if we were much better with the ball."
On what the team needs to do differently to overcome the deficit:
"We just need to play better, that's it. The passes are there, you can see that the options were there, we're just missing simple passes so some of our most important players need to play better, and they will."
On how challenging it is both mentally and physically to play another playoff game four days from now:
"I think it's going to be very difficult and then if you succeed you're looking at playing another one three days later. I think that's extremely difficult, I think we have some problems because of all the gaps we've had lately. If we can have two weeks in between matches, for us, I think it's really hard to have a consistent rhythm and a flow and a tempo about what we're doing so I say again, if you say you weren't good with the ball in the first half some of that maybe comes down to that we haven't played a game for a week and a half. Again, it was like two weeks before that then we played a game then it was two weeks before that so for me that's certainly not ideal."
On his the play of Tony Beltran in his return to the lineup:
"He was out there, I think that a lot of the guys worked hard and were fully committed to the effort. Wasn't their best outing."
Real Salt Lake GK Nick Rimando
On what the team needs to do differently going into the second leg:
"We've got to possess the ball, create some chances and not give the ball away in dangerous spots. As you saw, they have dangerous players and I think we got very, very lucky not to get scored on a lot more. I don't think they were as sharp as they've always been up top on their counter attacks and we need to do a lot better possessing the ball and not giving the ball away."
On the defensive performance:
"I think we did a great job defending for 50, 60 minutes and then we started to cheat a little bit. You saw they got a lot of chances from us not wanting to get back and track back to some of their players from bad giveaways. To win this series, everyone has to pitch in and play together, offensively and defensively and we know that we can play very, very good at home and we have to continue to do that and show that on Thursday."
On tonight's result:
"I think it's a fantastic result for us. Looking back at the chances they had, 1-0 at halftime, I'm happy with it because it could have been a lot worse and we just have to build on and watch tape on what we have to do better."
Real Salt Lake DF Tony Beltran
On if he felt like the team was defending for the majority of the game:
"We were. It's tough playing LA at home. They have so many attacking assets and when we get up high up the field, they're so good at counter attacking. They get some speed up top and play really good balls to two of those people up top. So you always have to stay tuned-in, always be careful and I think we gave them a little bit too much room tonight and they got behind us a couple times. Sometimes that happens when you're playing away from home so we'll regroup and be sharper, hope to dictate more of the play on Thursday."
On if it's difficult to find a rhythm having not played in 11 days:
"I think the coaching staff does a really good job challenging us during training so we're working the whole time, the level is very high, the desire is still there. So, it can be kind of frustrating because sometimes it's nice to play games every couple days just to get momentum going on a roll but it was also a chance for us to regroup and kind of fine tune everything, so it wasn't really a big deal."
On how challenging it is to play another playoff game in four days:
"Personally, I like that. Sometimes a week can seem like such a long time waiting for the next game, so the fact is that I wish it was Wednesday or Tuesday. We'll be ready no matter what."
Real Salt Lake FW Devon Sandoval
On tonight's performance:
"We weren't good enough with the ball and they could have easily scored more but I think a 1-0 result is alright going home. It doesn't change the way we play so we'll be ready for Thursday."
On if he's frustrated with the 1-0 result:
"I think we're frustrated with ourselves because we can play better than that, and we will on Thursday."
On if he thinks Real Salt Lake can come back in the series:
"Yeah, without a doubt. If we play our game and play the way we're capable of then I think so."
LA Galaxy
LA Galaxy Head Coach Bruce Arena
On Sean Franklin's goal:
"The goal was a great goal. No question about that. He had a great night. His last 15 minutes in the first half and second half were real good. "
On the play of Gyasi Zardes in his postseason debut:
"I thought he played well. Beltran played well against him. It was a good match up. Gyasi was a handful and helped create a number of potential goal scoring opportunities for us, and had a very solid game."
On the LA Galaxy's defense not giving Real Salt Lake a lot of chances:
"Not much, but a little at the end there. [Chris] Wingert cross to the back post, but for the most part they were pretty solid. They will have to be pretty good on Thursday as well."
On Real Salt Lake changing their formation:
"They went with 11 players as we anticipated. Everyone makes too much of formations. It's 11 against 11. They obviously came here to try to get a point or steal three. They fell a little short there."
On the Galaxy's finishing problems:
"We had our chances. A couple of players were a little off tonight. I think Rimando did very well. He was very composed in goal and didn't make things very easy."
On going into the second leg with a 1-0 lead:
"I'd rather be the team ahead. These are always difficult matches. All the games in the league are all competitive going into the second game. It's going to be difficult. Obviously, having the one goal is a real plus, but it's going to take a heck of an effort in the next 90 minutes."
LA Galaxy DF Sean Franklin
On his goal:
"The ball just came out on top of the box. I had time and space. I hit it. I just hit it and kept in on frame. And, it went in. It was a great goal, personally, for me. I'm just glad I got it for the team. I'm happy we won with the shutout."
On keeping a clean sheet:
"We talked about how we didn't want to give up any goals. Everyone was flying in front of balls. Everyone did a good job today of shutting down their players and that's kind of what is needed going into the second leg."
On the next leg being in Salt Lake City:
"It's going to be cold. There is altitude. It's going to be a crazy game. They are definitely going to come out and press us early and we are going to have to be smart about that, and not give up any goals early."
LA Galaxy FW Landon Donovan
On Sean Franklin's goal:
"Great goal. As someone who has scored some goals, you're just trying to hit the target and he hit it perfectly. It probably came through a little traffic, but I don't think there's any goalie that's saving that. I thought it was a terrific goal and it was a much deserved goal for us."
On if he feels LA could have scored more goals:
"A little bit, yeah. Especially at the end they pushed forward and we did a good job defending, and Robbie and I needed to do a better job with our counterattacks. Usually we are better about that. My guess is we are going to have a lot less chances Thursday as they push numbers and they attack and that absolutely plays into our hands so we welcome that."
On if Galaxy need to score more goals on Thursday:
"We need to not give up a goal. We don't give up a goal we advance. That has to be the starting point, but as the game goes on, as it opens up, as they expose themselves, we're certainly going to have chances to score."
On if he is confident heading into Thursday's game:
"Very. We went there twice this year, with less than our full team. One game we won 2-0 and one game was 1-1 until the 84th minute, or so, so we are very confident. We go there with a full team, our team is very fit now, we're well rested, we're healthy and we like our chances."
LA Galaxy FW Robbie Keane
On the game-winning goal:
"It was a great strike. He's lucky to be where he was because all the defenders were certainly running in and sometimes you just need to pull the ball back in and hope for the best, and lucky enough for us Sean was there. Great shot."
On he and Landon Donovan not being able to connect for a goal:
"It is what it is. We had a few chances, we didn't score. But we scored one goal. Like I said, it's not about me and Landon, it's about the whole team. You can keep talking about me and Landon but it's about everybody, it's about 11 players. We certainly gave them a lot to think about at the back, we had a few chances, but we didn't put them away but it's no problem."
On what the mentality will be heading into Thursday night's game:
"I think when you get a goal it's always good, but we have to be certainly weary and respectful of them and that they are playing in their place, which is always a tough place to go, so it's certainly not over and if the players think, well then, we're going to be in for a big problem on Thursday night. As long as they know we start off with a 0-0 game, knowing we can counter and score with the players we have on the team and defend very, very well we should be OK. But if we think we are going to go there and the game is done well then we'll be in for a shocker."


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Editorial: Google and the Summit Daily News
You may have noticed a change this week to the Summit Daily News website, summitdaily.com. In lieu of putting our content behind a paywall, we're opting to use Google Consumer Surveys. The process is simple, and when you think about it, not much of a hassle at all: When you click on a summitdaily.com article, Google will ask you a basic question. There are no wrong answers. Two clicks and you're done for the next 24 hours. To be clear, you don't have to answer a question every time you access a summitdaily.com article. Just once a day.
So what's the deal with the survey? We'll let the folks at Google explain: "These surveys contain questions written and provided by survey creators that want to conduct market research. The website you're visiting earns money from the surveys that appear. This service makes market research fast, accurate and affordable, helps to fund great web content and enables you easily and quickly get access to it. Your answer is anonymous and is aggregated with all other anonymous answers to the question. It's not connected with any information about you, and is not used to develop a profile or to deliver ads. Once the survey is complete, an aggregated report is provided to the survey creator about the specific question it asked. Like ads on the web, some surveys may be delivered to you based on the interests and inferred demographics associated with your browser."
That's basically it. We believe it is a relatively low-key change to content access. Just two extra clicks a day. That's all.
Start a dialogue, stay on topic and be civil.
If you don't follow the rules, your comment may be deleted.


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Backplanes & Extender Brds
STANDARD PRODUCTS � Backplanes & Extender Brds
Backplanes & Extender Boards
Verotec design, supply and integrate bus based products and systems. Our extensive standard range consists of open-architecture backplanes and extender boards for VME, VME64x, VXI, OpenVPX, VXS, CompactPCI and PXI. Many years of design knowledge and expertise in backplane technology means that, in addition to standard product, we're able to offer modified to fully custom designs to your specifications. We are also happy to support a number of legacy backplane products including
STEbus, Multibus and G64/96bus.
VMEbus TechnologyVerotec offer a comprehensive range of VME backplanes from 1 to 21 slots wide in J1, J2 (3U) and J1/J2 monolithic (6U) variants. They offer excellent performance characteristics in the areas of controlled impedance, power distribution and termination design. Power options include 6.35mm Faston Blade, Mate'N' Lock connector and Busbar, Termination is passive and either on or off board whilst daisy chaining BG and IACK signals can be achieved with jump jacks or auto bus-granting connectors. Accessories include terminator modules and 3U/6U extender / test boards.
VME64 Extensions
VME64 Extensions backplanes from Verotec are available in a 6U formfactor, from 1 to 21 slots wide, and in 4 standard configurations; with or without P0 connectors and with or without a 3.3V busbar / stiffener. VME64x incorporate a 5 row, 160way DIN connector which provides extra I/O and signal lines but also backward compatibility with traditional VMEbus systems that use the 96way DIN interconnect. Termination is active, in-board whilst BG and IACK signal daisy chaining is achieved electronically. 6U Extender / test boards are available with and without the P0 connector and also with or without a PCB support frame.
VXIThe Verotec range of VXI backplanes include "C" size (6U) and "D" size (9U)
formfactors in a variety of slot widths which fully conform with the latest revision (rev.1.4) to the VXIbus specification. High-power versions are offered that include special laminated busbars and accessories include light and heavy duty screened modules. As with all our backplanes, we are able to offer semi or fully customised versions to suit unique applications.
OpenVPXOpenVPX is a fairly new standard only ratified in 2010. It is designed to provide a migration path for VME users looking for greater speed, bandwidth and I/O whilst preserving the traditional tried and tested VMEbus. Whilst the mechanical formfactor has remained the same, the interconnect has changed to the new Tyco Multigig connector. Although a "standard" specification (VITA 65) defines the product, the serial architecture gives rise to hundreds of possible configurations. Verotec has a number of standard backplane designs but given the custom nature of VPX applications, most backplanes are designed / manufactured to order.
VXSVME Switched Serial, or VXS, introduces improved bandwidth, backward compatibility to VME64, and increased power delivery into the existing VMEbus technology base. It is defined under VITA 41 and further extends the life-cycle of existing board products while simultaneously offering distinct improvements to the architecture. Verotec has a number of standard backplane designs but given the custom nature of VXS applications, most backplanes are designed / manufactured to order.
Our standard range of high performance, hot swap CPCI backplanes comply with the PICMG 2.0 Rev.3 specification and are available in 3U and 6U form factors and from 2 to 16 slots wide. The generic base design allows many different product configurations to be realised, making them suitable for a wide range of end user applications. Other variations can be designed on a custom basis, giving customers the ability to specify a backplane to their exact requirements. Accessories include 3U and 6U extender cards and rear pallet bridges.
In addition to the standard PICMG 2.0 Rev.3 backplanes we also offer Computer
Telephony and Packet Switching CPCI backplanes. CT/H.110 backplanes incorporate the H.110 TDM bus on the P4 connector as defined in the PICMG CT and ECTF specification Packet Switching backplanes use the P3 connector to route Ethernet as defined in the PICMG 2.16 specification. Both backplane types are available in a number of slot widths and true 6U height and incorporate integrated power connectors for pluggable power supplies to PICMG 2.11.
PXIPXI (CompactPCI eXtensions for Instrumentation) was developed to fulfil the requirements of users, primarily of instrumentation and automation systems who needed increased performance, reliability and functionality from compact, PC based systems. Verotec has a number of compliant products ranging from 3U to 6U and from 8 to 14 slots in width. All backplanes meet revision 2.2 of the PICMG PXI specification and can be supplied with or without external clock circuitry and rear pallet bridging.
Multibus / STEbus / G64To provide continued support for legacy bussed systems, Verotec offer a range of backplanes and accessories for Multibus, Multibus II, STEbus, G64 & G96.
Custom BackplanesMany years of design knowledge and expertise in backplane technology means that, in addition to our standard products, we're able to offer modified standard of fully custom designs to your specifications. Our designers work with leading standards organizations to bring to market the latest open-architecture products. Our knowledge and experience means we can meet the most demanding design specifications whilst rising to the challenges of modern day environmental issues. Verotec uses a number of software tools to aid backplane design, including Cadence Allegro, Mentor Graphics and Pads.
BackPlanes And Extender BoardsView CATALOGUE >
|BackPlanes And Extender Boards
|Section: 12
|Download PDF (2.60 Mb)
|View Catalogue


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Very Limited Quantities
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Terry Kupers, M.D.
Part-Time Institute Faculty
B.A. Psychology, Stanford, 1964
M.D. University of California, Los Angeles, 1968
M.S.P. Social Psychiatry, University of California, Los Angeles, Neuropsychiatric Institute, 1974
Residency in Psychiatry, University of California, Los Angeles, Neuropsychiatric Institute and Tavistock Institute, London, England, 1969 – 1972
Fellow in Social and Community Psychiatry, University of California, Los Angeles, Neuropsychiatric Institute, 1972 – 1974
Dr. Kupers is a psychiatrist with a background in psychoanalytic psychotherapy, forensics and social and community psychiatry. He did his residency training at the University of California, Los Angeles Neuropsychiatric Institute and, because of an interest in object relations theory, spent the third year of his residency at the Tavistock Institute in London. He also did a fellowship in social and community psychiatry. Since 1974, he has practiced psychiatry in both the public and private sectors. At Martin Luther King, Jr. Hospital (and Charles Drew Postgraduate Medical School, where he was Assistant Professor) in South Central Los Angeles and the Richmond Community Mental Health Center in Richmond, he served as director or codirector of an outpatient clinic, a psychiatric residency program, and a partial hospitalization program. He left the Richmond Center in 1981, joined the faculty at the Wright Institute, and has continued to teach and to maintain his private practice while consulting to various mental health centers and social rehabilitation programs in the community. His forensic psychiatry experience includes testimony in several large class action litigations concerning jail and prison conditions, sexual abuse, and the quality of mental health services inside correctional facilities. He is a consultant to Human Rights Watch.
Dr. Kupers has taught medical students and residents in psychiatry as well as psychology graduate students. He has always been interested in the integration of clinical and social theory. Classes he has taught include Basic Psychoanalytic Concepts; Social Psychopathology (with Dr. Richard Lichtman); Brief Psychotherapy; Public Mental Health; Freud; Group Psychotherapy; the Sociology of Knowledge (with Dr. Lichtman); Gender, Psychopathology and Psychotherapy; Forensic and Correctional Mental Health; and Social Bases of Behavior: Clinicians to Society. His diverse interests are reflected in the titles and subject matter of his four books, the books he edited, and the representative articles listed below.
He is board-certified in psychiatry; is on the staff of Alta Bates Medical Center; is Contributing Editor of Correctional Mental Health Report, and is an editorial advisor for the journals Free Associations, Men and Masculinity, and Psychology of Men & Masculinity. In 2005, Dr. Kupers received the Exemplary Psychiatrist Award from the National Alliance on Mental Illness (NAMI).


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By understanding the roles and responsibilities of all those involved, individuals at each stage of the lifecycle will be better able to complete projects, differentiate themselves from competitors and build trust in the eyes of clients, regulators and stakeholders.
The RICS Real Estate Lifecycle Certification recognises this need and has been created to provide formal recognition to professionals who can demonstrate a thorough knowledge of all functions of the real estate market and the role that RICS, our standards and professionals perform in the market.
To gain certification, professionals are required to complete a training and assessment programme comprised of a series of online modules, reading material and an exam.


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"Finding a solution to the illegal activities that have been occurring in Colorado city for decades has been one of my highest priorities since taking office as Arizona's Attorney General. I proposed legislation last year that would have eliminated the ability of the Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) to control and direct law enforcement officers employed by the Colorado City Marshal's office. Sadly, our legislature chose not to pass our Bill.
I remain committed to stopping the illegal conduct perpetrated by the FLDS church on non-church members. I will continue to use the resources of my office to ensure that all residents of Arizona are treated fairly and equally under the law.
Two weeks ago, the AG's office announced that it will provide $420,000 to the Mohave County Sheriff office for overtime pay so that its officers could patrol Colorado City 16 hours per day. The hours will be staggered. The presence of the Sheriff's Office will help prevent wrongdoers from infringing on the rights of innocent citizens of Colorado City.
I am very pleased that the US DOJ has taken legal action to join us in this fight. I have offered the support of my office in pursuing this case and look forward to justice being served."
Complaint565 KB