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This year marks the hundredth anniversary of the decision to take an hourglass-shaped traffic funnel between Forty-second Street and Forty-seventh Street on Broadway, which had been called Longacre Square, and rename it after the New York Times, which had just built its office there. This was less an honor than a consolation prize. The other, then bigger and brighter newspaper, the New York Herald, had claimed the other, then brighter and better square, eight blocks south, which still bears its ghostly name. Nine years later, in 1913, the Times scurried off to a prim side street and a Gothic Revival bishop's palace, where it has been lifting its skirts and shyly peeking around the corner at its old home ever since.
No other part of New York has had such a melodramatic, mood-ring sensitivity to the changes in the city's history, with an image for every decade. There was the turn-of-the-century Times Square, with its roof gardens and showgirls; the raffish twenties Times Square of Ziegfeld and Youmans tunes; the thirties Times Square of "42nd Street," all chorus lines and moxie; the forties, V-J "On the Town" Times Square, full of sailors kissing girls; the wizened black-and-white fifties Times Square of "Sweet Smell of Success," steaming hot dogs, and grungy beats; and then the sixties and the seventies Times Square of "Midnight Cowboy" and "Taxi Driver," where everything fell apart and Hell wafted up through the manhole covers. No other place in town has been quite so high and quite so low. Within a single half decade, it had Harpo Marx in the Marx Brothers' valedictory movie, "Love Happy," leaping ecstatically from sign to sign and riding away on the flying Mobilgas Pegasus, and, down below, the unforgettable image of James Dean, hunched in his black overcoat, bearing the weight of a generation on his shoulders.
Now, of course, we have the new Times Square, as fresh as a neon daisy, with a giant Gap and a Niketown and an Applebee's and an ESPN Zone and television announcers visible through tinted windows, all family retailing and national brands. In some ways, the Square has never looked better, with the diagonal sloping lines of the Reuters Building, the curving Deco zipper, even the giant mock dinosaur in the Toys R Us. There are, of course, people who miss the old Times Square, its picturesque squalor and violence and misery and exploitation. Those who pointed at the old Times Square as an instance of everything that capitalism can do wrong now point to the new Times Square as an instance of everything that capitalism can do worse. Where once Times Square was hot, it is now cold, where once varied, now uniform, where once alive, now dead. Which just proves, as with the old maxim about belief, that people who refuse to be sentimental about the normal things don't end up being sentimental about nothing; they end up being sentimental about anything, shedding tears about muggings and the shards of crack vials glittering like diamonds in the gutter.
And yet, whatever has been gained, something really is missing in the new Times Square. The forces that created it, and the mixed emotions that most of us have in its presence, are the subject of James Traub's "The Devil's Playground" (Random House; $25.95), which is both an engaged civics lesson and a work of social history. The book begins with an ironic moment—Traub takes his eleven-year-old son to the new Forty-second Street to see the old "42nd Street"—and then spirals back into history, moving decade by decade over the past century.
Traub, a writer for the Times, hates city myth but loves city history: on every page you learn something about how the city really happened, and how it really happens now. He is particularly good at wrestling complicated history into a few tight pages. He gives the best account we have of the original sin of New York: the birth, in 1811, of the iron street grid almost before there were any streets. The decision to lay a crisscross of numbers over the city without any breaks for public squares, plazas, or parks—a deliberately brutal nod to the governing principle of commerce—is why we still, sadly, call any awkward and accidental space created by the diagonal of Broadway intersecting an avenue a "square."
Traub also has a gift for filtering social history through a previously invisible individual agent. As always, the vast forces of mass culture turn out to be the idiosyncratic choices of a few key, mostly hidden players. The character of the signs in Times Square, for instance, was mostly the invention of O. J. Gude, the Sign King of Times Square. Gude, a true aesthete with a significant art collection, was the first to sense that the peculiar shape of Times Square—a triangle with sign-friendly "flats" at the base and the apex—made it the perfect place for big electric national-brand signs, or "spectaculars," as they were called, even before the First World War. In 1917, when Gude put up a two-hundred-foot-long spectacular, on the west side of Broadway between Forty-third and Forty-fourth, featuring twelve gleaming "spearmen" who went through spasmodic calisthenics, it was as big an event in American pop culture, in its way, as the opening of "The Jazz Singer," ten years later. Gude also had the bright idea of joining the Municipal Art Society, the leading opponent of big signs, and later helped shape the zoning ordinances that essentially eliminated big electric signs anywhere in midtown except in Times Square.
Times Square is famous for what used to be called its "denizens"—Damon Runyon, George S. Kaufman, Clifford Odets, A. J. Liebling—and Traub writes brief lives of a lot of them. But the history of the place isn't really a history of its illuminati; it's a history of its illuminations. Though social forces and neon signs flow out of individuals, they don't flow back into individuals so transparently. George S. Kaufman, to take one instance, was exclusively a creature of the theatre; if, like the galleries in SoHo in the nineteen-nineties, the Broadway theatre had in the thirties picked up and moved to Chelsea, Kaufman would have followed it blindly and would never have been seen on Forty-second Street again. Even Runyon has about as much to do with the history of Times Square as P. G. Wodehouse does with the history of Mayfair: his subject is language, not place, and in all of Runyon's stories it would be hard to find a single set-piece description of Times Square, a single bulb on a single sign. Individual artists help make cities, but cities don't make their artists in quite so neatly reciprocal a way. Dr. Johnson's "London" is a poem; "The London of Dr. Johnson" is a tour-bus ride.
Traub gives no false gloss to the decay of Times Square; it was really bad. The neighborhood declined to a point where, by the mid-seventies, the Times Square precincts placed first and second in New York in total felonies. (Harlem had a third as many.) These were crimes of violence, too: a rape or an armed robbery or a murder took place nearly every day and every night. Stevie Wonder's great 1973 song "Living for the City" has a spoken-word interlude in which the poor black kid from the South arrives on West Forty-second Street and in about five minutes is lured into the drug business. This was a song, but it was not a lie.
Traub's account of the area's transformation is lit from behind by another, still longer and larger one—Lynne B. Sagalyn's masterly "Times Square Roulette: Remaking the City Icon," just issued in paperback (M.I.T.; $29.95). Sagalyn teaches real estate at the University of Pennsylvania, and her book, the fruit of more than a decade of scholarly labor, is as mind-bendingly detailed an account of the relations of property and culture as one can find outside Galsworthy or Trollope. It's full of eye-opening material, if one can keep one's eyes open long enough to find it. Sagalyn's book is written, perhaps of necessity, in a prose so dense with city acronyms and cross-referential footnotes that it can defeat even the most earnest attention. Nonetheless, its material is the material of the city's existence. Reading it is like reading an advanced-biology textbook and then discovering that its sole subject is your own body.
Traub and Sagalyn agree in dispelling a myth and moving toward a history, and the myth irritates them both—Traub's usual tone of intelligent skepticism sometimes boils over here into exasperation. The myth they want to dispel is that the cleanup of Times Square in the nineties was an expression of Mayor Giuliani's campaign against crime and vice, and of his companion tendency to accept a sterilized environment if they could be removed, and that his key corporate partner in this was the mighty Disney, which led the remaking of West Forty-second Street as a theme park instead of an authentic urban street. As Traub and Sagalyn show, this is nearly the reverse of the truth. It was Mayor Koch who shaped the new Times Square, if anyone did, while the important private profit-makers and players were almost all purely local: the Old Oligarchs, the handful of rich, and mostly Jewish, real-estate families—the Rudins, Dursts, Roses, Resnicks, Fishers, Speyers, and Tishmans, as Sagalyn crisply enumerates them. Mayor Giuliani, basically, was there to cut the ribbon, and Disney to briefly lend its name.
The story follows, on a larger scale than usual, the familiar form of New York development, whose stages are as predictable as those of a professional wrestling match: first, the Sacrificial Plan; next, the Semi-Ridiculous Rhetorical Statement; then the Staged Intervention of the Professionals; and, at last, the Sorry Thing Itself. The Sacrificial Plan is the architectural plan or model put forward upon the announcement of the project, usually featuring some staggeringly obvious and controversial device—a jagged roof or a startling pediment—which even the architect knows will never be built, and whose purpose is not to attract investors so much as to get people used to the general idea that something is going to be built there. (Sometimes the Sacrificial Plan is known by all to be sacrificial, and sometimes, as in "The Lottery," known to everyone but the sacrifice.) The Semi-Ridiculous Rhetorical Statement usually accompanies, though it can precede, the Sacrificial Plan, and is intended to show that the plan is not as brutal and cynical as it looks but has been designed in accordance with the architectural mode of the moment. ("The three brass lambs that stand on the spires of Sheep's Meadow Tower reflect the historical context of the site . . ." was the way it was done a decade ago; now it's more likely to be "In its hybrid façade, half mirror, half wool, Sheep's Meadow Tower captures the contradictions and deconstructs the flow of . . .") The Staged Intervention marks the moment when common sense and common purpose, in the form of the Old Oligarchs and their architects—who were going to be in charge in the first place—return to rescue the project from itself. The Sorry Thing itself you've seen. (At Ground Zero, Daniel Libeskind supplied the sacrificial plan, and now he is pursuing all of the semi-ridiculous rhetoric, in the forlorn hope that, when the professionals stage their intervention, he will be the professional called on.)
The only difference in the Times Square project was that, because of its size, it all happened twice. (Actually, there were two dimensions to the remaking of Times Square—the West Forty-second Street projects, and the reclaiming of the Square itself—but each depended on the other, and, though administratively distinct, they were practically joined.) The first Sacrificial Plan appeared in the late seventies, and was called "the City at Forty-second Street." Presented by the developer Fred Papert, with the support of the Ford Foundation and with proposed backing from Paul Reichmann, of Olympia & York, it envisioned a climate-controlled indoor-mall Forty-second Street, with a five-hundred-thousand-square-foot "educational, entertainment, and exhibit center," and a 2.1-million-square-foot merchandise mart for the garment trade, all strung together with aerial walkways and, lovely period touch, equipped with a monorail. Mayor Koch wasn't happy about the plan; "We've got to make sure that they have seltzer"—that it's echt New York—"instead of orange juice," he said. But mostly he worried because someone else would be squeezing the oranges.
Still, the plan did what such plans are meant to do: establish the principle, civic-minded rather than commercial, that something had to be done here, and the larger principle that whatever was done should be done on a large scale—the old, outdoor theatre-and-arcade Forty-second Street could be turned into "a consumer-oriented exposition center with people moving across 42nd Street by means of pedestrian bridges," as one early draft of the rhetoric put it. As the initiative passed from the developers to the Koch administration, a further principle was established. The transformation could be made only by large-scale condemnation of what was already there, and the city and state together proposed a new way to link up private and public: the developers would get the right to build on condition that they paid directly for public improvements. The price of your tower on top was a cleaner subway station below.
Still more significant, and what should have been seen as a portent in the first Sacrificial Plan, was the felt need to pull away from the street completely. This was not simply snobbery but self-preservation; Forty-second Street wasn't dying but raving. The porno shops on West Forty-second Street weren't there because the middle class had fled. They were there because the middle class was there. The people who bought from the porn industry were the office workers who walked by the stores on the way to and from work, and the tourists who wanted to take back a little something not for the kids. The XXX video rooms and bookstores and grind-house theatres were going concerns, paying an average of thirty-two thousand dollars a year in rent; peep shows could gross five million a year. Though the retailers were obviously entangled with the Mafia, the buildings were owned by respectable real-estate families—for the most part, the same families who had owned the theatres since the thirties, the Brandts and the Shuberts. Times Square was Brechtville: a perfect demonstration of the principle that the market, left to itself, will produce an economy of crime as happily as an economy of virtue.
This—the crucial underlying reality in the Forty-second Street redevelopment—meant that the city, if it was to get the legal right to claim and condemn property in order to pass it over, had to be pointing toward some enormous, unquestioned commercial goal, larger or at least more concrete than the real goal, which was essentially ethical and "cultural." For once, the usual New York formula had to be turned right around: a question of virtue had to be disguised as a necessity of commerce. On Forty-second Street, a group of perfectly successful private businessmen in the movie-theatre business were being pushed aside in favor of a set of private businessmen in the tall-building business, and the legal argument for favoring the businessmen in the tall-building business was that they had promised that if you let them build a really tall building they would fix up the subway station.
This produced the Second Sacrificial Plan, of 1983: Philip Johnson and John Burgee's immense four towers straddling either side of Times Square on Forty-second, each with a slightly different pedimented top. The Semi-Ridiculous Rhetorical Statement invoked for this plan was that the pedimented tops "contextualized" the big buildings because they recalled the roofline of the old Astor Hotel, a victim of development twenty years before. They were by far the biggest and bulkiest buildings that had ever been proposed for midtown; Sagalyn gasps at the sheer zoning outrage of it. They had to be that big to establish their right to be at all. The Brandt family, which owned many of the theatres, sued and lost. "The Durst family interests put their name on five lawsuits," Sagalyn reports, "but the rumors of their financial backing of many more are legion." (The Dursts owned various individual lots along the street, which they intended to put together for their own giant building.) After ten years, they lost, too. Forty-seven suits were launched, and the plan withstood them all. The Johnson models, fortresses designed to withstand a siege of litigation, had triumphed. But nobody really wanted to build the buildings.
In the interim between the First Sacrificial Plan and the Second, however, something had changed in the ideology of architecture. A new orthodoxy had come into power, with an unapologetic emphasis on formal "delirium" and the chaotic surface of the city. In Rem Koolhaas's epoch-marking manifesto "Delirious New York" (1978), the buzz, confusion, danger, and weirdness of New York were no longer things to worry about. In fact, they were pretty much all we had to boast of. To an increasing bias in favor of small-scale streetscapes and "organic" growth was added a neon zip of pop glamour. The new ideology was Jane Jacobs dressed in latex and leather.
By what turned out to be a happy accident, this previously academic, pop-perverse set of ideas had influenced minds at the Municipal Art Society—the very group that had fought against the idea of signs and signage in Times Square at the turn of the century. In 1985, after the appearance of the Johnson plan, the Municipal Art Society, under the impeccable direction of the white-shoed Hugh Hardy, took on as its cause the preservation of the "bowl of light" in Times Square and "the glitz of its commercial billboards and electronic signs." After being digested in various acronymic gullets, this campaign produced not only new zoning text (sections ZR81-832 and ZR81-85, as Sagalyn duly notes) but, as an enforcement mechanism, an entirely new unit of measurement: the luts, or "Light Unit Times Square." (Each sign had to produce a minimum luts reading; the lighting designer Paul Marantz gave it its name.)
And so the Municipal Art Society became the major apostle of a continuing chaotic commercial environment in Times Square, while the big developers had to make the old Beaux-Arts case for classical order, lucidity, and space—for "trees and clean streets . . . museums and sidewalk cafés," in the plaintive words of the developer David Solomon. Eventually, in the early-nineties decline, Prudential, which had been holding on to the development on West Forty-second Street, was forced to sell its rights at a discount—to the Durst family, which had been leading the litigation against the plan all along but which, as everyone could have predicted, was there at the finale to develop and build, including 4 Times Square, the big building in which these words are being written.
None of this, however, could have created the new Times Square had it not been for other, unforeseeable changes. The first, and most important, was the still poorly explained decline in violent crime. (Traub tours the Eighth Avenue end of Forty-second with one of the district's privately financed security officers, who points out that there is still plenty of prostitution and drug-trafficking but very few muggings or assaults; even chain-snatching and petty theft are now rare.) This decline allowed for the emergence of the real hyperdrive of the new Square, the arrival of what every parent knows is the engine of American commerce: branded, television-based merchandise directed at "families" (that is, directed at getting children to torture their parents until they buy it). The critical demographic fact, as a few have pointed out, is the late onset of childbearing, delayed here until the habit of New York is set and the disposable income to spend on children is larger. When Damon Runyon was writing, the presence of Little Miss Marker in the Square was the material for a story. Now Little Miss Marker runs the place.
Of all the ironies of the Times Square redevelopment, the biggest is this: that the political right is, on the whole, happy with what has happened, and points to Times Square as an instance of how private enterprise can cure things that social engineering had previously destroyed, while the left points to Times Square as an instance of how market forces sterilize and drive out social forces of community and authenticity. But surely the ghosts of the old progressives in Union Square should be proudest of what has happened. It was, after all, the free market that produced the old Times Square: the porno stores were there because they made money, as part of a thriving market system. Times Square, and Forty-second Street, was saved by government decisions, made largely on civic grounds. Nothing would have caused more merriment on the conservative talk shows than the luts regulations—imagine some bureaucrat telling you how bright your sign should be—but it is those lights which light the desks of the guys at the offices of Clear Channel on Forty-second Street, and bring the crowds that make them safe. Civic-mindedness, once again, saved capitalism from itself.
And yet you don't have to have nostalgia for squalor and cruelty to feel that some vital chunk of New York experience has been replaced by something different, and less. Traub ends with the deconstructionist Mark Taylor, who trots out various depressions about the Society of Spectacle to explain the transformation, all of which are marvellously unilluminating. Times Square may be spectacular—that is what its signmakers have called their own signs for a century—but in the theoretical sense it's not a spectacle at all. It's not filled by media images that supplant the experience of real things. It's a tangible, physical, fully realized public square in which real people stare at things made by other people. The absence of spectacle, in that sense—the escape from the domination of isolated television viewing—is what still draws people on New Year's Eve, in the face of their own government's attempts to scare them away. (Dick Clark, of course, is a simulacrum, but he was born that way.)
Traub toys with the idea that the real problem lies in the replacement of an authentic "popular" culture, of arcades and Runyonesque song-pluggers, with a "mass" culture, of national brands and eager shoppers. But it's hard to see any principled way in which the twenty-foot-tall animatronic dinosaur at the new Toys R Us howls at the orders of mass culture, while O. J. Gude's dancing spearmen were purely Pop. The distinction between popular culture and mass culture is to our time what the distinction between true folk art and false folk art was to the age of Ruskin and Morris; we want passionately to define the difference because we know in our hearts that it doesn't exist. Even fairy tales turn out to be half manufactured by a commercial enterprise, half risen from the folkish ground. The idea that there is a good folkish culture that comes up from the streets and revivifies the arts and a bad mass culture imposed from above is an illusion, and anyone who has studied any piece of the history knows it.
All the same, there is something spooky about the contemporary Times Square. It wanders through you; you don't wander through it. One of the things that make for vitality in any city, and above all in New York, is the trinity of big buildings, bright lights, and weird stores. The big buildings and bright lights are there in the new Times Square, but the weird stores are not. By weird stores one means not simply small stores, mom-and-pop operations, but stores in which a peculiar and even obsessive entrepreneur caters to a peculiar and even an obsessive taste. (Art galleries and modestly ambitious restaurants are weird stores by definition. It's why they still feel very New York.) If the big buildings and the bright signs reflect the city's vitality and density, weird stores refract it; they imply that the city is so varied that someone can make a mundane living from one tiny obsessive thing. Poolrooms and boxing clubs were visible instances of weird stores in the old Times Square; another, slightly less visible, was the thriving world of the independent film business, negative cutters, and camera-rental firms.
There is hardly a single weird store left on Broadway from Forty-second Street to Forty-sixth Street—hardly a single place in which a peculiar passion seems to have committed itself to a peculiar product. You have now, one more irony, to bend east, toward respectable Fifth Avenue, toward the diamond merchants and the Brazilian restaurants and the kosher cafeterias that still fill the side streets, to re-create something that feels a little like the old Times Square. (Wonderful Forty-fifth Street! With the Judaica candlesticks and the Japanese-film rental and the two-story shops selling cheap clothes and stereos, lit up bright.) Social historians like to talk about the Tragedy of the Commons, meaning the way that everybody loses when everybody overgrazes the village green, though it is in no individual's interest to stop. In New York, we suffer from a Tragedy of the Uncommons: weird things make the city worth living in, but though each individual wants them, no one individual wants to pay to keep them going. Times Square, as so often in the past, is responding, in typically heightened form, to the general state of the city: the loss of retail variety troubles us everywhere, as a new trinity of monotony—Starbucks, Duane Reade, and the Washington Mutual Bank—appears to dominate every block. We just feel it more on Broadway.
Do we overdraw Times Square history, make it more epic than it ought to be? Piccadilly and Soho, in London, and Place de Clichy, in Paris, are similar places, have known similar kinds of decline and similar kinds of pickup—but without gathering quite the same emotion. We make Times Square do more work than it ought to. Other great cities have public spaces and pleasure spaces, clearly marked, and with less confusion between them. When Diana died, it was Kensington Palace, not Piccadilly, that got the flowers, and in Paris it is the Champs-Élysées, not Place de Clichy, that gets the military parade on the fourteenth of July. Which returns us, with a certain sense of awe, to the spell still cast by the original sin of the 1811 grid plan. We make our accidental pleasure plazas do the work of the public squares we don't have. This is asking a lot of a sign, or even a bunch of bright ones lighting up the night. ♦


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View All 15 Silk Colors
Silk Embroidered Vines Shantung - 44" 10 Monochrome
- Details
- Hand
- Luster
- Tips & Tricks
- Care
Silk Embroidered Vines Shantung- 44" is a sturdy, wrinkle-resistant, medium weight fabric with a unique textured surface and a beautiful sheen.This fabric has a beautiful vines embroidery. It is often used in eveningwear and bridal/wedding, but can also be used for suits and high end sportswear and home decor. Shantung is also known as "raw silk" or "spun wild silk"; it is similar to Dupioni silk, but Shantung a lighter weight and is made from woven raw silk fibers that give it a slightly striated texture. Shantung creates a beautiful effect for volume - it lends itself wonderfully to shirring, tucks and pleats.
100% Handwoven Natural Silk
44 Inches Wide
Textured due to embroidery and silky
This fabric has some sheen
Tips and Tricks:
- This fabric is very forgiving and easy to sew, but tends to ravel at raw edges – be sure to finish all seams and hems!
- Use with nap cutting layout (i.e. all pattern pieces laid out in the same lengthwise direction) so all pattern pieces reflect light the same way and shading is prevented.
- Use standard stitch size and a sharp, universal (or quilting) needle when machine sewing
- Shantung is wrinkle resistant, but since it is a natural fiber this means it also does not hold a sharp crease well
- Great for tailored and structured garments
- Texture can feel rough on the skin, so it's best to line garments made in this fabric.
- Even when fully lining the garment, finish seam allowances to prevent fraying
- The fabric is somewhat stiff in its original state – you can wash on gentle cycle with cold water and hang straight to dry for softer drape. We recommend you test a small piece of yardage first, though.
- Shantung is very versatile. Depending on the garment, some of the finishes you can use are: French seams, overlock (serger), binding, rolled hem, hand-stitched or top-stitched hem.
Dry clean only
100% Handwoven Natural Silk
44 Inches Wide

subset: commoncrawl


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Letter To Our Customers
Posted By Paawan Posted On Monday, 3rd MarAdd A Comment
It's been an exciting 2 years since we opened up our first cart at 545 Market St. The support we got from our early customers confirmed my belief that SF really needed good chai! Since then I have opened up 2 other carts downtown, at 298 Market St and 480 California St. Nothing makes me happier than to see customers, like you, return on a regular basis to get chai. I hope the love, passion and pride with which we make our chai every day comes through in every cup.


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Find Help
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Promising Practices
The National Center on Elder Abuse's Promising Practices Database is an online tool that can help you locate program models and information resources around the country related to elder abuse prevention, intervention, and public education.
The searchable database is intended to be a resource for practitioners to learn from each other, avoid reinventing the wheel, and maximize resources for elder abuse prevention and intervention. Our database is a work in progress, and we will continue adding new programs over time.
If you know of a Promising Practice that would be an addition to the database, click here to complete the information form.
The NCEA database is a resource for professionals seeking information about innovative programs around the country related to elder abuse prevention, intervention, and public education. The database is intended only as a starting point for professionals seeking information about promising practices that appear to be working. The programs have not been evaluated by the NCEA at this time.
For a Promising Practice Search click on your state or select a category below:
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Note: Because benefits and monetary value are applicable, online memberships are not tax-deductible.
Our website serves as an RPM converging point for information, learning, news and contact with RPM users all over the nation and world. Those joining HALO as annual online members will enjoy the following benefits:
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These beads are opaque frosted jet. Black.
This item is one 2.5″ tall tube. Sold by volume, not weight. Each tube contains approximately 7 – 8 grams (depending on color & finish).
There are approximately 210-225 beads per tube.
There are 15 size 6/0 Demi Rounds per linear inch.
If you were to string all the beads in one tube, you would get 14″ – 15″.
To make an 8″ kumihimo bracelet with size 6/0 Demi Rounds on all 8 warps, using the double-drop method, you would need 3 tubes of beads.


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.NET Debugging Demos Lab 2: Crash
It was nice to see that so many people downloaded the demo site already and checked out the lab instructions for the first lab, and thanks to Pedro for pointing out that the original demo site required .NET Framework 3.5... I've changed it now so the one that you can download from the setup instructions page should not require .Net Framework 3.5. (Even though I would encourage you to download 3.5 and play around with it anyways:))
Here comes lab 2, a crash scenario on the BuggyBits site.
Previous demos and setup instructions
Information and setup instructions
Lab 1: Hang
Lab 1: Hang - review
Reproduce the problem
1. Browse to the reviews page http://localhost/BuggyBits/Reviews.aspx, you should see a couple of bogus reviews for BuggyBits
2. Click on the Refresh button in the reviews page. This will crash the w3wp.exe process (or aspnet_wp.exe on IIS 5)
Note: If you have Visual Studio installed a Just-In-Time Debugger message may pop up (just click no for the purposes of this excercise).
However since this message box will sit there and wait for user input in order to shut down the app you may want to disable JIT debugging if you have visual studio
installed on a test system.
Examine the eventlogs
1. Open the Application and System eventlogs, the information in the eventlogs will differ based on the OS and IIS version you are running. Among other events you may
have a System Event looking something like this...
Event Type: Warning
Event Source: W3SVC
Event Category: None
Event ID: 1009
Date: 2008-02-08
Time: 10:12:06
User: N/A
Computer: MYMACHINE
A process serving application pool 'DefaultAppPool' terminated unexpectedly. The process id was '4592'.
The process exit code was '0xe0434f4d'.
For more information, see Help and Support Center at http://go.microsoft.com/fwlink/events.asp.
Q: What events do you see?
Q: What does the exit code 0xe0434f4d mean?
Q: Can you tell from the eventlogs what it was that caused the crash?
Get a memory dump
1. Browse to the reviews page http://localhost/BuggyBits/Reviews.aspx again, but don't click refresh
2. Open a command prompt and move to the debuggers directory and type in "adplus -crash -pn w3wp.exe" and hit enter
Q: A new window should appear on the toolbar, what is it?
Q: What is the debugger waiting for? Hint: Check the help files for ADplus/crash mode in windbg
3. Reproduce the issue by clicking on the refresh button in the reviews page.
Q: What files got created in the dump folder? Note: The dump folder will be located under your debuggers directory with the name crash_mode and todays date and time
Open the dump in windbg
1. Open the dump file labeled 2nd Chance CLR Exception in windbg (file/open crash dump). Note that this dump got created just before the 1st chance process shutdown.
Note: if you throw an exception (.net or other) you have a chance to handle it in a try/catch block. The first time it is thrown it becomes a 1st chance exception and is non-fatal. If you don't handle the exception it will become a 2nd chance exception (unhandled exception) and any 2nd chance exceptions will terminate the process.
2. Set up the symbol path and load sos (see the setup instructions for more info)
In a crash dump, hte active thread is the one that caused the exceptions (since the dump is triggered on an exception).
Q: Which thread is active when you open the dump? Hint: check the command bar at the bottom of the windbg window.
Examine the callstacks and the exception
1. Examine the native and managed callstacks.
kb 2000
Q: What type of thread is it?
Q: What is this thread doing?
2. Examine the exception thrown
Note: !pe/!PrintException will print out the current exception being thrown on this stack if no parameters are given
Q: What type of exception is it?
Note: In some cases, like this one where the exception has been rethrown, the original stacktrace may not be available in the exception. In cases like this you may get more information if you find the original exception
3. Look at the objects on the stack to find the address of the original exception
Q: What is the address of the original exception
Hint: Look at your previous pe output to see the address of the rethrown exception. Compare this to the addresses of the objects on the stack. You should have multiple exceptions, a few with the rethrown exception address but one of the bottommost exceptions will be the original one (look for one with a different address).
4. Print out the original exception and look at the information and the callstack
!pe <original exception address>
Q: In what method is the exception thrown?
Q: What object is being finalized?
Note: you could actually have gotten this information by dumping out the _exceptionMethodString of the rethrown exception as well, but with !pe of the original exception you get the information in a cleaner way.
Q: Normally exceptions thrown in ASP.NET are handled with the global exception handler and an error page is shown to the user. Why did this not occurr here? Why did it cause a crash?
Examine the code for verification
1. Open Review.cs to find the destructor/finalizer for the Review class
Q: which line or method could have caused the exception
As an extra excercise you can also examine the disassembly of the function to try to pinpoint better where in the function the exception is caused
!u <IP shown in the exceptionstack>
Related posts
Creating dumps with Windbg and writing ADPlus Config files
ASP.NET 2.0 Crash case study: Unhandled exceptions
What on earth caused my process to crash?
.Net exceptions - Tracking down where in the code the exceptions occurred
Have fun debugging,


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I need to create a guide or wiki that outlines different standardized techniques for marking up reusable elements in our software. When adding new features our developers are often able to reuse or mimic existing markup, and I'd like to make this as easy as possible for them. In order to do this now they have to dig through the interface to find something that's close enough.
Are there any good examples online that show code samples for standardized markup?
Is there a tool (wiki, etc.) that would make this somewhat easy to create?


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President Obama's choice of Vietnam veterans for the two top Cabinet posts in his second term has revived the "Vietnam syndrome" debates that have roiled national security policy and politics since the last helicopter left Saigon in the mid-1970s.
Retired Air Force Gen. Richard Myers, the former chairman of the Joint Chiefs of Staff, said that the Vietnam experience of Sen. John Kerry, D-Mass., Obama's choice for Secretary of State, and former Sen. Chuck Hagel, R-Neb., the pick for Defense Secretary, would make the nominees wary of recommending America's use of force in future crises.
Both Kerry and Hagel have been scarred, literally, by Vietnam. Between them, they have five Purple Hearts -- three for Kerry, a former Navy lieutenant, and two for Hagel, an Army sergeant.
Myers, who flew 240 combat missions in F-4 Phantoms in two tours in Vietnam, said of Hagel and Kerry, "they've both been shot at; they know combat. They've been there, done it. They're not going to cavalierly send troops into combat. I would hope from that [Vietnam] they would be more thoughtful."
Myers said he was speaking to the lasting influence of combat experience, and was not recommending or opposing the nominations, but opponents have singled out Hagel to question the worth of serving in Vietnam when considering a senior policy and management position.
Kerry saw his service in Vietnam attacked when he ran unsuccessfully against President George W. Bush in 2004. The Swift Boat Veterans for Truth questioned whether Kerry's actions in Vietnam rated the award of a Silver Star, but much of the criticism focused on the anti-war protests Kerry led when he returned from Vietnam.
Hagel's criticsl have taken a different strategy, questioning his support for Israel while also seeking to counter Obama's main argument for nominating Hagel to lead the Pentagon -- his combat service in Vietnam.
"Chuck knows that war is not an abstraction," Obama said of Hagel in announcing the nomination at the White House. Hagel, who served as a squad leader in 1967-68 with the Army's 9th Infantry Division, did not have to be told that "sending Americans to fight and bleed in the mud, in the dirt, is something we do only when absolutely necessary," Obama said.
Hagel defended Kerry in 2004 against the doubts about his Vietnam service, and Kerry returned the favor in 2008 when Hagel, who had announced that he would not run again for the Senate, came under fire for opposing the troop surge in Iraq and favoring engagement with Iran.
In Hagel's last hearing with the Senate Foreign Relations Committee, Kerry paid tribute to him.
"I want to express my deep personal admiration for Senator Hagel, who has suffered the obvious and expected brickbats from members of his own party on occasion for speaking the truth as he saw it."
Hagel had been "unrelenting in his willingness to stand up and put the interests of our country and common sense and sense of duty and responsibility to the Constitution way ahead of any kind of politics whatsoever."
Sen. John McCain, R-Ariz., who spent five years in North Vietnamese prison camps, also defended Kerry's Vietnam service in 2004 while backing Bush. McCain was once close to Hagel, but has now expressed "serious doubts" about his nomination for the Pentagon post. Hagel did not back McCain's 2008 presidential run against Obama and appeared with Obama at rallies, although he did not officially endorse him.
Many of those leading the current opposition to Hagel, including Weekly Standard editor Bill Kristol and others from "neoconservative" think tanks, have never served in the military and stress that combat experience should not be a main factor in deciding on a defense secretary nominee.
In an op-ed in The Washington Post last week, Eliot Cohen, a professor at the Johns Hopkins School of Advanced International Studies, wrote that in considering Hagel's nomination, "you should disregard what appears to be President Obama's chief case for nominating him: that he served honorably in Vietnam, where he was twice wounded in combat."
"That is not, in any way whatsoever, to minimize Hagel's service to this country, or that of any other veteran in that long-ago war," Cohen said. "Rather, it is to say that military service has very little bearing on the effectiveness of the second most important civilian leader of the armed forces."
The counter-argument could be that the Vietnam War has shaped the tactics, strategy and motivations of the modern U.S. military, and that one who experienced that war in the enlisted ranks might be well suited to lead the armed services against new threats.
In his new book, My Share of the Task, retired Army Gen. Stanley McChrystal, the former commander in Afghanistan and leader of Special Operations forces in Iraq, harped on the lessons of Vietnam and the impact of that war on himself and other future leaders from his West Point class.
"When I entered West Point (in 1972), some Americans still believed the Vietnam War might end honorably," McChrystal wrote. "By the time I graduated, South Vietnam did not exist. As cadets, we watched the war teeter and implode, and the historical sweep was not lost on us."
"As a student of history, I was sensitive to the Vietnam analogy. Civilians looking back on Vietnam had cause for wariness when reading of the military's propensity for unrealistic assessments of the probability of success, exemplified by Westmoreland's 'light at the end of the tunnel' phrase," McChrystal wrote.
This was a reference to the optimistic reports on the progress of the war from Army Gen. William Westmoreland, the overall commander in Vietnam.
In his own mission in Afghanistan, McChrystal faulted himself for not fully appreciating the lessons of Vietnam on outside factors that would influence the conduct of the war.
In Afghanistan, "I recognized, perhaps too slowly, the extent to which politics, personalities, and other factors would complicate a course that under the best of circumstances would be remarkably difficult to navigate," McChrystal wrote.
Gen. Myers said the lesson learned from Vietnam on caution in the use of force was a plus, but he also warned against relying too heavily on the Vietnam experience. The tendency was to say "we don't want to go through this again," Myers said, but "you can never anticipate what's around the corner" in the way of new threats.
Myers cited his own Vietnam experience. As an Air Force pilot, he had trained for high-altitude combat against the Soviets in a war that could go nuclear, Myers said, but in Vietnam he had to go low in close air support missions for ground troops.
"We didn't have the training, didn't have the people ready," Myers said.
Hagel spoke to the main lesson he learned from Vietnam in his oral history segment for the Library of Congress.
"I made myself a promise that if I ever got out of that place and was ever in a position to do something about war -- so horrible, so filled with suffering -- I would do whatever I could to stop it. I have never forgotten that promise."


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Planning a group or class outing? Exposing history is a great way to bring the text to life.
Get a glimpse of the historical sights of the Coachella Valley History Museum
more than
what meets the eye!
is a historical campus which contains the 1926 adobe Smiley-Tyler House - housing our main exhibits - the historic 1909 Indio Schoolhouse and the world's only Date Museum. Other highlights include our Desert Submarine, a Blacksmith's shop, pioneer farming implements and the archives for the Historical Society. Also, the spacious grounds hold a variety of gardens which include a Memorial Date Garden, Japanese Garden, the Geissler Rose Garden, the Jardin del Desierto (Desert Garden) and our Liberty Tree - the oldest Cork Tree in the Coachella Valley.
The Coachella Valley Historical Society, Inc. (dba The Coachella Valley History Museum) was incorporated on September 3, 1965, by a dedicated group of valley residents who understood the need to preserve our history for generations to come. Since the opening of the museum in 1984 to present day, the operation of the campus has been run primarily by a dedicated group of volunteers
We welcome all to experience the rich history of the Coachella Valley History Museum by visiting and becoming a member. Each day history is being made - why not be part of it!
Be part of one of our events open to the public or create your own history with your own private event.
this is how...
The Coachella Valley Historical Society, Inc. maintains an archive depository. History from the entire Coachella Valley is included. From newspapers and magazines, to business licenses and photographs, the archives house over 100 years of history. Internship opportunities available for high school and collage students.
Researchers are welcome Monday through Tuesday from 10am-4pm. Please call for an appointment at 760.342.6651.
Opens on October 4th! Join us as we celebrate Mexican Folk Art and special events.
Coachella valley historical society, INC.
June 2019 - May 2020, visit our new exhibit on loan from Sunnylands, Rancho Mirage.
Preserving and sharing the history of the Coachella valley
of the Coachella Valley Historical Society, Inc. is to preserve, interpret, and share the artifacts that create a dialogue about the evolving history of the
Coachella Valley.
© 2013 | Privacy Policy - firstname.lastname@example.com
Coachella Valley History Museum


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Five Wine Routes and their Wine Harvest festivals
Vineyards in Navarre
Come and enjoy a unique chance to discover Spain's wine producing tradition at the harvest festival. Take part in the numerous proposals included in the Wine Routes and feel like a wine expert for a few days as you help collect and tread grapes, or enjoy delicious tasting sessions.
The grape harvest is one of the most important moments in the production of a good wine. This is when the raw materials are gathered to prepare the wines of the year. It is a major celebration on all the Wine Routes to be found around Spain. Here, however, are some suggestions for you to come and experience this event on five of them:
Navarre wine route
Located in the Region of Navarre, in northern Spain, the Navarre Wine Harvest Festival is held at the end of August or beginning of September. The main celebrations take place in Olite, where there are concerts, tasting sessions and with many establishments offering the chance to sample tapas, main dishes and desserts based around grapes. Furthermore, all the Olite wineries have open days for visits.
Other very interesting options are outings to the vineyards. You can explore them on foot, by bike or on horseback… For the more daring there is even the option to take a balloon flight over them. A real experience! The grape crushing and popular tasting of the first grape juice are the most keenly anticipated moments.
Penedès Wine and Cava (sparkling wine) Route
This route is in the Region of Catalonia and offers the chance to enjoy the wine harvest to the full. Its wineries and accommodation establishments offer a host of activities during September and October and, amongst other things, you will be able to discover the full wine production process and the techniques used to achieve an excellent quality wine. These options are available, for example, at the wineries of Castellroig and Cavas Nadal, or at Ca La Laia, where you can spend a wine-tourism day with tasting sessions, visits to the Catalonia Wine Culture Museum (Vinseum) and the Parés Baltà and Can Feixes wineries. At the Jean Leon Winery, there are recreational workshops where you will learn how to differentiate wines by their aroma. Another option is to explore the vineyards of Sant Sadurní, which many consider to be the capital of Cava sparkling wine. The Cal Feru wine centre offers a visit to the wineries such as Vilarnau. Furthermore, in October Sant Sadurní celebrates its Cava Week.
Another option is to explore the vineyards of Sant Sadurní, which many consider to be the capital of Cava sparkling wine. The Cal Feru wine centre offers a visit to the Raventós Blanc and Vilarnau wineries. Furthermore, in October Sant Sadurní celebrates its Cava Week.
Jumilla Wine Route
This route runs through the Region of Murcia, in southeastern Spain, and celebrates its Wine Harvest Festival during the week of 15th August. The best thing about it is the participatory nature of activities, where you can take part in grape collection and treading, as well as the production and tasting of wine. A parade, wine fair and an offering of grapes and the first young wine to the 'Niño de las Uvas' completes a programme where even the youngest visitors will have fun, with the inclusion of a children's parade.
Montilla-Moriles Wine Route
Set in Cordoba, in the Region of Andalusia, the Montilla–Moriles Wine Route celebrates a 'flamenco tasting' event for the Wine Harvest Festival. These tasting sessions turn into a real performance with the participation of major figures from the world of flamenco.
The festival also offers other attractions such as open days at wineries, the wine producers' skills competition and the Wine and Tapas Fiesta, a wonderful opportunity to discover the typical tapas of southern Spain, accompanied by regional wines.
The Tenerife Wine Route
The island of Tenerife, in the Canary Islands, also celebrates the Wine Harvest Festival with the Tenerife Wine Route. In September, there are various open days at wineries in the area, along with tasting sessions and original excursions where you can see how the wine harvest takes place for yourself.
These are just the ideas offered by a few of Spain's wine routes. You can enjoy the Harvest Festival on any of them. Try one and you are sure to be back for another.
Have you found this information useful?


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This photo from Chrysler's official SRT Facebook page purports be the in-house tuner's latest project car: all Viper SRT10 business up front with a camper out back. It looks like the Camaro's got some mulletgasmic competition.
Perhaps we're missing the real joke here. Instead of another project from the SRT folks, this is actually the next-gen version of Dodge's muscle car. Maybe this is how the Italians really see us.


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Racine County barn destroyed by fire
60 cattle saved from the flames
A barn near the town of Union Grove in Racine County is a total loss Wednesday morning after fire destroyed the structure.
The fire was reported near 67th Drive and 57th Road near County Road A at 3:48 a.m.
The 1800s barn contained straw and hay, but an adjoining structure housed 60 cattle.
The fire was deemed to be under control by fire officials at 5 a.m., but flames continued to show as of 6:30 a.m.
The real challenge for the barn's owner was rounding up dozens of cattle escaping the flames.
"When I went down there the main barn was on fire, and we tried to get the cattle out of there. They ran all over the place," farm owner Linton Skewes said.
He said some ran a mile away, up 67th Drive, but with the help of his sons and family on four wheelers, they found every single one of them.
"Just chasing cattle, that's sometimes what you do," Skewes said.
The fifth-generation farmer said he thinks the cause of the fire has to be from electrical, possibly wires in the barn connected to a silo loader, but the official cause of the fire is unknown.
The Racine County Sheriff's Office said no one fighting the fire or nearby was hurt.


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We have seen Diablos, Murcielagos and Gallardos pushed to their limits on the racetracks thanks to German-based Reiter Engineering for more than a decade now, and since 2007, the team scored 199 victories and 350 podium finishes for Sant'Agata's glory.
You probably all know the story why Ferruccio Lamborghini was famously against any kind of racing activity involving his factory, but in case you missed it, here comes a shortcut: he hated Enzo Ferrari, and wanted to do the opposite of what he did. But since V12s were destined to be raced, there were always a few special breeds out there even Ferruccio could not control, starting with Bob Wallace's Miura Jota back in the seventies...
German Modern Lamborghini is a very different company with a client base that demands some factory supported track action. So far, that was called the Blancpain Super Trofeo series, or in other words, the fastest one-make series the world has ever seen. After Europe and Asia, that's coming to the 'States this year, and while it must be more than enough for an average human being, privaters still had to go to Reiter for the full-on experience. They also managed to push down the operating costs of their GT3 FL2 Gallardos to between 9-12 euros per kilometer, which is a great deal when you want to play in the GT3 class.
After realizing all the potential in going a step further, Stephan Winkelmann got onboard and signed a minimum five-year partnership with Reiter. The first MY2013 Lamborghini Gallardo GT3 FL2s will be delivered to teams as early as March, who will race them at the Asia Le Mans Series and the Italian GT3 Championship. The cars cost €320,000 without taxes, for which buyers will get 55 pounds less Lamborghini than last year, with improved cooling, brakes, fuel consumption and aero package.
In the meantime, this is how Stephan Winkelmann was having a killer time during the brand's fifty year celebrations in Miami:
He has every right to be happy, as Lamborghini's sales just grew by 53% in the USA and 34% in Europe last year, not to mention China. After all, who doesn't want an Aventador?
Photo credit: Lamborghini and mk156


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text:
Nearest Town: RigginsSite Size: 5 acres
Highlights: Raptors, Shorebirds, Songbirds, Upland Birds, Waterbirds, Waterfowl
Access: Open late May - October 31. Access free of charge.
Directions: From Riggins, US 95 S 4.5 mi; follow signs for Rapid River Hatchery; R (W) on Rapid River Rd for 3 mi to hatchery and trailhead.
Description: Birding possible year round, but spring and fall are best. Very pleasant, moderate hike along Rapid River on well maintained trail. Good birding also around fish hatchery. Rapid River (a Wild and Scenic River) enters the Little Salmon River here. At least one Peregrine Falcon pair nests in the Rapid River drainage. Look for Golden Eagle, Red-tailed Hawk, American Kestrel. Cooper's and Sharp-shinned Hawks, and Northern Harrier may also be seen. Listen for Western Screech-, Northern Pygmy-, Northern Saw-whet, and Great Horned Owls in the spring during the evenings.
More Information: IDFG (208) 628-3277Riggins Chamber of Commerce (208) 628-3778
General Services:
Handicapped Services:What do these icons mean?
Select a species from the list to view other sites on the Idaho Birding Trail Sites this species may be observed.


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Color conscious: There is an art to coloring your surroundings
Sub Head: here and here Sub Head here and here Sub Head here and here
During the next seven weeks or so, it will be hard not to think about color as the spring and summer greens give way to fall's warm yellows and oranges, scarlet reds, deep purples, golden bronzes and rich browns.
When it comes to foliage, sunlight and temperature have a hand in helping Mother Nature shift the seasonal palette, but for the rest of us, the use of color and the type of colors with which we choose to surround ourselves may require a bit of research and assistance.
"I need about 100 more rooms than I currently have in my apartment," said lead showroom manager Christine Klotz, smiling, as she helped a visitor flip through color cards of Farrow & Ball's line of 132 colors.
It was easy to see Klotz's quandary that morning just a day after this British manufacturer of paint and artisanal wallpaper had opened a new showroom in Westport -- the 11th in North America and the second in Connecticut (there's one already in Greenwich). It was tempting to think of the effect color combinations such as "India Yellow," "Charlotte's Locks" and "Radicchio" might have in a room. Then again, there was "Pitch Blue," "Down Pipe" and "Teresa's Green."
Whether it is a do-it-yourself project or a designer-led endeavor, color and design experts say it's best to start with a very personal inspiration -- a favored piece of art, a beloved vase, a color pattern on a well-worn pillow or a reflection of the scene found right outside one's window. Once you know where to start, there are many ways to get help in creating a color scheme.
For instance, the color forecasters at the 66-year-old Farrow & Ball, have a guide for the key colors of 2013. There are the constellation of colors surrounding the dramatic "Black Blue," such as "Middleton Pink" and "Blackened," which is actually a light paint color. There are three other groups, too. One revolves around a green-gray palette. Another has as its focus a indigo-inspired blue. The final trio uses whites, off-whites and grays for a tonal effect. With multiple choices, a homeowner can choose what goes on a wall, a ceiling or baseboards.
The store also offers at-home color consultation visits, for a fee, and plans are under way to offer color talks at the new showroom, said Kathy Banfe, president of North American sales and marketing.
Why all this attention to the colors that surround us? Colors, whether in the home, on the clothes one wears or the makeup one chooses, have a dual ability to create a look and project a distinct mood.
"People are much more knowledgeable about the fact that color impacts your sense of being and well-being," said Leslie Harrington, president of Old Greenwich based LH Color, a color research and consulting firm.
Every year, color forecasters attempt to predict the hues that consumers will gravitate toward, assessing such influences as the economy, technology, politics and pop culture.
For instance, the New York City-based Color Association of the United States, for which Harrington is executive director, has projected a 2013-14 interior forecast that is a bit esoteric. The themes speak to what people are feeling in these times and what mood they are hoping to create.
Among the trends are a layered "neutral story," in a collection of colors known as "Grounded," or find that seaside oasis in "Swept Away," with its blues and greens. The palette of "Entice" includes warm oranges and corals, reds and rust. Or, one can embrace "Embrace," a collection that includes a warm orange and yellow and vibrant pink.
Harrington said the classics -- black, navy blue, gray and beige -- rarely go away. Over the last few years, however, several colors have come on to the scene and endured, such as teal, pink, purple and citron. Recently, she said an emergence of yellow and other bright colors seem to be signaling a shift from a "risk-adverse" mentality of recent economic woes to a desire to be surrounded with colors "that make us happy." Perhaps, it is simply a distraction.
Harrington said over the course of her career, she has found people gaining in color confidence.
"We are willing to experiment," she said. "We'll just do it and see what happens. We don't listen to friends and family as much. If we think it looks good and we like it, we say I am going to do it."
She attributed some of that shift to the Internet, where a visit to some websites allow the average homeowner to play with color schemes with just a few clicks. Online ordering, she said, also seems to have helped people to ease up on precision. When that red dress arrives that isn't quite the color described, not everyone is sending it back.
"We seem to have become less obsessed with knowing exactly what color it is," she said.
"It's fun to work with someone who really loves color," said Deidre Donahoe Mannix, a Wilton decorative artist who often works with designers and sometimes directly with clients, in creating colorful opportunities in a home.
Neutrals can work very well, too, she said. Or, one can invest in a blank canvas when it comes to the furniture, choosing white or plain upholstery and save the pop for the walls.
"You can go with some fun colors," she said.
Over her more than 20-year career, Mannix said she has seen more people paying attention to the ceiling, sometimes using a tint of what is on the walls. Others have turned their gaze to where they tread, working with her on colorful floor designs.
"It's just a matter of how adventurous you want to be," she said.
firstname.lastname@example.com; 203-964-2241; http://twitter.com/xtinahennessy


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Quality is our number one priority
Every property is checked before your arrival to ensure the best possible stay.
Every property is checked before your arrival to ensure the best possible stay.
Key collection is arranged by our helpful staff. Available 24/7 or on-site service to help you with all your questions, e.g.: tips and insights for your holiday destination and your booked accommodation.
Be your own boss, eat whenever you want and make the most of plenty of space for all your friends and family.
"Rosablanche D 203A", 4-room apartment 135 m2, on the upper ground floor. Fully renovated in 2015, modern and tasteful furnishings: large living/dining room with cable TV and DVD. Exit to the balcony. 1 room, window onto the living room with 1 french bed (160 cm, length 200 cm). 1 room, window onto the living room with 2 beds (90 cm, length 200 cm). 1 room with 1 double bed (180 cm, length 200 cm), bathroom, double hand-basin and with corner bath. Exit to the balcony. Open kitchen (oven, dishwasher, 4 induction hot plates, microwave, freezer, electric coffee machine, Capsules for coffee machine (Nespresso) extra, raclette grill, fondue Set (chinoise, cheese)). Shower/WC. Parquet floors. Balcony, north facing position. Partial view of the mountains and the ski run. Facilities: Internet (WiFi). Garage space n 35. Please note: non-smoking house.House/Residence
Large resort "Rosablanche", 8 storeys, built in 1972. 10 m from the skiing area. For shared use: lawn for sunbathing, pond. Tennis (01.07.-15.09.), children's playground. In the complex: restaurant, lift, sun terrace, storage room for skis, central heating system. Motor access to the house. Parking (limited number of spaces) at the house. Shop 10 m, bus stop 100 m. Golf course 25 km, chair lift 20 m, ski school, children's ski school 10 m, sled run 100 m. Please note: There are more similar properties for rent in this same residence. Sports shop / ski rental. Heating in winter only.
Prior to your departure, you will receive the key collection information for your stay, along with your travel documents.
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1'700 - 3'300 m a.s.l. >>Small, quiet, family-friendly mountain health resort and winter sports resort, in a convenient position, 7 km from Nendaz-Station, 22 km south-west from Sion. In the resort: restaurant. More possibilities for shopping and entertainment 7 km. Sights Happyland Granges 31 km, Aquaparc Bouveret 86 km, Wellness park Bains Thermaux Saillon 30 km, Zoo Marécottes 50 km, Cultural events Musée Gianadda 40 km, lakes nearby, kids' animation. Access: motorway A9 Sion - Nendaz, exit number 26 "Sion-Ouest" 27 km from Siviez-Nendaz. Public parking. Access by train Sion Gare. Bus connection. Information on the lift openings www.nendaz.ch.
Heated outdoor swimming pool 7 km. Waterpark "Le Bouveret" in 91 km. Tennis (2 outdoor courts), squash, golf course 18 hole in Sion 22 km. Riding in Saclentse 3.1 km. Fitness course 7 km. Fishing (permit required). Paragliding. 2 cableways, 2 gondola lifts, 2 chair lifts, 250 km hiking paths, mountain hikes, mountain tours, climbing. Mountain bike routes, mountain bikes for hire. Children's playground, leisure park "Happyland" 29 km. Limited bus service (last around 17h). Tracouet gondola open from 23.06 to 14.10, Les Gentianes-Mont-Fort subject to modification 07.07-26.08 and weekends from 01-17.09, Novelly chairlift from 30.06-17.09 and weekends 26.09-18.10. The grocery store is opened only during the winter. No bancomat.
Ski-region les 4 Vallées, from 1'383 m, total of 92 lifts. 83 ski runs, total length 414 km, snow park. Ski school (downhill), snowboard school, children's ski school from 2 years old, ski kindergarten. Cross country ski tracks, ski walking paths, winter walking paths. Toboggan runs (long 3 km). Sports centre at 7 km. Artificial ice rink at 7 km, curling, winter golf course 3 holes in Tortin, squash. No vending machine. Bread distribution service available in winter. Information about ski lift openings www.nendaz.ch.
Switzerland, Valais, Siviez-Nendaz
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|Home >> Course Descriptions >> College of Arts and Sciences
|Research Methods in Behavioral Sciences Laboratory
|One semester hour.
This laboratory course offers students the opportunity to become familiar with experimental, correlational, and other procedures to selected psychological issues. This class provides the opportunity to develop skills in the analysis of published research, and introduces the student to techniques for collecting and analyzing data. Corequisite: Concurrent enrollment in PSYC 3302. Course fee: $30.00.
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Ipca has emerged as one of India's top exporters of APIs with nearly 25% of the turnover coming from APIs. Regulated markets like the USA, Canada, Europe and Australia account for 75% of our API exports.
We are one of the world's largest manufacturers of APIs - Atenolol (anti-hypertensive), Chloroquine Phosphate (anti-malarial), Furosemide (diuretic), Hydroxychloroquine Sulphate (NSAID), Metoprolol Succinate (anti-hypertensive), Metoprolol Tartrate (anti-hypertensive) and Pyrantel Salts (anthelmintic) - besides being one of the largest suppliers of these APIs worldwide.
For over 20 years, Ipca has been playing a lead role in the Indian APIs market, both in the anti-malarial and anti-hypertensive therapeutic segments. We are the first manufacturer in India for APIs like Atenolol, Hydroxycholoquine Sulphate, Morantel Citrate, Pyrantel Pamoate and Zaltoprofen.
Our domestic pharmaceutical customers include pharmaceutical majors like Abbott, AstraZeneca, Bayer, Cipla, Dr. Reddy's, Merck, Pfizer, Ranbaxy, and Wockhardt.
of APIs


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CHICAGO (Reuters) - Regulators are moving the goal posts in testing new drugs for breast cancer in the hopes of giving more women with aggressive, early-stage cancers the chance to try breakthrough drugs while they have the best shot at a cure.
A new guidance document issued this week by the U.S. Food and Drug Administration will allow drug companies to test their medications for a few months on women with highly aggressive breast cancers before they have surgery, instead of waiting until the drug has been proven first in gravely ill patients.
"We're looking at introducing drugs into a very early stage of breast cancer, where a patient has a primary tumor and the chemotherapy is given before surgery," Dr. Richard Pazdur, director of the FDA's cancer drug office, said in an interview at the American Society of Clinical Oncology meeting in Chicago.
"The aim of this therapy would be to cure the woman of breast cancer," Pazdur said. "It's moving a very promising drug into a early stage of the disease with a curative intent."
If a drug succeeds in eradicating the cancer to the point where there is no sign of it in the breast or lymph nodes - something called pathologic complete response - companies could win accelerated approval.
That represents a significant change from the current approach, in which promising drugs only are tested in earlier stage cancers after they have first proven to be safe and effective in advanced, metastatic cancer.
"If you are a patient with early stage breast cancer and you hear about a great new drug for metastatic breast cancer, it's probably not going to be available to you under the current model for a decade," said Dr. Tatiana Prowell, a cancer specialist at Johns Hopkins in Baltimore and a medical officer for the FDA.
Prowell and Pazdur wrote about the guidelines in the current New England Journal of Medicine.
The change is part of a push at the FDA to spur innovation and get more effective drugs to the patients who need them.
"We really do want to be very forward-leading," FDA Commissioner Dr. Margaret Hamburg said in a briefing with Reuters on Thursday.
"We understand the importance of taking an advance in science as quickly as we can to the patients who need them, always being mindful of our responsibility of looking at the issues of safety and efficacy."
FDA is taking a risk with the new strategy, which will expose women with much earlier-stage disease to potential safety issues of new medications.
Traditionally, by the time new drugs are tried on women with earlier-stage disease they have been tested in thousands of women with much more advanced disease, for whom the risk of trying the drug is balanced with its potential for prolonging their lives.
To help mitigate these risks, the new guidance document will apply to women with an especially deadly form of breast cancer called triple-negative breast cancers.
Most breast tumors are called estrogen-receptor positive, because they are fueled by the hormone estrogen. About 20 percent are HER2-positive, because a protein called HER2 is involved. A third type is driven by the hormone progesterone.
These types of cancer have good treatments.
Then there are basal-like or triple-negative tumors, so named because they lack estrogen, progesterone or HER2 receptors needed for most breast cancer drugs to work.
Triple-negative breast cancers tend to grow and spread more quickly than most other types of breast cancer, and they occur more often in younger women and in African-American women.
"This is not for every patient. It should be for patients that are most likely to benefit and also those that are at highest risk of having a recurrence of the disease," Pazdur said.
Trials would be structured so that women are treated with either chemotherapy or chemotherapy plus an experimental drug for a few months prior to surgery.
If no sign of the cancer is found during surgery, the woman has achieved a complete pathological response. Researchers would then compare response rates in the two groups, and if the drug has helped cure significantly more cancers, it would be given a provisional type of approval called accelerated approval.
Drug companies would continue to follow women for several years to see if their cancers come back, and if women continue to be disease-free, companies could get full approval for the treatment. FDA is accepting comments about its draft plan through the end of July.
Reaction so far has been positive.
"We clearly need new approaches to getting stuff to the early-disease setting," said Dr. George Sledge, co-director of breast cancer program at the Indiana University Simon Cancer Center and immediate past president of ASCO.
He said the new approach is not a perfect solution to the problem, but it's a good first step.
"It recognizes that we want to try to move drugs up front into an early disease setting as soon as possible - not wait until the patient is beat up and out of chances and out of hope before we throw a drug at the patient and hope it does something."
Leerink Swann analyst Howard Liang said the new approach could potentially speed access to several breast cancer drugs in development, including treatments by Roche, GlaxoSmithKline , Celgene Corp, Onyx Pharmaceuticals, Bayer, Boehringer Ingelheim, Eli Lilly and Co, Eisai Co Ltd and Puma Biotechnology Inc.
FDA is basing much of its plan on a clinical trial known as I-SPY 2, a Phase II breast cancer trial being conducted by the Biomarkers Consortium, a public-private partnership run through the Foundation for the National Institutes of Health.
The trial, being run by Dr. Laura Esserman at the University of California at San Francisco and Dr. Donald Berry of MD Anderson Cancer Center in Houston, relies on specific genetic signatures or biomarkers in tumors to select those who might benefit from testing with this new approach.
The trial uses an approach called adaptive design, in which researchers continuously monitor which patients are responding to drugs and try to give drugs to those most likely to respond.
"If a therapy is doing well in a particular subset of patients, it gets a higher probability of being assigned to a patient in that subset," Berry said.
The design allows the team to test new treatments with far fewer participants and in half the normal time, cutting back on the costs of developing treatments.
Hamburg said she is meeting with the board at the ASCO cancer meeting this week to discuss this and other approaches to innovative clinical trial design.
"We feel more powerfully than ever before that how the studies are structured from the get-go really matters for our ability to do our job in an effective and efficient manner," she said.
"We really do want to be part of the scientific discussions early on to help shape how research is done."
Breast cancer is the second-leading cause of cancer death in women, exceeded only by lung cancer, according to the American Cancer Society.
Editing by Eric Walsh


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D.J. Augustin scored 25 points in a start for Kirk Hinrich and Taj Gibson matched a career high with 26 filling in for Carlos Boozer as the Chicago Bulls improved to 7-2 since trading Luol Deng with a 98-87 win over the Cleveland Cavaliers on Wednesday night.
Augustin and Mike Dunleavy hit 3-pointers down the stretch to pace the Bulls, who at 21-20 moved over .500 for the first time since Nov. 22.
Deng went just 2 of 11 from the field in his first game against Chicago. The Bulls dealt the two-time All-Star forward to Cleveland on Jan. 6 for future draft picks.
Joakim Noah had 18 rebounds for the Bulls, who appeared to be looking toward the future when they traded Deng after losing superstar Derrick Rose to a season-ending injury.
Kyrie Irving scored 26 to lead Cleveland, which has dropped the first two games of a five-game homestand.


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Powder-Handling Solutions: Feeding and Pneumatic Conveying Systems for the Process Industries
Find your powder-handling solution in this wide-ranging overview of challenging bulk materials and the feeding and conveying systems Coperion K-Tron has designed to solve them.
On these Industries Served pages you'll learn about the many powder-handling solutions Coperion K-Tron has designed and manufactured for the world's process industries.
Powder is used here in the broad meaning of bulk materials: these are the raw ingredients that feed the process industries. Anyone who has had to handle fiberglass, sticky additives, shredded cheese, raisins, or regrind, knows that not all problem bulk materials are powders. But powders like the ever-present TiO2 have earned their reputation as the leaders of the problem bulk material pack.
Every chemical process, from food and beverages, to pharmaceuticals, plastics, detergents, and more, has its unique materials and process constraints. So while all processes employ the same engineering-unit operations to convert raw materials into finished products, your industry may require feeding and material handling equipment or complete system designs that are customized to specific application needs.
Plastics industry powder-handling solutions: Plastics production frequently requires high-accuracy gravimetric feeders and reliable pneumatic conveying systems. You will find examples here of bulk material transport from railcar unloading to storage, to in-plant conveying, feeding, blending, scaling, and sifting. Plastics processes that frequently deal with difficult dry bulk materials include resin manufacturing, compounding and extrusion.
Pharmaceutical and Nutraceutical industries powder-handling solutions: Product containment, sanitary design and clean-in-place are characteristic requirements for feeding and material handling systems in the pharmaceutical industry. Delicate materials such as tablet granulations, active pharmaceutical ingredients (APIs), excipients and finished capsules and tablets must be handled with great care and absolute reliability.
Food and Pet Food industries powder-handling solutions: You'll find examples of feeding and conveying systems ranging from tortillas and bread to cake mixes, pasta, rice, snack food, cereal, candy, cookies and crackers, ice cream and pet food. Sanitary design, cleanability and gentle handling of fragile materials are often important factors in selecting feeding and conveying equipment in the food and pet food industries.
Chemicals and Minerals industies powder-handling solutions: Chemical and mineral processors employ feeders and pneumatic conveying to handle bulk materials such as calcium carbonate, copper-hydroxide, talc, bentonite clay, kaolin clay, soda ash, limestone, sodium-benzoate, burnt wood chips, clay/carbon blend, gypsum, vanadium-pentoxide, dolocron, dicalcium-phosphate, silica, TiO2, lead oxide, ammonia-sulfate and boric acid and more.
SAP Applications: Super Absorbent Polymer (SAP) is a key component in the manufacture diapers and personal hygiene products. SAP is a free flowing, hygroscopic polymer. When it comes in contact with liquid it turns into a gel that contains the moisture and will not release it, even if subjected to pressure.
The manufacture of these products is a continuous process that requires very accurate and uniform distribution of SAP onto a fast-moving band of cellulose or bicomponent fiber. Feeder accuracy truly determines the quality of the end product. Coperion K-Tron 's exclusive Bulk Solids Pump (BSP) has proven to be the ideal feeder for SAP thanks to its uniform, pulse-free material flow.
Learn How Coperion K-Tron Engineers Can Design a Powder-Handling Solution for Your Process
From a single feeder or self-contained vacuum loader, to plant-wide feeding and conveying systems, Coperion K-Tron application engineers have been solving difficult material-handling challenges for your industry. The following pages are just a short sample of the many application-specific solutions available to the world's process industries.


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Berghaus Customer Service
Make the most of the great outdoors when you choose from our range of premium outdoor clothing. Stuck in a storm? Throw on a Deluge Pro waterproof jacket and enjoy the defence of the Hydroshell® fabric. Feeling the heat? Pull on a pair of Navigator 2.0 trousers for a relaxed and practical way to fend off the rays. Wherever you choose to explore, Berghaus' outdoor clothing aims to keep you protected from the elements.
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NFL's Jerry Rice: How Big Data Has Changed Football
The emergence of big data has changed football not just on the field but among fantasy football fans who are mining information previously known only to professionals. NFL Hall of Famer Jerry Rice discusses on digits. Photo: Getty Images.
This transcript has been automatically generated and may not be 100% accurate.
... I ... Leawood is just around the corner so I'm you may be thinking the back to school in the summer for football fans we know to be getting the NFL season ... you haven't been as defensive people Pulte me yet ... we of a special guest today with them tips ... welcome to do this I am Paul vignette ... very pleased to welcome NFL Hall of Famer three time Super Bowl champion Jerry Rice to the show joins us from San Francisco ... Jerry welcome to Digits black eye view on today ... all absolutely so you are part of a group that is taught MLP this of the intersection of big data ... and football and how that affects fantasy football ... offense to fix the fan experience ... by you've been around the game a longtime them ... obvious is a player also has an analyst ... how has being data changed the game lately ... well the ... Intel ... is bringing up ... the ... technology to you much quicker much faster ... and ... huge experiences fantasy football and ... Intel is the high ... the technology that delivers the real time stats ... to the fans and it also powering the devices in sales of up to blow ... those of fantasy football ... fans are using ... so ... you know it's ... it's a completely different ball game now because back in the day you play fantasy football ... it's a cute over to the brain of all those stats decide on the players that you want to be involved in ... an ... with ... today's ... society now and fantasy football ... is a lot faster in the ... also ... he gives people an opportunity to fill at the apartment of the game ... so used of instant gratification so I'm happy to be teaming up with other Intel ... and you know he's gonna have a great honor ... to ... know your game and has a market analyst ... how do you see it ... see the the the whole football experience in your point of view now being changed by fantasy football by the advent of of big data ... well you know the causes are using the technology known to most of you cameras and stuff like that ... they measured it indices of ... both players and also you know through fantasy football ... if the person ... individual is having personal problems all feel harder if he said and just ... a ... he is ... distracted by so many of ... different things that doesn't Intel football ... being that might impact of the individual ... Jonathan is Carson are doing whatever soul ... so you know just technology but dead on the football field in the outfield scissors ... where is the may ... be at least a bit of fall ... and you look it was forced to play ... tennis was happening with tennis ... the US is ... the new head of of ... also cameras that can follow the trajectory of the ball and you can be like to judge an injury ... to decide if the ball in the Lion argued it was long ... and and in you know wearable a ... technology ... that can help them to a player's stuff like that ... monetary of heart ... you can tell them that this is that they have run the calories that they have burned ... all of its own in so many advantages ... to news of the right now ... but there is still in having access to big business mobile players ... can can ... can prevent you from making the bed picking still could pick out Tim Tebow is a quarterback were a ... well yes yes you can get ... a player like that but you know ... you have all the information all of their regular Friday you ... and you know ... it until you get this person has the function well and ... bellwether names are is the ... isthe EP doesn't function well and let us sit ... you can see these individuals and they still have to be able to perform but ... you know I leads us up all the reasons that are right there crying ... Kerry ... hasn't changed how you view the game ... you know ... is that it's the toll the ... past in the night is the isthe was different because back in and he was more about the bows attacked ... know run a full blown throw in a phone call in and then I think the thing now is that a ... ISM has only been like see the ball the narrative seeks us towns they like to see running backs scored touchdowns and Gagne artists in all the things the same thing with receivers so on ... you know I I compare this to ... but today that when Nomar MobileIron awesome salsa when they were getting all those home runs and I think they complete the state ... of baseball so the fans ... it lets the lilacs and an ... investment you see him today ...


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Managing Director & Partner, Cologne
At BCG, Seekers go deep into the challenging issues our clients face. Their curiosity empowers our teams to facilitate change and add value to society. Daniel finds clarity in a complex world.
BCG supported my growth by giving me the opportunity to push those things that I am really interested in and to shape my own destiny.
I am a member of the Industrial Goods practice as well as the OPS Center, with a strong focus on Lean & Manufacturing. I have led many projects covering manufacturing strategy (including optimizing depth of value creation, make-or-buy), manufacturing network optimization, lean production, and industry 4.0.
Daniel holds a PhD and a master's degree in electrical engineering and business administration. He also holds an engineering diploma from the École Centrale Paris, a French engineering school.
Q: What do you like most about your job?
A: The learning never stops; I improve myself with every case. Developing new ideas.
Q: What characteristics do you believe define a BCGer?
A: Respectful, smart, ambitious, diligent, never giving up, reliable, team player.
Q: What's your home office environment like?
A: Cosmopolitan, liberal, friendly, helpful.