text: hermann pitton wrote: > Am Mittwoch, den 10.09.2008, 22:59 -0400 schrieb Steven Toth: >> hermann pitton wrote: >>> Hi, >>> >>> Am Mittwoch, den 10.09.2008, 21:00 -0400 schrieb Steven Toth: >>>> Christophe Thommeret wrote: >>>>> Le Thursday 11 September 2008 00:59:31 Andreas Oberritter, vous avez écrit : >>>>>> Hans Werner wrote: >>>>>>>> So applications could know that these 2 frontends are exclusive. >>>>>>>> That would not require any API change, but would have to be a rule >>>>>>>> followed by >>>>>>>> all drivers. >>>>>>> Yes, if we keep to that rule then only frontends which can operate truly >>>>>>> simultaneously should have a different adapter number. >>>>>> An adapter refers to a self-contained piece of hardware, whose parts can >>>>>> not be used by a second adapter (e.g. adapter0/demux0 can not access the >>>>>> data from adapter1/frontend1). In a commonly used setup it means that >>>>>> adapter0 is the first initialized PCI card and adapter1 is the second. >>>>>> >>>>>> Now, if you want a device with two tuners that can be accessed >>>>>> simultaneously to create a second adapter, then you would have to >>>>>> artificially divide its components so that it looks like two independant >>>>>> PCI cards. This might become very complicated and limits the functions >>>>>> of the hardware. >>>>>> >>>>>> However, on a setup with multiple accessible tuners you can expect at >>>>>> least the same amount of accessible demux devices on the same adapter >>>>>> (and also dvr devices for that matter). There is an ioctl to connect a >>>>>> frontend to a specific demux (DMX_SET_SOURCE). >>>>>> >>>>>> So, if there are demux0, frontend0 and frontend1, then the application >>>>>> knows that it can't use both frontends simultaneously. Otherwise, if >>>>>> there are demux0, demux1, frontend0 and frontend1, then it can use both >>>>>> of them (by using both demux devices and connecting them to the >>>>>> frontends via the ioctl mentioned above). >>>>> Sounds logical. And that's why Kaffeine search for frontend/demux/dvr > 0 and >>>>> uses demux1 with frontend1. (That was just a guess since i've never seen >>>>> neither any such devices nor comments/recommendations/rules about such case). >>>>> >>>>> However, all dual tuners devices drivers i know expose the 2 frontends as >>>>> frontend0 in separate adapters. But all these devices seems to be USB. >>>>> >>>>> The fact that Kaffeine works with the experimental hvr4000 driver indicates >>>>> that this driver populates frontend1/demux1/dvr1 and then doesn't follow the >>>>> way you describe (since the tuners can't be used at once). >>>>> I would like to hear from Steve on this point. >>>>> >>>>> >>>> Correct, frontend1, demux1, dvr1 etc. All on the same adapter. The >>>> driver and multi-frontend patches manage exclusive access to the single >>>> internal resource. >>>> >>> then please explain what is about the analog usage, which can always be >>> first and don't tell it has to stay back, since you always sit on that >>> bridge and else come nowhere ... >> Hermann, I'm not sure I understand your question, but I'll try. >> >> This has nothing to do with analog, I never suggested these patches >> effected analog. >> >> Either you're confused, or I am :) >> >> The multifrontend patches are related to DVB only, the analog ports on >> the cx88 remain untouched, unchanged. > > Steve, > > likely we should have all some sleep previously again. Hermann, I have problems trying to understand your written English, I do not always understand what you write. This leads to confusion. > > But I'm quit sure what I'talking about. Of course you do, I never suggested that you were not. > > If using the dma engines of the saa713x at once, you can't say analog > and dvb are not related! Oh, I understand the topic you are mentioning now. I have no experience with the 7134 and I'm not aware of it's hardware capabilities, or lack of. I'm not fit to comment on what resources can be shared and the implications of. What I can say with confidence, is that if it has a digital transport port, and if some of the cards share this port with DVB-T and DVB-S then the multiple-frontend patches will probably help with those designs. Rather than having to specify DVB-T or DVB-S during module load time, the patches will negotiate user access and allow both to be present. This may be a good feature for the 7134, it may not. > > There are clear restrictions and you can cause major dammage ignoring > them. Nobody is ignoring them, thank you for raising the issue. - Steve


text: Last update 10 MAR 2018 This is a step-by-step guide for absolute beginners. Please read posts #1, #2 and #3 carefully and thoroughly as they will take you through the rooting procedure and answer your queries. Particularly post #3 as this has, "Tips for using this Dummies Guide". This guide is for rooting the Samsung Galaxy S2, GT-i9100, GT-i9100M, GT-i9100T & GT-i9100P only and no other variant.*** If you are unsure of the model of your phone, go to Settings > About phone > Model number (*** The Dummies Guide can also be used to root the, "GT-i9100G", on Gingerbread, (only), providing you use the root kernels mentioned in post #2, here) #1.1. What is rooting? Rooting gives you, "Superuser", access to your phone and its features. It allows the installation of the latest custom ROM's, kernels, modems, applications and features that are not available to un-rooted phones. All this process does is to replace the stock kernel, that comes with your phone, with a root kernel and does not affect any data stored on the phone. For more information on the advantages of rooting, see here. #1.2. Is it difficult That really depends on your ability to read and follow instructions. I would strongly suggest that you read all the links published here, carefully and thoroughly, to help you understand the process before attempting to root your phone. The actual, "flashing", process, post #2, takes about 30 seconds, however, the set-up for this is longer and can be done in advance. With, currently, over 255,000 views and over 800 posts, we have not lost a man, (or woman), yet! #1.3. What hardware do I need? Galaxy S2 GT-i9100/G/M/P/T phone USB lead that came with the phone. A Windows PC running, XP, Vista or Windows 7 USB Jig. Although not needed to root your phone some people find it a useful tool for getting rid of the yellow warning triangle at boot-up, (personally I do not bother and it may not work on newer bootloaders), and for resetting your flash counter to potentially avoid voiding your phone's warranty if you flash back to your original firmware in case you need to take it to a service centre. See here. #1.4. What software do I need? 7-Zip (or similar... WinRAR or WinZip) to extract the .zip files on your PC. Download, here. Odin. This is the PC programme that will install the rooted kernel to your phone. Unzip the file and run Odin. Download, here. Samsung Kies. This is a PC Suite for the Galaxy S2. Dowload and install to your PC as you will require the drivers that come bundled with it, to connect your phone to the PC and Odin3. Download for Windows, here. When you have downloaded and installed Kies, connect your phone via the USB lead to ensure that it is working. If you encounter any problems connecting your phone to Kies, see this trouble shooting guide, here. #1.5. The Root Kernel Kernel. Your choice of Root kernel depends on the Android Version you are running. Settings > About phone > Android version to determine which firmware you have. Now, depending on your firmware version, you can download one of the following 3 kernels to root your phone. (all the following kernels have the, "brick bug", fix where needed) #1.6. Android Version 2.3.?, Gingerbread This relies on matching the current kernel you have installed to a CF-Root kernel. To determine your current kernel... Settings > About phone > Kernel version (make a note of this in case of problems) Once you have ascertained which kernel version you are currently running you will need to go here. Search posts #3, #4, #5, #6, #7 and #8 for a CF-Root kernel that comes closest to matching your current kernel, i.e. KG1, KF3, KI1, KK5, LPQ, LPS, etc: For instance, if you are currently using 188.8.131.52-I9100JPKJ2-CL655700root@DELL143 #2 use CF-Root-SGS2_XW_XEF_ KJ2 -v5.0-CWM5.zip. If there is not a kernel which matches the letters and numbers in bold just go one number up from yours. Extraction for .zip kernel files only. Download the .zip file to your desktop and unzip it, (To extract the file, just right click on it and select 7-Zip/WinRAR/Winzip and, "Extract here". This extracted file is the one you will need.). This is the .tar file that contains the kernel that will root your phone. To avoid confusion you can now delete the original .zip file that it came with. #1.7. Android Version 4.0.?, IceCream Sandwich Download the Siyah v5.0.1 .TAR kernel file and flash via Odin as follows in post #2. #1.8. Android Version 4.1.2, Jelly Bean. Download the Siyah v6.0beta5 .TAR kernel file and flash via Odin as follows in post #2.) Continued in next post... ironass motto... "Flash in haste... repent at leisure"

subset: commoncrawl


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Bonus comic: Sticky situation
on November 4, 2015 at 1:27 am
Posted In: Guigar.com
Over at Guigar.com, I've been posting some of the bonus comics that my Patreon backers have already seen as part of their rewards for supporting my work in comics. They get first look at content like this. backers at $10+ also get exclusive access to the NSFW comics that I'm posting there — like Evil Inc After Dark, uncensored Courting Disaster and NSFW commissioned illustrations! If you're interested in seeing what you'd get as a backer, this is a great time to join!


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0 comments, 16 members, 930 views, 14 likes- created by Location: North Carolina, USA
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Welcome to CloverTac Productions your home for the CloverTac YouTube channel, CloverTac Talk podcast, CloverTac Firearm Friday and more. By joining you have now become part of the CloverTac ... More »
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Budget Guns and Gear Reviews brings its viewers a look at value-priced guns and outdoors gear, along with how-to's, commentary, and a variety of outdoors related topics. Be sure to check ... More »
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text:
castillo71 needed a new logo design and created a contest on 99designs.
A winner was selected from 38 designs submitted by 18 freelance designers.
I need a logo for a construction consultant company.
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Accepted File Formats:
Standard Web Formats (.jpg, .gif or .png)
I need a logo for a owner builder consultant company.The company shows people how to build their own home.
Find out how a design contest works or learn more about our logo design services.


text:
I am presently the Appleton Professor of Natural Philosophy and Professor of Physics and Astronomy at Dartmouth College. In this web site you will be able to find out more about what I do as a scientist, teacher, and science popularizer. I have a very abbreviated CV available online: Abbreviated CV.
My new book has just been published! A Tear at the Edge of Creation: A Radical New Vision for Life in an Imperfect Cosmos.
Here is a video where I describe its main ideas:
Also, check my blog 13.7 on science and culture hosted by National Public Radio.


text:
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text:
Ford Racing Engineers have designed the replacement for the legendary BOSS 302 and 351 blocks using the latest technology and manufacturing techniques from both the production and racing worlds. The BOSS block capability has been proven abound the world – both on the track and on the street. By preserving many of the dimensions and features from the original 289-351 blocks, the BOSS blocks are compatible as replacements for use in just about any vehicle that used a
Proven performance - used in Ford Racing high performance crate engines, a proven winner out of the crate and thousands of laps before rebuild.
In the April 2010 issue of Circle Track Magazine, the editors built a Late Model Stock engine using the BOSS 351 block. To check out the article, visit the Circle Track site here.


text:
Pam S 2, forum posts. Although all tennessee casino lodging in this list aren't attached to casinos, most of the larger casino resorts ARE detailed here. Pala casino lunch buffet City hotels 1. Bingo Bingo guide Bingo news How to play bingo History of bingo.
These tahoe nevada map are in striking contrast to online gambling in Nevada and Delaware. In Nevada, two operators, WSOP. In Delaware, all online gambling is under the control of the Delaware State Lottery in partnership with 888 Holdings. Each of the three licensed racinos in the state - Delaware Tennessee casino, Dover Downs, and Harrington Raceway and Casino - offers online gambling for both tennessee casino games and poker.
Pennsylvania became the fourth state to legalize online gambling when lawmakers passed legislation in October 2017.
UPDATED: April 9, 2019
With nine sportsbooks in the application and launch process, that means $90 million in revenue for the state thanks to the $10 million licensing fee. That means that the state is already all but set for its $100 million in revenue projection for the 2018-19 fiscal year budget. That is good news given that the revenue from retail sports betting has not been great.
As you may recall, the Super Bowl was not great for any state sports betting market, PA included. The hope is March Madness betting fares much better. The numbers for last month's sports betting revenues should be out in the next few days. The presumption is it will be the biggest month for Pennsylvania sports betting yet.
UPDATED: April 12, 2019
It was a busy week for the lawyers in the New Hampshire Lottery's lawsuit regarding the new Wire Act opinion. On Monday, the DOJ filed a last-minute memo claiming the now infamous memo did not actually apply to the Lottery.
Presumably, the DOJ thought this could get the case dismissed. The judge did not buy it though, noting that a current threat to shut down lottery and a threat to potentially shut down lotteries in a few weeks are effectively the same things.
The judge ordered the DOJ to submit a memo on how it plans to handle state lotteries and their vendors within the next 14 days. After that, the NH Lottery and other plaintiffs have a week to respond. Then the judge will rule.
Arguments suggest the judge is leaning New Hampshire's way, but there will be nothing official until likely May at the earliest.
Since the PA gambling expansion bill was signed into law in October 2017, the state has reaped plenty of monetary benefits from these new forms of gambling.
Yes, but you need to do so on a regulated online gambling site in the state. None of those have launched yet, but they will go live in early 2019.
What remains off-limits are offshore gambling sites. These sites are not regulated by the states, so they do not offer important consumer protections. They should be avoided at all costs.
A legal Pennsylvania online casino is licensed by the Pennsylvania Gaming Control Board (PGCB). More often than not, they are tied to a land-based casino in the state as well.
There are three types of PA online casino licenses:
There are other types of online gambling available as well. The PA Lottery offers online lottery games that play like scratch-off tickets. The fantasy sports industry is also allowed to offer online and mobile fantasy events.
Eventually, PA casinos will be able to offer mobile and online sports betting. However, do not expect that until early 2019.
|Existing online partners
|Projected launch
|Interactive application status
|Conditionally approved
|Hollywood (Penn National)
|Conditionally approved
|Mount Airy
|888 / PokerStars
|Conditionally approved
|Conditionally approved
|Sands Bethlehem
|Conditionally approved
|Rush Street Interactive / Kambi
|Conditionally approved
|Valley Forge
|Conditionally approved
|Stadium Park Philly Live! Casino
|Conditionally approved
|Presque Isle Downs
|Golden Nugget
|Conditionally approved
|Mohegan Sun Pocono
|Conditionally approved
|MGM Resorts
|Application pending
|Golden Nugget NJ
|Application pending
You can expect most of the popular games you would find at a brick and mortar casino in Pennsylvania. Most online casinos offer a wide range of slot titles, including many you have probably seen on the casino for.
As for table games, you can expect offerings such as:
At online poker sites, the majority of the games are going to be Texas Hold'em. There will be a range of options for what kinds of Hold'em games players can take part in.
Cash games offer a range of stakes, including much smaller stakes than you can find in a casino. Some stakes are as small as $.01/$.02, while the bigger end of the stakes tends to top off at $10/$20.
There are also Sit & Gos, multi-table tournaments, and some novelty games unique to each poker site. For example, WSOP.com offers Blast Sit & Gos, which take the standard Sit & Go and add a gambling element where players can win a big jackpot.
If you want to play online lottery games or fantasy sports, you need to be at least 18 years old. The sites use things like your Social Security Number to verify your identity and age.
If you want to play at PA online casinos or take part in a PA online sportsbook, you will also need to have your age verified. And you will need to be at least 21 to play.
You do not. You do have to be physically located in the state to play, but residency is not required.
The specifics won't be available until the casino sites actually launch. Generally, though, most online casino sites allow deposits via a range of options, such as:
|PGCB Approval Date
|Retail Sportsbook Launch
|Online Sportsbook Launch
|Hollywood Casino at Penn National
|Oct. 3
|Nov. 17
|Summer 2019
|Parx Casino Sportsbook
|Oct. 3
|Jan. 10
|Summer 2019
|South Philadelphia Turf Club
|Oct. 3
|Jan. 17
|Rivers Casino
|Oct. 31
|Dec. 15
|Summer 2019
|SugarHouse Casino
|Oct. 31
|Dec. 15
|Summer 2019
|Harrah's Philadelphia
|Oct. 31
|Jan. 24
|Summer 2019
|Valley Forge Casino
|Dec. 19
|March 13
|Summer 2019
|Presque Isle Downs
|Feb. 6
|Launching June 1
|Summer 2019
|Valley Forge Turf Club
|March 6
|March 12
|Mount Airy Casino
|Pending approval
|Mohegan Sun Pocono
|Pending approval
In addition to playing online instant games, the PA Lottery mobile app has several other perks.
For example, you can scan your draw game tickets for winners using the app. You can also check the app for the winning numbers on all major jackpots.
Keno was the first element of gaming expansion to go live in Pennsylvania. The numbers game, which is run by the Pennsylvania Lottery, launched at bars and taverns across the state in May and is quickly growing in popularity.
Pennsylvania has had off-track betting parlors for years. With the advent of sports betting though, these facilities will likely end up with a PA sportsbook as well. In fact, South Philadelphia Turf Club already has an application in.
Video gambling terminals (VGTs) bring many of the fun and games of a casino to a single machine at Pennsylvania truck stops. These multi-game VGTs will launch soon at qualified truck stops around the state.
For those who want a sports betting-esque experience at any time, there are Xpress Sports from the PA Lottery. These games simulate virtual (and fictional) football drives or car races and allow customers to bet on the outcome.


text:
Tokyo Flash watches are outlandish enough as is - so you can imagine how badass their concept design would be. This Hexagonal watch isn't real, but Tokyo Flash could make it so - with the method of telling the time surprisingly simple.
For Tokyo Flash, at least. The coloured LEDS represent hours (in blue), five minute increments (in purple) and individual minutes (in pink). Have a gander at the diagram below and then tell me what time is on the picture above. Friday fun times! [Tokyo Flash via Technabob]


text:
How to install Apache Tomcat
Apache Tomcat is a web server for multiple operating systems, including CentOS. It's open-source software developed by the Apache Software Foundation, so it's available for free under the Apache license. Apache Tomcat is written in Java, and uses JavaServer Pages and Java servlets to create a pure Java runtime environment. It runs as a single process in its simplest configuration, although Tomcat processes each HTTP request from the browser as a separate thread. The procedure for installing Tomcat generally involves installing the Java Development Kit (JDK), configuring the system environment, downloading Tomcat and installing it.
|Basic - 1 | Medium - 2 | Advanced - 3
|10 min
|Linux-based VPS or dedicated servers
Here is a quick tutorial on how to install Apache Tomcat.
NOTE: cPanel/WHM users should follow cPanel's instructions instead to use EasyApache
Install the JDK
Assume for this example that you wish to develop Java programs in addition to installing the JDK. Assume further that the current version of JDK is v1.7.0, and you want to automatically answer "yes" to all questions that the installation program asks. Enter the following command at the CentOS command line:
Set the JAVA_HOME environment variable
Set JAVA_HOME to the location of JDK, which is /usr/lib/jvm/java-1.7.0-openjdk by default.
$ source /etc/profile.d/java.sh
Download Apache Tomcat
Download the Tomcat binary. The following command assumes that the current version of Tomcat is v7.0.56:
NOTE: Always check to ensure you are downloading the latest version. Version 7.0.56 was current at the time of writing.
Unpack and configure
Unpack the binary file with the tar command:
Make the unpacked files read-only;
Set CATALINA_HOME to the directory for the Tomcat files
$ source /etc/profile.d/tomcat.sh
Start Tomcat
Run Tomcat's startup script.
Verify that Tomcat is running by going to http://localhost:8080 in your browser. This URL should appear as follows:
Change your Tomcat login credentials
You'll also need to update the password you use to log in to your Tomcat Manager. We've got thos instructions for you here.


text: SMC has launched the PSE570 Series to meet increasing demand for a general fluid pressure sensor that is easy to connect and robust enough to withstand high proof pressure and withstand abrupt surges. SMC, the worldwide leading expert in pneumatics, has designed an easy to install pressure sensor for non-corrosive gas or liquids that reduces operating costs. The PSE570 is suitable for a wide range of applications such as liquid coolant pressure control, discharge pressure control for compressors and suction verification of work pieces containing moisture. It has been designed with efficiency in mind and is very quick and simple to wire thanks to its M12 connector. Able to withstand unexpected surges in pressure, up to three times greater than the rated pressure, the PSE570 is also able to cope with sudden voltages as high as 500 V AC, reducing the risk of damage and extending its operating life. SMC said: "By listening to our customers, we have been able to develop an easy to use pressure sensor for general purpose fluids. The PSE570 lasts longer than other sensors of its kind and is simple to connect, making it a highly desirable product and a great addition to our existing sensor range." SMC's extensive pressure sensor range includes compact and lightweight solutions for pneumatic applications and general purpose sensors applicable for a variety of gas and fluids. All of these can be controlled from a remote location thanks to SMC's range of controllers. SMC added: "The addition of the PSE570 Series completes the cycle of sensor options for our customers. Whatever their requirement, whether it's working with highly corrosive fluids or just air, SMC has a sensor to meet their needs." For more information on the PSE570 pressure sensor, visit the SMC new product page: www.smc.eu ENDS October 2015


text:
September 8, 2012, 12:04 am
Three sea kayaking destinations close to Denver: Granby, Twin, Bear Creek Lakes
Such a dismal year for river runners. A marginal snowpack. A trickle of spring runoff. My whitewater kayaks have cobwebs in the cockpit. Tall grass grows among the raft rowing frames. The pack raft remains packed.
A guy could have found something to float if he was motivated enough. Still could. The truth is I've been enjoying my sea kayaks… a lot. Lakes always have enough water to paddle on. There's no shuttle to arrange or paddling partner to round up.
Here's a few of the great lakes I've been enjoying this summer.


text:
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text:
Marilyn Manson and Evan Rachel Wood are reportedly headed down the aisle.
According to a People, a source confirmed that the 41-year-old shock-rocker is engaged to the 22-year-old "True Blood" actress.
Marilyn reportedly proposed to his future bride while performing on stage in Paris on Monday.
The duo first began dating in 2006, but split in 2008. After a brief reconciliation they split again, but then rekindled their romance yet again late last year.
In 2007, the actress told Elle magazine that the rocker was "lovely, really human and just amazing. It may surprise you just how healthy and loving our relationship is."
The "Beautiful People" singer was previously married to Dita Von Teese.
Reps for Marilyn and Evan would not comment on the reported engagement when contacted by the mag.
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Celebrity May-December Romances
PLAY IT NOW: Evan Rachel Wood Talks 'The Wrestler'
PLAY IT NOW: 'The Wrestler' Premiere, Los Angeles
MORE ACCESS ON THESE TOPICS: Evan Rachel Wood - Rock - True Blood - TV - Engagements


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Like most authors, James Patterson started out with one book, released in 1976, that he struggled to get published. It sold about 10,000 copies, a modest, if respectable, showing for a first novel. Last year, an estimated 14 million copies of his books in 38 different languages found their way onto beach blankets, airplanes and nightstands around the world. Patterson may lack the name recognition of a Stephen King, a John Grisham or a Dan Brown, but he outsells them all. Really, it's not even close. (According to Nielsen BookScan, Grisham's, King's and Brown's combined U.S. sales in recent years still don't match Patterson's.) This is partly because Patterson is so prolific: with the help of his stable of co-authors, he published nine original hardcover books in 2009 and will publish at least nine more in 2010.
There are many different ways to catalog Patterson's staggering success. Here are just a few: Since 2006, one out of every 17 novels bought in the United States was written by James Patterson. He is listed in the latest edition of "Guinness World Records," published last fall, as the author with the most New York Times best sellers, 45, but that number is already out of date: he now has 51 — 35 of which went to No. 1.
Patterson and his publisher, Little, Brown & Co., a division of the Hachette Book Group, have an unconventional relationship. In addition to his two editors, Patterson has three full-time Hachette employees (plus assistants) devoted exclusively to him: a so-called brand manager who shepherds Patterson's adult books through the production process, a marketing director for his young-adult titles and a sales manager for all his books. Despite this support staff and his prodigious output, Patterson is intimately involved in the publication of his books. A former ad executive — Patterson ran J. Walter Thompson's North American branch before becoming a full-time writer in 1996 — he handles all of his own advertising and closely monitors just about every other step of the publication process, from the design of his jackets to the timing of his books' release to their placement in stores. "Jim is at the very least co-publisher of his own books," Michael Pietsch, Patterson's editor and the publisher of Little, Brown, told me.
A couple of months ago, I sat in on one of Patterson's regular meetings with Little, Brown to discuss the marketing and publicity for his coming titles. The meeting was held not, as you might expect, at the publisher's offices in Midtown Manhattan but in the living room of Patterson's Palm Beach home, a canary yellow Spanish-style house on a small island in Lake Worth. Patterson's wife, Sue, a tall, athletic-looking blonde whom he met at J. Walter Thompson, served coffee and gooey chocolate-chip cookies to the guests: Pietsch; Megan Tingley, the publisher of Little, Brown's young-readers books; and David Young, the C.E.O. of Hachette.
Pietsch and Tingley showed mock-ups of covers and presented ideas they had been working on. From the plush, caramel-colored couch facing them, Patterson, who is a trim 62 with a habitual slouch and laconic manner well suited to his dry sense of humor, acted as creative director, a familiar role from his years in advertising. At one point, the conversation turned to the next installment in Patterson's Michael Bennett series, which revolves around a Manhattan homicide detective and widower with 10 multiracial adopted children ("Cheaper by the Dozen" meets "Die Hard," as Patterson describes it). Pietsch mentioned a possible promotional line, "New York Has a New Hero." Patterson instantly amended it: "Finally, New York Has a Hero."
A number of former Little, Brown employees who attended these sorts of meetings with Patterson in the 1990s and early 2000s described him to me as low-key but intimidating, more cutthroat adman than retiring writer — a kind of real-life Don Draper. Unsatisfied with publishing's informal approach to marketing meetings, Patterson had expected corporate-style presentations, complete with comprehensive market-share data and sales trends. "A lot of authors are just grateful to be published," Holly Parmelee, Patterson's publicist from 1992 to 2002, told me several weeks earlier. "Not Jim. His attitude was that we were in business together, and he wanted us both to succeed, but it was not going to be fun and games."
But that was when Patterson was still making a name for himself and fighting for his publisher's full attention. Now that he is the world's bestselling author and Little, Brown's most prized possession, Patterson seemed agreeable, easygoing. Even when he shot down an idea, like Pietsch's suggestion that Patterson promote the new Michael Bennett book with a day of events in all five boroughs, he did so gently: "I just don't want for it to be like one of those things when an athlete goes through and shakes four hands." Halfway through the meeting, Patterson suggested that they take a short break to listen to some songs from a musical he's developing based on his romance novel "Sundays at Tiffany's."
When the meeting was over, Patterson and his wife drove everyone to lunch in their matching Mercedes sedans. On our way to the restaurant, they took us past their future home, an oceanfront mansion in Palm Beach that they bought last year for $17.4 million and are now in the midst of renovating. "There's my little cottage," Patterson said as the 20,000-square-foot house came into view.
ACCORDING TO FORBES magazine, Patterson earned Hachette about $500 million over the last two years. Hachette disputes the accuracy of these numbers but wouldn't provide me with different ones. Regardless, it seems safe to assume that Patterson, who puts out more best sellers in any given year than many publishing houses, is responsible for a meaningful portion of the company's annual revenues. "I like to say that Jim is the rock on which we build this company," David Young told me in his office one recent morning.
Like movie studios, publishing houses have long built their businesses on top of blockbusters. But never in the history of publishing has the blockbuster been so big. Thirty years ago, the industry defined a "hit" novel as a book that sold a couple of hundred thousand copies in hardcover. Today a book isn't considered a blockbuster unless it sells at least one million copies.
The story of the blockbuster's explosion is, paradoxically, bound up with that of publishing's recent troubles. They each began with the wave of consolidation that swept through the industry in the 1980s. Unsatisfied with publishing's small margins, the new conglomerates that now owned the various publishing houses pressed for bigger best sellers and larger profits. Mass-market fiction had historically been a paperback business, but publishers now put more energy and resources into selling these same books as hardcovers, with their vastly more favorable profit margins. At the same time, large stores like Barnes & Noble and Borders were elbowing out independent booksellers. Their growing dominance of the market gave them the leverage to demand wholesale discounts and charge hefty sums for favorable store placement, forcing publishers to sell still more books. Big-box stores like Costco accelerated the trend by stocking large quantities of books by a small group of authors and offering steep discounts on them. Under pressure from both their parent companies and booksellers, publishers became less and less willing to gamble on undiscovered talent and more inclined to hoard their resources for their most bankable authors. The effect was self-fulfilling. The few books that publishers invested heavily in sold; most of the rest didn't. And the blockbuster became even bigger.
Patterson has been a beneficiary of the industry's shifting economics, but he was also a catalyst for change at Little, Brown and in the world of publishing in general. When Patterson published his breakout book, "Along Came a Spider," in 1993, Little, Brown was still a largely literary house, whose more commercial authors included the historian William Manchester, biographer of Winston Churchill. Patterson's success in the subsequent years encouraged Little, Brown to fully embrace mass-market fiction. But more than that, Patterson almost single-handedly created a template for the modern blockbuster author.
There were, of course, blockbuster authors before Patterson, among them Mario Puzo, James Michener and Danielle Steel. But never had authors been marketed essentially as consumer goods, paving the way for a small group of writers, from Charlaine Harris to Malcolm Gladwell, to dominate best-seller lists — often with several titles at a time — in the same way that brands like Skippy and Grey Poupon dominate supermarket shelves. "Until the last 15 years or so, the thought that you could mass-merchandise authors had always been resisted," says Larry Kirshbaum, former C.E.O. of the Time Warner Book Group, which owned Little, Brown until 2006. "Jim was at the forefront of changing that."
The lesson was not easily learned. Publishing is an inherently conservative business. Patterson repeatedly challenged industry convention, sometimes over the objections of his own publisher. When Little, Brown was preparing to release "Along Came a Spider," Patterson tried to persuade his publisher that the best way to get the book onto best-seller lists was to advertise aggressively on television. Little, Brown initially balked. Bookstores typically base their stocking decisions on the sales of an author's previous books, and Patterson's had not done particularly well. This was going to be the first of several novels about an African-American homicide detective in Washington, D.C., named Alex Cross; the prevailing wisdom was that the audience for a series built around a recurring character needed to be nurtured gradually. What's more, large-scale TV advertising was rare in publishing, not only because of the prohibitive cost but also for cultural reasons. The thinking was that selling a book as if it were a lawn-care product could very well backfire by turning off potential readers.
Patterson wrote, produced and paid for a commercial himself. It opened with a spider dropping down the screen and closed with a voice-over: "You can stop waiting for the next 'Silence of the Lambs.' " Once Little, Brown saw the ad, it agreed to share the cost of rolling it out over the course of several weeks in three particularly strong thriller markets — New York, Chicago and Washington. "Along Came a Spider" made its debut at No. 9 on the New York Times hardcover best-seller list, ensuring it favorable placement near the entrance of bookstores, probably the single biggest driver of book sales. It rose to No. 2 in paperback and remains Patterson's most successful book, with more than five million copies in print.
It's not hard to understand the popularity of "Along Came a Spider." It's a police procedural with an uncomplicated yet ever-twisting plot, some sex, betrayal and plenty of violence. The book's hero, Cross, is smart and tough, yet sensitive and vulnerable. He has a Ph.D. in forensic psychology from Johns Hopkins, lost his wife in a drive-by shooting — leaving him to raise his two children alone — plays Gershwin on a beat-up baby-grand piano and volunteers at the soup kitchen of his local parish. Still, hundreds of suspenseful, fast-paced novels are published each year; few become successful, let alone blockbusters. It's entirely possible, even quite likely, that without those ads, "Along Came a Spider " never would have made the best-seller list, and that James Patterson would now be just another thriller writer.
Patterson quickly turned Alex Cross into a booming franchise, encouraging Little, Brown to unify the series with a single jacket style — shiny, with big type and bold, colorful lettering — and titles drawn from nursery rhymes ("Kiss the Girls," "Pop Goes the Weasel," "The Big Bad Wolf"), with their foreboding sense of innocence interrupted. "Jim was sensitive to the fact that books carry a kind of elitist persona, and he wanted his books to be enticing to people who might not have done so well in school and were inclined to look at books as a headache," Kirshbaum says. "He wanted his jackets to say, 'Buy me, read me, have fun — this isn't "Moby Dick." ' "
Patterson built his fan following methodically. Instead of simply going to the biggest book-buying markets, he focused his early tours and advertising efforts on cities where his books were selling best: like a politician aspiring to higher office, he was shoring up his base. From there, he began reaching out to a wider audience, often through unconventional means. When sales figures showed that he and John Grisham were running nearly neck and neck on the East Coast but that Grisham had a big lead out West, Patterson set his second thriller series, "The Women's Murder Club," about a group of women who solve murder mysteries, in San Francisco.
No sooner had Patterson established himself in the thriller market than he started moving into new genres. Kirshbaum didn't initially like the idea; he was worried that Patterson would confuse his thriller fans. Patterson's first nonthriller, "Miracle on the 17th Green," published in 1996, did very well. That same year, Patterson wanted to try publishing more than one book despite Little, Brown's view that he would cannibalize his own audience. In addition to "Miracle on the 17th Green," Patterson published "Hide and Seek" and "Jack and Jill," each of which was a best seller. From there, Patterson gradually added more titles each year. Not only did more books mean more sales, they also meant greater visibility, ensuring that Patterson's name would almost always be at the front of bookstores, with the rest of the new releases. Patterson encountered similar resistance when he introduced the idea of using co-authors, which Little, Brown warned would dilute his brand. Once again, the books were best sellers. "Eventually, I stopped fighting him and went along for the ride," Kirshbaum says.
Patterson's vision of a limitless empire forced Little, Brown to reorder its priorities. Publishers have finite resources, and the demands of publishing Patterson were extraordinary even for a blockbuster author. Some Little, Brown editors worried that other books were suffering as a result. "To have one writer really start needing, and even demanding, the lion's share of energy and attention was difficult," Sarah Crichton, Little, Brown's publisher from 1996 to 2001, told me. "There were times when some of us resented that. When Jim felt that resentment, he roared back. And he was too powerful to ignore."
Crichton says she was continually surprised by the success of Patterson's books. To her, they lacked the nuance and originality of other blockbuster genre writers like Stephen King or Dean Koontz. "Jim felt his ambitions weren't being taken seriously enough," Crichton says. "And in retrospect, he was probably right."
WHEN I VISITED Patterson one day in Florida this fall, his wife met me at the door in tennis whites. Patterson soon followed in a white polo shirt, pleated blue trousers and boat shoes. He stopped in the kitchen to pour himself a glass of orange Fanta and led me upstairs to his home office, an airy, uncluttered wood-paneled room overlooking a lap pool — Sue, who is 10 years his junior, was an all-American swimmer at the University of Wisconsin in the late 1970s — and the Intracoastal Waterway.
Patterson's bookshelves are evenly divided between thrillers — books by Michael Connelly and Jeffrey Deaver — and more highbrow, literary fare like Philip Roth, John Cheever and Denis Johnson. When I asked him what he was reading now, Patterson mentioned "Wolf Hall," by Hilary Mantel, the winner of the 2009 Man Booker Prize, and "The Power Broker," Robert Caro's doorstop biography of Robert Moses. "My favorite books are very dense ones," Patterson told me. "I love 'One Hundred Years of Solitude,' and I'm a big James Joyce fan — well, at least until 'Finnegans Wake.' He kind of lost me there."
There is no computer in Patterson's office; he writes in longhand on a legal pad and gives the pages to his assistant to type up. Hanging above the round wooden table where he works is a photograph of President Clinton taken during the Monica Lewinsky scandal walking down the steps of Marine One with a copy of Patterson's "When the Wind Blows" tucked under his arm. (Patterson's popularity in Washington is apparently bipartisan: the wall of one of his downstairs bathrooms is plastered with fan mail from both George Bushes.) Neatly arranged on an adjacent L-shaped desk were 23 stacks of paper of varying heights, Patterson's works in progress.
Patterson grew up in Newburgh, N.Y., the son of a tough man who overcame a difficult childhood. Raised in the local poorhouse by a single mother, Patterson's father earned a scholarship to Hamilton College and dreamed of becoming a writer or a diplomat but wound up selling insurance. "He didn't have a father, and I don't think he knew how to do it," Patterson told me. (When his father retired, he wrote a novel and showed it to Patterson, already an established author. Patterson gave him the same advice he gives all first-time novelists: Write another one.)
Patterson discovered books late for a man who now makes a fortune writing them. Right after his senior year in high school, his family moved to a suburb of Boston, and Patterson got a job working nights and weekends as an aide at McLean Hospital in Belmont. With nothing else to do on his overnight shifts, he guzzled coffee and read.
At first, Patterson's literary taste ran toward the highbrow — Jerzy Kosinski, Jean Genet, Evan S. Connell. "I was a snob," he says. After graduating from Manhattan College in 1969, Patterson was given a free ride to Vanderbilt University's graduate program in English literature but dropped out after just one year. "I had found two things that I loved, reading and writing," he told me. "If I became a college professor, I knew I was going to wind up killing them both off."
Instead, Patterson moved to New York and got a job as a junior copywriter at J. Walter Thompson. He also started reading commercial books like "The Exorcist" and "The Day of the Jackal." "I always felt I could write a reasonable literary novel, but not a great one," he says. "Then I thought, I can do this. I understand it, and I like it." Patterson set up a typewriter on the kitchen table of his small apartment on 100th Street and Manhattan Avenue and wrote after work every night and on weekends. The result was his first novel, "The Thomas Berryman Number."
More than a dozen publishers rejected Patterson's manuscript before his agent, whom Patterson found in a newspaper article, finally sold it to Little, Brown for $8,500. "I remember going up to Boston — Little, Brown was still in Boston then — and walking into this library with a huge fireplace," Patterson recalls of his first visit to his publisher. "On the bookshelves were all of these other Little, Brown books, 'Catcher in the Rye,' 'The French Lieutenant's Woman,' 'The Executioner's Song.' I'm thinking, They're going to publish me? This is so cool."
"The Thomas Berryman Number" is the story of a newspaperman in Nashville who is assigned to cover the assassination of a local politician and ends up on the trail of his murderer, a professional killer from the Texas panhandle named Thomas Berryman. The action bounces around a lot, ricocheting between Berryman's various murders, the newspaperman's reporting and his subsequent effort to turn his articles on the case into a book. "Berryman" bears none of the hallmarks of Patterson's later thrillers. It's more brooding and stylized, more classically noir. The bad guy — Berryman — is not a sadist or a psychopathic serial killer; he's a hired gun. There is no real good guy, other than the reporter and narrator. At its best, the prose can call to mind Raymond Chandler. Here's Berryman in the book's opening pages, about to hitch a ride out of Texas with a man he would soon kill: "Thomas Berryman shaded his sunglasses so he could see the approaching car better. A finely made coil of brown dust followed it like a streamer. Buzzards crossed its path, heading east toward Wichita Falls."
The book won a prestigious Edgar Award for a first novel from the Mystery Writers of America. No doubt, some of those who praised it at the time would now say Patterson has failed to live up to its literary promise. That's not how Patterson sees it. "It's more convoluted, more bleak — more of the sort of thing that some people will find praiseworthy," he says of "The Thomas Berryman Number." "The sentences are superior to a lot of the stuff I write now, but the story isn't as good. I'm less interested in sentences now and more interested in stories."
After "The Thomas Berryman Number," Patterson wrote several more books for a number of different publishers that were neither successful nor critically acclaimed. In 1980, he tried his hand at the "demonic child" genre — memorably popularized by the film "Rosemary's Baby"— with the horror novel "Virgin" (which was later retitled and published as "Cradle and All"). In 1987, the year the movie "Wall Street" was released, he published a Wall Street thriller called "Black Market."
Patterson is unsentimental about his early, somewhat clumsy attempts at popular fiction. "That's an absolutely horrifying book," he says of his 1977 novel, "Season of the Machete," the story of a sadistic husband-and-wife team who carry out a series of gory machete murders on a Caribbean island. "I actually tell people not to read it."
Several weeks later, I witnessed this firsthand at one of Patterson's signings. When a woman handed him a copy of the book to autograph, he groaned. "Not my best work," Patterson said. "It's scaring me half to death," the woman answered. "Don't read it," Patterson replied.
WHAT IS PERHAPS most remarkable about the Patterson empire is the sheer volume of books it produces. The nine hardcovers a year are really only the beginning. Nearly all of those books are published a second and third time, first as traditional paperbacks, then as pocket-size, mass-market paperbacks. "Scarcely a week goes by when we aren't publishing something by James Patterson," Young told me, only half-joking.
This summer, Patterson will begin his fourth thriller series, "Private," which centers on a detective agency with branches all over the world. In addition, he does frequent thriller one-offs, including an annual summer beach read, usually set at or near a resort.
The thriller genre is generally not for the squeamish, but Patterson's tend to be especially graphic, and the violence often involves sociopathic sexual perversion and attractive young women. For instance, the villain in his second Alex Cross novel, "Kiss the Girls," is a psychopath who kidnaps, rapes and tortures college girls in an underground bunker; at one point, he even feeds a live snake into the anus of one of his victims.
As long as there has been mass-market fiction, it has had its detractors. In the late Victorian era, the English poet and cultural critic Matthew Arnold denounced "the tawdry novels which flare in the bookshelves of our railway stations, and which seem designed . . . for people with a low standard of life." Yet even within the maligned genre, Patterson has some especially nasty critics. The Washington Post's thriller reviewer, Patrick Anderson, called "Kiss the Girls" "sick, sexist, sadistic and subliterate." Stephen King has described Patterson as "a terrible writer."
Patterson has written in just about every genre — science fiction, fantasy, romance, "women's weepies," graphic novels, Christmas-themed books. He dabbles in nonfiction as well. In 2008, he published "Against Medical Advice," a book written from the perspective of the son of a friend who suffers from Tourette's syndrome, and last year, he took on the supposed murder of the child pharaoh King Tut.
Patterson's fastest-growing franchise is his young-adult books. He published his first Y.A. title, "Maximum Ride: The Angel Experiment," in 2005, not long after the languishing genre was jump-started by blockbusters like "Harry Potter" and "Sisterhood of the Traveling Pants." Last month, he introduced his third Y.A. series, "Witch and Wizard," a dystopian fantasy about a teenage brother and sister who wake up to discover that they are living in a totalitarian regime and that they have supernatural powers that have made them enemies of the state. Despite some negative prepublication reviews, the book was critic-proof, making its debut at No. 1 on the Times best-seller list for children's chapter books.
Each of Patterson's series has its own fan base, but there are also plenty of people who read everything he writes. His books all share stylistic similarities. They are light on atmospherics and heavy on action, conveyed by simple, colloquial sentences. "I don't believe in showing off," Patterson says of his writing. "Showing off can get in the way of a good story."
Patterson's chapters are very short, which creates a lot of half-blank pages; his books are, in a very literal sense, page-turners. He avoids description, back story and scene setting whenever possible, preferring to hurl readers into the action and establish his characters with a minimum of telegraphic details. The first chapter of "The Swimsuit," a recent thriller with a villain who abducts women for pornographic snuff films, opens with the kidnapping of a supermodel on a beach in Hawaii:
"Kim McDaniels was barefooted and wearing a blue-and-white-striped Juicy Couture minidress when she was awoken by a thump against her hip, a bruising thump. She opened her eyes in the blackness, as questions broke the surface of her mind.
"Where was she? What the hell was going on?"
TO MAINTAIN HIS frenetic pace of production, Patterson now uses co-authors for nearly all of his books. He is part executive producer, part head writer, setting out the vision for each book or series and then ensuring that his writers stay the course. This kind of collaboration is second nature to Patterson from his advertising days, and it's certainly common in other creative industries, including television. But writing a novel is not the same thing as coming up with jokes for David Letterman or plotting an episode of "24." Books, at least in their traditional conception, are the product of one person's imagination and sensibility, rendered in a singular, unreproducible style and voice. Some novelists have tried using co-authors, usually with limited success. Certainly none have taken collaboration to the level Patterson has, with his five regular co-authors, each one specializing in a different Patterson series or genre. "Duke Ellington said, 'I need an orchestra, otherwise I wouldn't know how my music sounds,' " Pietsch told me when I asked him about Patterson's use of collaborators. "Jim created a process and a team that can help him hear how his music sounds."
The way it usually works, Patterson will write a detailed outline — sometimes as long as 50 pages, triple-spaced — and one of his co-authors will draft the chapters for him to read, revise and, when necessary, rewrite. When he's first starting to work with a new collaborator, a book will typically require numerous drafts. Over time, the process invariably becomes more efficient. Patterson pays his co-authors out of his own pocket. On the adult side, his collaborators work directly and exclusively with Patterson. On the Y.A. side, they sometimes work with Patterson's young-adult editor, who decides when pages are ready to be passed along to Patterson.
Some Patterson fans have complained in online forums that his co-written books feel too "cookie cutter" and lack the "roller coaster" feel of his previous work, but his sales certainly haven't suffered. In at least one instance, Patterson took on a co-author in an effort to boost sales: last year, after noticing he wasn't selling in Scandinavia, he invited Sweden's best-selling crime writer, Liza Marklund, to collaborate with him on an international thriller. Their novel, "The Postcard Killers," is just being published in Sweden and will be out in the U.S. this summer.
For the most part, though, Patterson draws his co-authors from the vast sea of struggling writers. A few weeks after visiting Patterson, I had lunch with one of his collaborators, Michael Ledwidge, in Manhattan. An amiable 39-year-old redhead in a black leather jacket and jeans, Ledwidge told me he grew up in a large, working-class Irish family in the Bronx. He wanted to be a cop, but when he applied in 1993, the Police Academy was oversubscribed. So he worked as a doorman and started writing a heist novel on the side. When Ledwidge learned that he and James Patterson shared an alma mater, Manhattan College, he delivered his half-finished manuscript to Patterson one morning at J. Walter Thompson. That night, his phone rang.
"It must be James Patterson," Ledwidge joked to his wife.
It was. Patterson helped Ledwidge get his first book published and his writing career started. A few books later, Ledwidge had garnered some critical acclaim but not much commercial success. In 2003, Patterson suggested that they collaborate on "Step on a Crack," his first Michael Bennett novel. Ledwidge leapt at the opportunity. The book went straight to No. 1 on the Times best-seller list. One book quickly led to another. In 2005, Ledwidge quit his day job as a cable-splicer at Verizon, left the Bronx for Connecticut and became a full-time co-author for James Patterson.
Ledwidge told me that he and Patterson have an easy working relationship, that Patterson playfully teases him when he writes a scene that Patterson doesn't like and praises him when he's pleased with something. I asked Ledwidge if he missed writing his own books. "Honestly? " he asked. "Not at all. This is much more fun."
ONE NIGHT IN Florida, Patterson and I met his wife and their 11-year-old son, Jack, for dinner at the Palm Beach Grill. When the maître d' noticed Patterson entering the restaurant, she told him his table was ready. A well-dressed, white-haired woman quickly spun around.
"Are you James Patterson?" she asked excitedly.
"Yes," Patterson answered.
"I just read your last one. What was it called?"
Patterson hesitated, unsure which book she was talking about.
"It was brutal!" she woman continued.
" 'The Swimsuit'?" Patterson ventured.
"Yeah," the woman said. "Boy, was it brutal! I liked it, but it was brutal!"
After dinner, Sue and Jack went home, and Patterson and I had another glass of wine and continued talking. Patterson told me that Jack, who had been working on his laptop for most of the meal, only recently started to like reading. It required a deliberate effort on Patterson's part. Beginning a few summers ago, Patterson told Jack he didn't have to do any chores; he just had to read for an hour or so every day. The first summer Jack resisted. The second summer he didn't complain. Last summer, he no longer needed any prodding. Patterson ticked off some of the books Jack had recently read and enjoyed — "To Kill a Mockingbird," "A Wrinkle in Time" and "Huckleberry Finn" — with obvious pride.
Patterson told me that Jack's initial reluctance to read helped inspire him to move into the Y.A. genre. He wanted to write books for preteens and teenagers that would be fun and easy to read. The young-adult realm was, in one sense, a big leap for an author known for violent thrillers. At the same time, it was a natural fit for Patterson, whose unadorned prose and fast-paced plots are well suited to reluctant readers. Promoting literacy among children has since become a pet cause for him; he has his own Web site, ReadKiddoRead.com, aimed at helping parents choose books for their children. "There are millions of kids who have never read a book that they liked, and that is a national disgrace," Patterson said. "What I'm trying to do is at least wake up several thousand of them."
Later, our conversation turned to Patterson's critics. "Thousands of people don't like what I do," Patterson told me, shrugging off his detractors. "Fortunately, millions do." For all of his commercial success, though, Patterson seemed bothered by the fact that he has not been given his due — that unlike King or even Grisham, who have managed to transcend their genres, he continues to be dismissed as an airport author or, worse, a marketing genius who has cynically maneuvered his way to best-sellerdom by writing remedial novels that pander to the public's basest instincts. "Caricature assassination," Patterson called it.
Patterson said too much has been made of his marketing savvy. (A few years ago, a professor at Harvard Business School went so far as to do a case study on him.) To Patterson, the explanation for his success is less complicated. Whether he's writing about a serial killer, a love affair between a doctor and poet in Martha's Vineyard or a middle-aged ad executive who miraculously becomes an exceptional putter and joins the senior golf tour, his books are accessible and engaging. "A brand is just a connection between something and a bunch of people," Patterson told me. "Crest toothpaste: I always used it, it tastes O.K., so I don't have any particular reason to switch. Here the connection is that James Patterson writes books that bubble along with heroes I can get interested in. That's it."
Patterson considers himself as an entertainer, not a man of letters. Still, he bristles when he hears one of his books described as a guilty pleasure: "Why should anyone feel guilty about reading a book?" Patterson said that what he does — coming up with stories that will resonate with a lot of people and rendering them in a readable style — is no different from what King, Grisham and other popular authors do. "I have a saying," Patterson told me. "If you want to write for yourself, get a diary. If you want to write for a few friends, get a blog. But if you want to write for a lot of people, think about them a little bit. What do they like? What are their needs? A lot of people in this country go through their days numb. They need to be entertained. They need to feel something."
Shortly before we left the restaurant, Patterson brought up "The Swimsuit" again. "I like 'The Swimsuit,' " he said. "It's nasty, but I like it. But I think I went a little farther than I needed to. I'm going to tone it down for the paperback."
Patterson noticed a look of surprise on my face; it's not every day that an author decides to rewrite one of his books. "Look," he said, "if you're writing 'Crime and Punishment' or 'Remembrance of Things Past,' then you can sit back and go: 'This is it, this is the book. This is high art. I'm the man, you're not. The end.' But I'm not the man, and this is not high art."
Whatever ambivalence once existed toward Patterson inside Little, Brown has long since been replaced by unequivocal enthusiasm and gratitude. Pietsch, who succeeded Crichton as publisher, says Patterson belongs in the same class as Chandler and Dashiell Hammett. "Every novel of Jim's is master class in terms of plotting, pace and striking the right balance between action and emotional content," Pietsch told me. "I have never read a writer who I think is better at keeping your eye moving forward and your heart moving forward."
Thanks in part to Patterson, Little, Brown's identity has changed considerably since he first visited the publisher's former offices in a town house on Beacon Hill in Boston. In addition to Patterson, it is now home to such thriving commercial novelists as Michael Connelly and Stephenie Meyer, author of the wildly popular "Twilight" vampire series, as well as consistent best sellers like Malcolm Gladwell and David Sedaris. In 2008, a year in which many of its competitors were laying off employees and shutting down imprints, Little, Brown gave out Christmas bonuses.
In September, Little, Brown hosted an anniversary dinner in Patterson's honor — "20 Years of Publishing James Patterson" — in a private room at Daniel, one of the most expensive restaurants in Manhattan. (Patterson left Little, Brown after "The Thomas Berryman Number" but returned in 1989, a few years before "Along Came a Spider," with a book called "The Midnight Club.") It wasn't the sort of party you see often in the world of publishing, particularly now, with much of the industry in free fall. In addition to a meal of crabmeat salad, beef tenderloin and warm madeleines, the 45 guests were given party favors: bottles of red wine with labels that read "Vintage Patterson."
Days earlier, Hachette Book Group and Patterson's representative, the Washington lawyer Robert Barnett, hammered out the terms of a new 17-book deal. (Forbes reported that the contract is worth at least $150 million, though Little, Brown and Patterson dispute the number.) "Don't you need to be home writing?" I joked with Patterson. He told me matter-of-factly that he'd already started 11 of the 17 books, and even finished more than a few of them.
Some toasts accompanied the dinner. Pietsch talked about the conflicting mythology surrounding who actually discovered Patterson. ("Not only did I know the editor who discovered James Patterson, I once ate a hamburger cooked on his grill.") Patterson's young-adult editor, Andrea Spooner, recounted her campaign to persuade her father, an English professor, that Patterson was a worthy writer. (" 'It's worth noting, Daddy, that Dickens was one of the most popular and successful storytellers of his time, too!' ") When Young told the crowd that Patterson "contributes significantly" to five of Hachette's six publishing groups, Patterson interjected: "What am I missing?"
"FaithWords," Young replied, referring to the company's religious imprint.
"I can do that," Patterson said.
Patterson was the last to speak. The only man in the room without a tie, he wore a black T-shirt beneath his dark suit. "I'm sorry my good friend Stephen King couldn't be here," he began. "It must be bingo night in Bangor."
Patterson then proceeded to tell one of his favorite stories about his mother's father, who drove a frozen-foods truck in Upstate New York. During the summer, Patterson said, he would occasionally get up at 4 in the morning to ride along with him. As they drove over a mountain toward his first delivery, Patterson's grandfather, an irrepressibly joyful man, would be singing at the top of his lungs. "One day he said to me: 'Jim, I don't care what you do when you grow up. I don't care if you drive a truck like I do, or if you become the president. Just remember that when you go over the mountain to work in the morning, you've got to be singing,' " Patterson went on. "Well, I am."
It's no surprise that Patterson loves what he does. What's not to love? He plays golf most mornings on Donald Trump's Palm Beach course and spends the rest of the day working on guaranteed best sellers for which he is paid millions.
But the image of Patterson as a carefree man lucky enough to make money doing what he loves is a bit misleading. Patterson is nothing if not relentlessly ambitious. At J. Walter Thompson, he rose from the lowly station of junior copywriter to become the youngest creative director in the firm's history — along the way dreaming up such ad slogans as "I'm a Toys 'R' Us kid" — and then the C.E.O. of the company's North American operations. And as Patterson is the first to admit, he didn't even like working in advertising. It goes without saying that writing was never just a hobby for him.
Patterson's current preoccupation is Hollywood. Despite some attempts, including two Alex Cross films (both starring Morgan Freeman), which Patterson doesn't think much of, some made-for-TV movies, a failed ABC series and a lot of books that were optioned but never developed, there still hasn't been a blockbuster film or hit TV show based on one of his novels.
A few years ago, Patterson hired a former colleague from J. Walter Thompson, Steve Bowen, to oversee the development of his various movie and television projects. In 2007, they signed a deal with Avi Arad, the producer of the "Spider-Man" and "X-Men" films, to make a movie based on Patterson's "Maximum Ride" young-adult series. In addition to trying to make sure that Patterson is more involved in the development process, Patterson and Bowen plan to produce some projects themselves. They have already raised the financing for a new Alex Cross movie that Patterson is helping to write.
When I met Bowen, a good-looking ex-Marine with a trimmed, graying beard, for coffee in Manhattan several weeks after the dinner at Daniel, he told me that part of his challenge is to change Hollywood's perception of Patterson. He cited Clint Eastwood, whose name was once synonymous with "Dirty Harry" and spaghetti westerns, as a model for the sort of image transformation they are aiming to pull off. "Jim's been wrongly stereotyped out there as the master of slash and gash," Bowen said. "What people don't fully understand is that there's a unique talent and storytelling ability that has allowed him to do what he's done in the book world. He just knows what's going to grab people. The man has a golden gut."
IN THE MID-1960S, Jacqueline Susann, the author of "Valley of the Dolls" (30 million copies sold), famously demonstrated — via hundreds of bookstore signings — that even blockbuster books are built one reader at a time. When Patterson was still making his name, he, too, barnstormed the country, signing books late into the night and exhausting publicists. These days, though, Patterson doesn't do many bookstore events. He certainly doesn't need the publicity, and he would rather be home with Sue and Jack. But on a Monday night in mid-November, he turned up at a car-dealership-size Barnes & Noble in a strip mall on Route 17 in Paramus, N.J., to promote his latest Alex Cross novel, "I, Alex Cross."
This is Patterson's 16th Cross book. Since "Along Came a Spider," Cross has been through a lot. He has had several jobs and a number of ill-fated relationships; he has chased down numerous serial killers, a Russian mobster and a cult of goths; and has even written his own novel based on his late uncle's investigation of a series of lynchings in Mississippi in the early 1900s.
Patterson came straight from the Newark airport, arriving early to sign the store's "I, Alex Cross" stock in a back room. "We haven't seen you in years," said Dennis Wurst, a Barnes & Noble manager of author promotions who stopped by to say hello.
"How's business?" Patterson asked.
"It helps when you write an Alex Cross book," Wurst answered.
A month before, Barnes & Noble was caught in the crossfire of a preholiday pricing war between Wal-Mart and Amazon, with Wal-Mart dropping its prices on several hardcover blockbusters, including "I, Alex Cross," to $8.99, more than 50 percent off the retail price. The battle set off a panic inside an already-anxious publishing industry: such deep discounting may help move merchandise, but along with trends like the proliferation of e-readers that instantly deliver many blockbusters for $9.99 or less, it further devalues books. The days of $25 hardcovers are surely numbered. Without those revenues, publishers will be even more reluctant to devote shrinking resources to new, unproven authors, which will, in turn, limit the range of books being published.
Whatever the future of publishing may hold, Patterson's place in it seems secure. By the time he was introduced at the Paramus store, in excess of 300 people — more women than men, but fairly evenly divided, with a handful of children as well — had crowded into the bookstore's large event space to see him. Stragglers were looking vainly for a spot on the wall to lean up against. Patterson, dressed casually in a sweater and slacks, delivered some brief remarks, took a handful of questions and then got down to the main event — signing books. To avoid a crush of people at the signing table, the staff divided the audience into several groups by letter. They were told that Patterson would autograph any of his books purchased in the Paramus store and one additional title from their own Patterson collection, but that he would not personalize any copies.
The system quickly broke down. Patterson was soon adding names and short inscriptions to books. He bantered easily with his fans as he wrote. Many asked about Jack; more than one wanted to know if he had brought any pictures.
"I skipped work to be here," one woman said as her husband snapped a picture of her with Patterson.
"That's always a good thing," Patterson said.
"Well, I'm a police officer, so I guess that's bad," the woman replied.
"I won't tell," Patterson said.
There is something unique about the relationship between readers and their favorite authors, a sense of emotional intimacy that doesn't exist, say, between sports fans and athletes. Patterson's fans can read him virtually all year. They aren't just addicted to his books; they see him as a constant companion, a part of their lives. One woman asked Patterson to sign a book for her grandmother, who passed away a few days earlier. "We used to read your books together, and I want to put it in her casket with her," she said. Another told Patterson that he got her reading again after a recent stroke. A truck driver said that he had never read any of Patterson's books but that he had listened to every single one of them on the road: "I don't know what I'd do without them."
Still another woman gestured at her elderly mother, whom she was pushing in a wheelchair: "She just had heart surgery. You make her happy, and that makes me happy."
"And that makes me happy," Patterson said.
After an hour of signing books without interruption, Patterson seemed to be doing fine. "We're really cooking along here," he told his publicist. A half-hour later, though, Patterson was starting to tire. "This is getting out of hand," he said.
After almost two hours, a voice finally came over the loudspeaker: "Will all remaining groups please report to the James Patterson signing area." Patterson signed his last books, posed for a few photographs with some of the store's employees and got ready to go. "That was a fairly respectable crowd," he said as we walked to the escalator.
On our way out, Patterson picked up on a theme he raised with me weeks earlier, during our conversation about his detractors. "This goes to the notion we were talking about in Florida, about my critics — people who call themselves open-minded but then make judgments about what I write," he said. "Well, these people like it. They're happy. So what's the big deal?"


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The water radiators I have under each window are 50 years old, and I would like some new ones. They measure HxLxD 50x100x20 cm.
The new ones I would like should be as thin as possible.
I live in an apartment, so a thermostat needs to be mounted on it.
Are there things to be aware of when buying radiators?


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On This Page
ToxFAQs™ for for Antimony
September 1995
This fact sheet answers the most frequently asked health questions about antimony. For more information, you may call the ATSDR Information Center at 1-888-422-8737. This fact sheet is one in a series of summaries about hazardous substances and their health effects. It is important you understand this information because this substance may harm you. The effects of exposure to any hazardous substance depend on the dose, the duration, how you are exposed, personal traits and habits, and whether other chemicals are present.
Exposure to antimony occurs in the workplace or from skin contact with soil at hazardous waste sites. Breathing high levels of antimony for a long time can irritate the eyes and lungs, and can cause problems with the lungs, heart, and stomach. This chemical has been found in at least 403 of 1,416 National Priorities List sites identified by the Environmental Protection Agency.
What is antimony?
Antimony is a silvery-white metal that is found in the earth's crust. Antimony ores are mined and then mixed with other metals to form antimony alloys or combined with oxygen to form antimony oxide.
Little antimony is currently mined in the United States. It is brought into this country from other countries for processing. However, there are companies in the United States that produce antimony as a by-product of smelting lead and other metals.
Antimony isn't used alone because it breaks easily, but when mixed into alloys, it is used in lead storage batteries, solder, sheet and pipe metal, bearings, castings, and pewter. Antimony oxide is added to textiles and plastics to prevent them from catching fire. It is also used in paints, ceramics, and fireworks, and as enamels for plastics, metal, and glass.
What happens to antimony when it enters the environment?
- Antimony is released to the environment from natural sources and from industry.
- In the air, antimony is attached to very small particles that may stay in the air for many days.
- Most antimony ends up in soil, where it attaches strongly to particles that contain iron, manganese, or aluminum.
- Antimony is found at low levels in some rivers, lakes, and streams.
How might I be exposed to antimony?
- Because antimony is found naturally in the environment, the general population is exposed to low levels of it every day, primarily in food, drinking water, and air.
- It may be found in air near industries that process or release it, such as smelters, coal-fired plants, and refuse incinerators.
- In polluted areas containing high levels of antimony, it may be found in the air, water, and soil.
- Workers in industries that process it or use antimony ore may be exposed to higher levels.
How can antimony affect my health?
Exposure to antimony at high levels can result in a variety of adverse health effects.
Breathing high levels for a long time can irritate your eyes and lungs and can cause heart and lung problems, stomach pain, diarrhea, vomiting, and stomach ulcers.
In short-term studies, animals that breathed very high levels of antimony died. Animals that breathed high levels had lung, heart, liver, and kidney damage. In long-term studies, animals that breathed very low levels of antimony had eye irritation, hair loss, lung damage, and heart problems. Problems with fertility were also noted. In animal studies, problems with fertility have been seen when rats breathed very high levels of antimony for a few months.
Ingesting large doses of antimony can cause vomiting. We don't know what other effects may be caused by ingesting it. Long-term animal studies have reported liver damage and blood changes when animals ingested antimony. Antimony can irritate the skin if it is left on it.
Antimony can have beneficial effects when used for medical reasons. It has been used as a medicine to treat people infected with parasites.
How likely is antimony to cause cancer?
The Department of Health and Human Services, the International Agency for Research on Cancer, and the Environmental Protection Agency (EPA) have not classified antimony as to its human carcinogenicity.
Lung cancer has been observed in some studies of rats that breathed high levels of antimony. No human studies are available. We don't know whether antimony will cause cancer in people.
Is there a medical test to show whether I've been exposed to antimony?
Tests are available to measure antimony levels in the body. Antimony can be measured in the urine, feces, and blood for several days after exposure. However, these tests cannot tell you how much antimony you have been exposed to or whether you will experience any health effects. Some tests are not usually performed in most doctors' offices and may require special equipment to conduct them.
Has the federal government made recommendations to protect human health?
The EPA allows 0.006 parts of antimony per million parts of drinking water (0.006 ppm). The EPA requires that discharges or spills into the environment of 5,000 pounds or more of antimony be reported.
The Occupational Safety and Health Administration (OSHA) has set an occupational exposure limit of 0.5 milligrams of antimony per cubic meter of air (0.5 mg/m³) for an 8-hour workday, 40-hour workweek.
The American Conference of Governmental Industrial Hygienists (ACGIH) and the National Institute for Occupational Safety and Health (NIOSH) currently recommend the same guidelines for the workplace as OSHA.
Carcinogenicity: Ability to cause cancer.
CAS: Chemical Abstracts Service.
Ingestion: Taking food or drink into your body.
Long-term: Lasting one year or more.
Milligram (mg): One thousandth of a gram.
Parasite: An organism living in or on another organism.
ppm: Parts per million.
Short-term: Lasting 14 days or less.
Agency for Toxic Substances and Disease Registry (ATSDR). 1992. Toxicological Profile for antimony. Atlanta, GA: U.S. Department of Health and Human Services, Public Health Service.
Where can I get more information?
If you have questions or concerns, please contact your community or state health or environmental quality department or:
For more information, contact:
Agency for Toxic Substances and Disease Registry
Division of Toxicology and Human Health Sciences
1600 Clifton Road NE, Mailstop S102-1
Atlanta, GA 30333
Phone: 1-800-CDC-INFO · 888-232-6348 (TTY)
Email: Contact CDC-INFO
ATSDR can also tell you the location of occupational and environmental health clinics. These clinics specialize in recognizing, evaluating, and treating illnesses resulting from exposure to hazardous substances.
- Page last reviewed: March 3, 2011
- Page last updated: October 26, 2011
- Content source: Agency for Toxic Substances and Disease Registry


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Is Inline Linking To An Image Copyright Infringement?
from the i-don't-think-so... deptCopycense points us to a writeup by a patent attorney named Steve O'Donnell about copyright and blogging. Why a patent attorney is writing about copyright is not clearly explained. Initially, since the title of O'Donnell's post was "How many copyrights does your blog infringe?" I thought the post might be one of those blog posts that reminds us how frequently everyone "technically" infringes on copyright incidentally and how this demonstrates how screwed up copyright law is. But, no, instead, this appears to be a serious "warning" claiming that most bloggers are risking the potential of $150,000 fines by using images they find online.
Copycense points out the irony that O'Donnell uses an image in the post itself and notes that the image appears to be in the public domain, but isn't sure. However, I think a bigger issue with the post is hidden in this sentence:
If you find a picture on Flickr, another blog, or somewhere else online and upload it to your own blog (or worse yet, inline link to it from your blog) without permission, you're committing a copyright violation.First of all, that's not necessarily true. Obviously it depends on lots of other factors -- but I really question the parenthetical. Would inline linking (usually called "hotlinking") to an image be copyright infringement under any circumstance? I understand that it's considered rude and generally frowned upon in internet circles (and, in some cases the hoster of the original file will "get back" at the hotlinker by changing the image to something different... and potentially nasty). But is it copyright infringement? Technically, a hotlinked image is no different than a link to an image. The difference in code is minimal. The image itself is never "copied" onto your server. All you are doing is telling a computer to go visit the original version of the image, which was put there on purpose.
We've had similar discussions in the past about whether or not it could be copyright infringement to embed an infringing video on your site -- and the situation is basically the same with hotlinked images. The content still resides on the original server and is not copied to the new server at all. If the content itself is infringing, then perhaps there's a (really, really, really) weak case for contributory infringement, but in O'Donnell's post, he seems to be implying that even hotlinking to an authorized image would be copyright infringement, and I just don't see how that makes sense from a technological or legal perspective at all.
Filed Under: copyright, hotlinking, images, inline linking


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Myrtle Fargate
By JHGRL
Posted: April 20th, 2008 @ 2:04am
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Myrtle Fargate arrived in PV in 1976. She was a former carnival performer who had been hired by Phoebe Tyler to prevent Phoebes son Lincoln from marrying Kitty Shea. Phoebe paid Myrtle to pose as Kittys long lost mother, Lucy Carpenter. Myrtle was supposed to convince Kitty to move away with her and thus break up Linc and Kitty for good. Myrtle grew to be very fond of Kitty. Mona Kane knew the real Lucy Carpenter. She met Myrtle posing as Lucy and threatened to expose the whole farce if they didnt come clean. Myrtle had her friend Nigel Fargate tell Kitty that Lucy had died suddenly of a heart attack. Kitty was distraught.
Kitty eventually found out the truth. She confronted Myrtle. Myrtle told Kitty the truth but also told her that she had come to love her as a daughter. Kitty was upset for a while but eventually forgave Myrtle. Myrtle was with Kitty when she died.
Nigel proposed to Myrtle and she accepted. After Nigel passed away, Myrtle returned to PV. She opened a boarding house that served as refuge for many PV residents during trying times. Upon her return, Myrtle brought back Kittys twin sister Kelly whom she had located while away from PV. Kelly like Kitty was like a daughter to Myrtle. Myrtle and Mona Kane became great friends. When Mona died in 1994, Myrtle stepped in as a mother figure for Erica and a grandmother for Bianca.
In 1979, Myrtle again crossed paths with Phoebe Tyler. She recognized Phoebes suitor Langley Wallingford as former carnie performer Lenny Wlasuk. Myrtle was going to tell Phoebe until Langley convinced her that he really did care for Phoebe.
In 1999 Rae Cummings began looking for her biological mother. Myrtle had given up a child for adoption who would have been about the same age as Rae. Myrtle was found to be Raes mother. At first there was a lot of anger and resentment. However, the two managed to embark on a loving mother-daughter relationship.
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