text:
|Submit your comments on this article
|Violence claims eight more lives in Karachi
|[Dawn] Eight more people died and at least four injured on Friday as the wave of violence and killings continued in Bloody Karachi
...formerly the capital of Pakistain, now merely its most important port and financial center. It may be the largest city in the world, with a population of 18 million, most of whom hate each other and many of whom are armed and dangerous...
, DawnNews reported.
Sporadic firing by unknown myrmidons took lives of two persons in Machar Colony and Orangi Town's Sabri Chowk areas. A man, identified as Jahanzeb, was killed in Gulshan-e-Maymar's Jhanjhar Goth.
In Manghopir neighbourhood, another man was bumped off also.
Earlier, three bodies were recovered from a rickshaw in Garden's area. Police reports suggest, the rickshaw was stolen from Nabi Bhaksh locality a day ago and the dear departed were kidnapped before being rubbed out. However,
death is not the end. There remains the litigation over the estate...
reports added, all three men were not identified as yet.
...back at the Council of Boskone, Helmuth had turned a paler shade of blue. Star-A-Star had struck again...
in separate incidents of firing, at least four people were maimed in Clifton, Korangi and Kati Pahari areas.
On the other hand, protests were launched against the killing of Maulana Hassaan Rashid outside the Bloody Karachi Press Club and in New Bloody Karachi's Bilawal Colony. The participants threatened to prolong their protest if the killings of Ulema (holy mans) were not stopped by the authorities.
Moreover, the suspect of Muharram 6 blast in Orangi Town, Attaullah, was presented before the District West Court for identification parade. Two witnesses identified the suspect during the hearing.
It is pertinent to mention that Attaullah was also identified in another court for the blast in Abbas Town area during Muharram.
|Posted by:Fred
|#1 "Eight more people died and at least four injured on Friday"
On Friday, of course--the Muslim day of prayer. Islam is a religion of peace, dontchya know?
|Posted by: American Delight 2012-12-08 08:30


text:
Cubs reportedly add rotation help in Hammel
Chicago also reportedly signs McDonald to Minors deal with invite to big league camp
CHICAGO -- The Cubs appear to be stockpiling more pitching.
FOX Sports reported the Cubs have signed free-agent pitcher Jason Hammel to a one-year, $6 million contract, pending a physical exam. The Cubs also have reportedly signed free-agent pitcher James McDonald to a Minor League contract that includes an invitation to Spring Training.
The Cubs have not confirmed the reports.
In the last two seasons, Chicago has signed free-agent pitchers such as Paul Maholm and Scott Feldman, and then flipped them at the non-waiver Trade Deadline for young prospects. The Cubs also dealt Ryan Dempster and Matt Garza the last two years, and were able to acquire young talent to the organization.
Hammel, 31, posted some of the best numbers of his career in 2012, going 8-6 with a 3.43 ERA in 118 innings over 20 starts for the Orioles. He took a step back in 2013, however, finishing 7-8 with a 4.97 ERA in 139 1/3 innings over 26 appearances (23 starts). Part of the problem may have been injury, as Hammel was on the disabled list because of tenderness in his right forearm.
From 2009-11, Hammel proved to be a durable back-of-the-rotation starter with the Rockies, throwing at least 170 innings in each of those three seasons while posting a 27-30 record and a 4.63 ERA, inflated by hitter-friendly Coors Field. Overall in parts of eight big league seasons with the Rays, Rockies and Orioles, the right-hander has gone 49-59 with a 4.80 ERA in 989 1/3 innings.
McDonald, 29, was limited to six games last season with the Pirates because of shoulder issues, and he posted a 2-2 record and a 5.76 ERA. The right-hander was designated for assignment in September and outrighted to Triple-A Indianapolis, but he refused that assignment and elected free agency.
The Cubs enter Spring Training with Jeff Samardzija, Travis Wood, Edwin Jackson and Jake Arrieta headlining their rotation. Chris Rusin, Justin Grimm and Carlos Villanueva also are expected to compete for a spot. Pitchers and catchers report to Mesa, Ariz., on Feb. 13.

subset: commoncrawl


text:
Organizers are working hard to host a record number of registrants for this year's event.
From the top of the Blue Mountains in the center of San Juan County to the depths of the surrounding canyons, the ATV extravaganza surrounds participants in the beauty and excitement available only in the Canyonlands Country of San Juan County.
Leaving after registration from the Visitors Centers in both Blanding and Monticello, riders will ride to a central meeting spot for a chance to make friends and enjoy a bite to eat.
ATV enthusiasts will experience three fantastic days of world-class riding with a banquet and entertainment at the close of the event.
Nineteen different trails are available. Many are appropriate from the mild first-timer to the wild for advanced riders.
Knowledgeable, considerate and competent leaders all of whom are intimately familiar with the trail will lead each experience.
To highlight a couple of many examples: The Bridger Jack Trail (rated moderate) starts just off of Highway 211 near the Dugout Ranch in Indian Creek Canyon. This trail travels through the red rock country and gives spectacular scenic views of North Cottonwood, Lavender Canyon, Salt Creek, Stevens Canyon, and the Six Shooters. There are also archaeological sites along the trail. This is a UTV Accessible Trail.
On the more difficult to extreme side of adventure is the "Hook and Ladder" which is a maze of trails with unprecedented views of the La Sal Mountains and a view through the backside of Wilson Arch.
Indescribable views of red rock fins, canyons, and overlooks will greet the visitor. Assistance with difficult terrain will be provided as needed. The trail traverses lands managed by the BLM on a UTV Accessible Trail.
To insure safety and fun for all participants, organizers remind participants to observe all safety tips, state and local ATV ordinances. They include:
• Observe same traffic laws as other vehicles.
• ATV's yield right-of-way to automobiles at all times. Parts of the trail are also used for larger vehicles, so be cautious and yield right-of-way to them while riding.
• ATV's shall yield to horseback riders who may be using the same trail. When meeting horseback riders please pull off the trail and turn off your engine, allowing the horse to pass without being spooked by your machine.
• All ATV trails and roads are subject to two-way traffic. Please use extreme caution when riding to avoid head-on collisions. Be courteous when allowing other riders to pass.
• ATV use in cities and towns is restricted to designated routes except to directly access motels, gas stations and other related services and activities, and for direct access to the trail. Each city and town has certain streets designated as ATV routes. Please use and respect these designated streets, other users, and yield to normal vehicle traffic.
• Please stay on designated trails and prevent disturbance and misuse of public lands. Riding on public lands is a privilege. Please help preserve it.
• Utah State law requires operators of ATV's be eight years or older. Operators between eight and 16 years must be State certified to ride on public lands. Any rider between eight and 16 who is certified or otherwise legal in his or her home state can legally ride in the State of Utah for a period of 14 days. Parents or guardians of younger riders are required to provide close supervision while riding.
• All riders, regardless of skill, are required to wear safety equipment helmets, goggles and boots.
For more info or to register, call 800-574-4386.


text:
After two years of shopping around to various TV networks, the Jersey Shore-inspired Korean-Americanreality show K-Town has just been picked up -- not by any of them -- but as a Youtube exclusive set to debut July 2nd.
Although the trailer describes it as "The most anticipated reality show of all time" and "the reality show no TV network could show you," I have to wonder if the people behind it (who brought us Jersey Shore, Mob Wives and The Hills, the trailer informs) aren't trying to put a positive response on network disinterest. With shows like the Skinemax-meets-Magic the Gathering softcore dorkfest that is Game of Thrones barely raising an eyebrow and what with Youtube's ban on sexually explicit material, animal abuse, drug use, underage drinking and smoking, and bomb making, I doubt that there's anything on K-Town that wouldn't fly on cable… except that the enitre cast is entirely Asian-American.


text: Hi, I'm having trouble making slopes for a 2D platformer game in Java. How would I go about making them? Do I just subtract 1 pixel from y for every x pixel moved (and tweak it for other angles) or what, cause I haven't been able to find any tutorials on YouTube.


text:
Sign up for our FREE monthly newsletter to receive the most up-to-date information on caring for your elderly parent or loved one
Order your printed copy of Senior Directory today!
Still enjoy flipping through the pages of a printed copy? So do we! Click on the button below to start receiving Senior Directory right at your doorstep!
I prefer the digital copy, please.


text:
About Us
Our Staff
Ask Vital Choice
Video Library
News Library
Store Hours
Monday - Friday | 10:00am - 8:00pm
Saturday | 10:00am - 6:00pm
Sunday | 12:00pm - 5:00pm
Shop Online
What We Offer
Client Success Stories
Dreaminol for Sleep
View more from our Video Library:
Product Review: Zyflamend for Inflammation
What is Silent Inflammation and What Can We Do?
Maintaining Memory and Cognitive Function
Thyroid Strength
Quick Defense
Dr. Formulated Probiotics Urinary Tract+
WholeMega Fish Oil
CoQ10 - critical for heart health and energy
My favorite product for joints - Baxyl
Raw Fit for Weight Loss
Bone Health Review
Liquid Coconut Oil
GABA Soothe for stress
Bone Broth Protein
3 things you need to know when choosing a probiotic supplement
Should I take a probiotic supplement
Heartburn - too much or too little?
Golden Black Seed helps Immune, Metabolic Syndrome
Product Review - Garden of Life's Memory & Focus
RD Review: Perfect Hair, Skin Nails


text:
HEAL NY Phase 20 - Alternative Long Term Care Initiatives
FAU Control #1006230102
Issued by New York State Department of Health and the Dormitory Authority of the State of New York
Schedule of Events
|Questions Due
|July 22, 2010
|Questions and Answers Posted
|On or about August 5, 2010
|Applications Due
|August 25, 2010
Contact Information
- Guy Warner
Deputy Director, Division of Assisted Living
New York State Department of Health
Office of Long Term Care
161 Delaware Avenue
Delmar, NY 12054
Phone: 518-408-1624
E-mail: firstname.lastname@example.com
NOTE: The correct E-mail address (link) is: firstname.lastname@example.com. The link included in the Request for Grant Applications is incorrect.
- Request for Grant Applications (PDF, 2.75MB, 63pg.)
- Attachments 3 - 11: Fillable Forms (DOC, 153KB, 13pg.)
- Attachment 12 - 14: Budget Forms (XLS, 56KB)
- Questions and Answers (PDF, 91KB, 22pg.)
- Nine Applicants in New York State Will Receive Awards as a Result of This Competitive Grant Opportunity


text:
ECLECTIC RANT: A Brief Comment on the Supreme Court's DOMA Decision
The Supreme Court in United States v. Windsor ruled that Section 3 of the federal Defense of Marriage Act (DOMA), the law barring the federal government from recognizing same-sex marriages legalized by the states, is unconstitutional.
Adding California after the Hollingsworth v. Perry decision, twelve states now allow same-sex marriages and these couples are now eligible for federal benefits. This impacts about 1,100 federal laws, including veterans' benefits, social security, family medical leave, and tax laws.
Six states permit same-sex unions granting rights similar to marriage under state law only. The DOMA decision does not impact these unions. Interestingly enough, this decision put New Jersey Governor Chris Christie in a difficult position. Christie had vetoed a bill that would have legalized same-sex marriage using the rationale that New Jersey already had a civil union law that was substantively equivalent to marriage, and so extending the word "marriage" to gays and lesbians was not necessary to achieve equality. Obviously he was wrong. The New Jersey legislative session runs for two years meaning that the legislature has until January 2014 to override Christie's veto. Stay tuned.
At least 37 states prohibit same-sex marriage by statute or by their constitutions. The DOMA decision does not create a Constitutional right to same-sex marriage and thus, states are still free to prohibit same-sex marriages.
And states prohibiting same-sex marriage are not required to recognize same-sex marriages. Query, what if a same-sex couple who was legally married in one state moves to another state where such marriages are not recognized. Can this couple still receive federal benefits? Or. for example, a same-sex couple travels to a state that prohibits same-sex marriages and one spouse becomes hospitalized and his/her spouse is not allowed visitation or powers to make a medical decision that are assumed for opposite-sex couples.
The DOMA decision is a step in the right direction, but leaves same-sex couples in 43 states without a right to marry and thus, ineligible for federal benefits.


text:
Your shopping cart is empty!
SPORTMIX Bite Size 21/8 is formalated to provide your normally active dog with 100% complete and balanced nutrition for a healthy life. Made from selected high quality ingredients and fortified with essential vitamins and minerals, SPORTMiX® Bite Size promotes strong muscles and bones and glossy skin and coat.
Email about quantity discounts and $5.00 route deliveries in certain areas of Kansas, Nebraska, Missouri, Oklahoma, and Texas. For larger amounts Pet and Kennel Supply Direct Ship Program offers delivery in 15 Midwestern states for as little as $45.00.
Protein: 21% Fat: 8%
Calories: 505 kilo-calories per cup
Available in 40 lb bags.


text:
This time last year it hadn't rained in over a month, I didn't mow my yard for a month, the fireworks were canceled due drought, and it was 90+ degrees every day.
This summer its like we're living in a different climate zone. The highs have been barely getting into the 80s, it rains all the time and the mornings are downright cool. I rode with my Mom yesterday morning and wore arm warmers, she wore a jacket. We rode over an hour before removing the cool weather gear. Got to admit, its pretty awesome. We did some exploring of roads that I had never been on and had to reroute a few times for gravel and one bridge.
It's July so of course I've been watching the Tour, I bought the NBC sports web package, I can't help myself. Thing is that its really an amazing deal. 3-4 hours a day of coverage, live or replay zero commercials, its like 35 cents per hour. More importantly the television broadcast that I've attempted to watch on NBC sports seems to show more commercials than race coverage.
I experienced a bizarre juxtaposition yesterday while Shauna and I ate at a restuarant. It seems that all restaurants have a dozen or so 50 inch TVs everywhere. In the area where we set I had a clear view of 2 screens, one was showing the Tour the other was showing an International Hot Dog Eating Contest. It was making my head spin, one of the greatest events in the world right beside one of the most inane events in the world.
In Tour Divide news Luke rode all through the night and finished this morning I think he rode like 250 miles in the last 24 hours. I'm looking forward to the full story of his ride and relating it on the blog!
Planning on riding my first century of the year tomorrow.


text:
The Gen X Years
Season 23 Episode 25 | 52m 28s
Explore the era between Boomers and Millennials for exciting treasures from the mid-1960s to early-1980s, also known as the Generation X years! Standout appraisals include Matt Groening artwork, Charles Loloma bracelets, and Evel Knievel's leathers.
Aired: 10/07/19
Expires: 10/06/23Video has closed captioning.
Problems Playing Video?
Funding for ANTIQUES ROADSHOW is provided by Liberty Mutual Insurance, Ancestry, and Consumer Cellular. Additional funding is provided by public television viewers.


text:
Ancestry.com (Nasdaq:ACOM), the world's largest online family history resource, is celebrating the addition of its 10 billionth record to the website. Included in the extensive record collection are ship passenger lists, military draft cards, birth, marriage and death records and the most popular — U.S. Federal Census records.They claim to have more records than all of the other online sites combined. I am sure that the acquisition of Archives.com figured heavily into reaching that milestone. Quoting further from the press release,
The treasure trove of 10 billion-plus online records on Ancestry.com, which has grown 150 percent in the last three years, is larger than those of all other online family history sites combined. Although much of the increase in the record collections has been in recent years, the site overall has added an average of 55 million records a month since the website went online 15 years ago. Images of documents date back to wills executed in London in 1507 A.D., while indexes of records reach back more than seven centuries, to marriage licenses and probated wills in Dublin, Ireland, from 1270 A.D.If you think about it, the entire population of the world just exceeded 7 billion on March 12, 2012. But although the number of records in Ancestry.com's databases exceeds the number of people, there are vast areas of the world that still have few, if any, records online and certainly none in Ancestry.com. So how can there be so many records on Ancestry.com?
One of the first issues is "What is a record?" In other words, what is Ancestry.com calling a record?
First I need to talk about collections. By latest count, Ancestry.com has 30,671 collections that are listed in their World Edition. In contrast, for example, FamilySearch.org, as of 12 May 2012, has 1146 collections. However, as I have written before in this blog, the designation "collection" when referring to genealogical records has no commonly understood meaning.
On FamilySearch.org, a collection can be anything from a little over 1000 records in the Arizona, Civil War Service Records of Confederate Soldiers, 1861-1865 to over 90 million records in the United States Social Security Death Index. The same thing holds true on Ancestry.com. If they are counting their Public Member Trees, then there are 2,107,016,069 records listed in that collection alone and way down at the end of Ancestry.com's list is the tiny "The Stone Family Association, 1910" with one record.
So what does the word "record" now mean in the context of Ancestry.com's announcement? Do Ancestry.com and FamilySearch.com count their "records" in the same way? How would we ever know? It looks like, from Ancestry.com's list in their "Card Catalog" that 7 billion of their 10 billion records are in the first 8 collections of their 30,671 collections. Over 3 billion of their counted records are in three collections; Public Member Trees, Private Member Trees, and Ancestry World Tree.
Good public relations and a nice way of selling your services but not very meaningful.
Now what else do we need to think about? Let's say that what I really want is a digitized copy of an original source record, such as a death certificate or town record from New England. Where do I go to get those records? Another example. I can go to Genealogy.az.gov and get a copy of my Great-grandfather's death certificate. I can get a copy of that same record from FamilySearch.org also. Can I get a copy from Ancestry.com as part of their 10 billion records? Nope. I can get a link to a Find-a-grave.com record for his burial, but not his death certificate.
So how does Ancestry.com claim such high numbers? Easy. They include listings like phone books and city directories, with each entry claimed to be a "record." Does FamilySearch.org do the same thing" Essentially yes. Which collections are more valuable? The images of records on FamilySearch.org or the index listings on Ancestry.com?
The answer is both are valuable but in different ways. But don't be impressed by numbers alone.


text: Here is a rare and fantastic treat: an all-natural, big titted, jaw droppingly gorgeous Asian beauty who has cock-numbing real orgasms and talks dirty in French. Yes. You read that right. Sharon Lee is a Chinese flower born and raised in France, and was introduced to mainstream porn by Liza Del Sierra, with whom she has enjoyed such things as girl on girl fisting before graduating to mind-blowing double anal. Her huge and all natural tits are truly a sight to behold. The only thing more exciting than seeing this monument to pornographic perfection get going with shameless dirty backtalk in her adorable French is seeing those plump rosebud lips stretch open while she comes screaming from being plundered with cock.


text:
Sometimes you gotta realize the world is too beautiful to waste your time being angry or sad when you could be enjoying what life has to offer
Saved from twitter.comVisit twitter.com
1 year ago
If this image or quote belongs to you or is your intellectual property, please submit a copyright notification instead of reporting it.
We encourage users to report abusive images or quotes and help us moderate the content on Wemotivation. But please keep in mind that reporting images or quote that are not abusive is against our terms of service and can get your account blocked.
If you want to remove an image or quote from your profile, don't report it. Just click the heart icon over the image and it will disappear from your profile.


text:
Skip to content
Nothing Found
It seems we can't find what you're looking for. Perhaps searching can help.
Search for:
News Categories
US News
Featured Op-Eds
CALEXIT? California Secession? Please! Let's Make this Happen…and Here's Why.
If North Korea Nukes Us, Here's What You'll Need.
Our Constitution…Explained. Our Law. Learn this.
The American Dream is now The American Nightmare. Thanks Liberals.
Chick-fil-A: An Honest Review
Twitter is Shadow Banning USSANews! Check if Twitter is Shadow Banning you with this Tool!
Red Hen Bad, Gay Wedding Cake Good? WTF?
Senator Wants to Judge your Social Media History Before You Can Buy a Gun
Waiters and the Service Industry are Failing Because Millennials Cannot Think
Income Inequality and the Wage Gap is Fake News
Illegal Aliens vs. U.S. Citizens
The Lord Answered all of my Prayers, Even the Ones He Didn't
An Open Letter Destroying the Damned Snowflakes
Are You a Closet Prepper?
Climate Change is a Hoax, and Here's Why!
Congress, For Once in Your Miserable Lives, Listen to We the People!
And Now the Gun Regulation Debate Begins…Again, and it's Wrong
Cryptocurrencies: Buy it Now, or Lose out Forever!
Google and Amazon can Go to Hell!
Do Not Use H&R Block to File Your Taxes!
Get Off My Lawn! Damned Kids.
If North Korea Nukes Us, Here's What You'll Need.
DACA: The Humane and Fair Way to Handle Illegal Aliens
Illegal Aliens Must Leave! Here's How We Get It Done.
Here's How You Fix the VA
On Socialism
My Best Job Interview Included Extreme Virtual Reality!
Our Constitution…Explained. Our Law. Learn this.
Platinum Tax Defenders Scammed Me! Do Not Use Them!
Sick of Spineless RINOs? Can't Vote Democrat? Feel Trapped? Me Too. Here's How We Get REAL Conservatives on OUR Side in Office
The Daily Stormer Website is Down, and That is not a Good Thing.
Sick of Twitter? Meet GAB.AI
The People's Health Care Bill
Why all the Mass Shootings and Child Predators Lately?
Repeal, Do Not Replace Obamacare!
Liberals and Illegal Aliens. Facts vs Emotions.
Airlines: Stop Bumping Your Paying Customers!
The Electoral College Must Stand and the Popular Vote Must Die. Here's Why.
I'm Pissed Off at Everyone, and I'm Naming Names!
My Version of Glenn Beck's Prayer for the Nation
Welcome to Social Government
Sick of T-Mobile, Verizon, AT&T, and Sprint? #MeToo. Here's How I Finally Got Rid of Them and Saved a Boatload of Cash!
Airlines Suck! Is There a Brave Airline CEO Out There Who Will Take My Advice?
Amazon Treats its Employees Like Slaves
About & Contact Information
Privacy Policy
Do NOT follow this link or you will be banned from the site!


text:
Jost Bürgi
Born: 28 February 1552 in Lichtensteig, St Gallen, Switzerland
Died: 31 January 1632 in Kassel, Hesse-Kassel (now Germany)
Click the picture above
to see two larger pictures
to see two larger pictures
|Main Index
|Biographies index
Jost Bürgi's first name is sometime written as Joost, Jobst or Justus while his second name is sometime written in a Latin form Byrgius. He was born in Lichtensteig, a small village of around 400 inhabitants at this time. His grandfather, Lienhard Bürgi, was a locksmith and a leading official of the village which had been divided by the Protestant Reformation. The Bürgi family was Protestant in a village which was equally divided between Protestants and Roman Catholics.
It is conjectured that Jost Bürgi decided to leave Lichtensteig, partly because of the religious divide and partly because of the lack of educational opportunities in the small town. Before leaving he had acquired a knowledge of reading and numeracy at elementary school but had not had the opportunity to progress beyond this basic stage. It is clear from the skills that he acquired over the floowing few years, that Bürgi must have served an apprenticeship to a blacksmith, instrument maker and watchmaker but no knowledge exists of the towns in which he served his apprenticeship. The leading cities for watchmaking skills at this time were Nuremberg, Augsburg and Cremona so, given the high level of his craftsmanship, one can guess that he must have worked in one or more of these towns. We are able to say with more certainty that he was in Strasbourg for some time during 1570-74 when Josia and Isaac Habrecht were building an astronomical clock for Strasbourg cathedral. The Swiss mathematician Konrad Dasypodius, who was the professor of mathematics at the University of Strasbourg, had designed the astronomical clock and is likely that Bürgi acquired his expertise in mathematics from Dasypodius or his pupils. Although Bürgi never learnt Latin (the language of science at this time), he was very knowledgeable in mathematics and astronomy with skills compatible with having been immersed in the scientific circle in Strasbourg, but certainly not as part of a university course.
The Landgraf of Hesse-Kassel at this time was Wilhelm IV, an excellent mathematician and astronomer, who had maintained connections with Strasbourg where he had undergone his scientific training. Certainly Wilhelm was aware that Bürgi was the most skilful instrument maker of his day for he employed him from 1579. On 25 July 1579 the Landgraf of Hesse-Kassel Wilhelm IV asked Bürgi to become a watchmaker to the court in Kassel, to develop scientific instruments, and assist in the observation of stars which would confirm the heliocentric model described by Copernicus. The Landgraf, as we have mentioned, was trained in astronomy and it is often not realised that he was an exceptional astronomer whose observations, particularly those of the fixed stars, were on the whole at least as accurate as those by Tycho Brahe. At Kassel, the Landgraf had built an Observatory, one of the first buildings constructed specifically for astronomical observations. As part of his duties Bürgi made sextants, celestial globes and highly accurate clocks for use in this Observatory. The Landgraf also appointed the mathematician Christoph Rothmann to work in the Observatory in 1584; he worked there for six years. The Landgraf wrote to Tycho Brahe on 14 April 1586 telling him about a highly accurate clock which Bürgi had built which, for the first time, had a minute hand, registered seconds and had an error of less than a minute in 24 hours. Christoph Rothman wrote about this remarkable new clock [14]:-
The duration of a second is not very short but resembles the length of the shortest note in a moderately slow song. The balance is not like the current models, but was invented in such a way that each of its beats represents one second.A picture of the clock is at THIS LINK and a picture of its dial is at THIS LINK
Bürgi's clock had an innovative cross-beat escapement with an independent system added to the traditional wheel-train to give a considerably more constant pressure to the escapement so leading to the greater accuracy. For the first time a clock was sufficiently accurate to be used in astronomy with relative positions of stars being calculated by timing their crossing of the sights of a telescope. The Landgraf was delighted with Bürgi's abilities and described him in a letter to Tycho Brahe as:-
... having the innovative capacity of a second Archimedes.After Rothmann left the Kassel Observatory in 1590, Bürgi became official mathematician and astronomer to the Court. Later Willebrord Snell described Bürgi as [14]:-
... an extraordinary personality, at the same time a brilliant clockmaker, competent astronomer and excellent mathematician - a unique combination in the history of watchmaking.In 1591 Bürgi became naturalised in the city of Kassel. He had married the daughter of David Bramer, who was a pastor in Felsberg near Kassel, but the marriage was childless. In 1591 David Bramer died and Bürgi adopted his wife's brother, Benjamin Bramer, David Bramer's three year old son. Bürgi went on to teach the boy mathematics and astronomy to such a high level that he became one of the leading scientists of his day. The year 1591 was significant for Bürgi in yet another way, for in that year he completed his astronomical clock which was based on Copernicus's heliocentric system, quite a bold move at a time when the Church was moving against anyone holding heliocentric views. One could reasonably ask how Bürgi, who knew no Latin, could have known the details of the Copernican system and here we can give a clear answer since Nicolaus Reimers worked at the Observatory in Kassel in 1586-87 and made a translation of Copernicus's De revolutionibus orbium coelestium from Latin to German for Bürgi to study. A copy of this translation, called the "Grazer Handschrift", has survived to this day. By the time Bürgi made his astronomical clock he was using his own version of logarithms, invented for his own use to aid him in his astronomical calculations. It is not clear precisely when he started using logarithms but most historians believe that he invented them around 1588. Even earlier, Bürgi was using the trigonometrical formulas
sin a sin b = [cos(a - b) - cos(a + b)]/2and
cos a cos b = [cos(a - b) + cos(a + b)]/2to aid in multiplying numbers. To use these formulas, Bürgi computed sine tables called the Canon Sinuum which were never published and now sadly appear to be lost.
In February 1592 the Holy Roman Emperor Rudolph II requested a mechanical astronomical globe from Bürgi to be delivered personally. On 4 July Bürgi had an audience with Rudolph in Prague, delivering the globe. Shortly after he returned to Kassel, the Landgraf of Hesse-Kassel Wilhelm IV died in August 1592 and was succeeded by his son Moritz. This had little affect on Bürgi since he had similar terms of employment from Moritz as he had from his father. Also in 1592 Bürgi obtained a patent for his surveying instrument based on the method of triangulation. In 1596, and again in 1604, Bürgi again travelled to Prague. Tycho Brahe had been appointed as Imperial Mathematician to the Holy Roman Emperor, Rudolph II, in Prague in 1599 with Johannes Kepler as his assistant. Tycho Brahe died in 1601 and Kepler became Imperial Mathematician in Prague. With Moritz's consent, Bürgi was appointed by the Holy Roman Emperor Rudolph II in December 1604 and moved to Prague. He was given a workshop at Hradcany, Prague Castle, with two assistants and also worked with Kepler who was indebted to Bürgi for his introduction to algebra. There is strong evidence that Kepler got the idea for his third law of planetary motion from thinking about logarithms, and it must have been through discussions with Bürgi that logarithms were a common topic at Hradcany. The Holy Roman Emperor Rudolph II died in 1612, and Bürgi continued to work for his successor Matthias in Prague. Kepler persuaded Bürgi to write up his original and interesting work on logarithms (the manuscript is largely in Kepler's handwriting), and it was printed in 1620. Bürgi's method is different from that of Napier and was clearly invented independently. Kepler wrote about Bürgi's logarithms in the introduction to his Rudolphine Tables (1627):-
... as aids to calculation Justus Byrgius was led to these very logarithms many years before Napier's system appeared; but being an indolent man, and very uncommunicative, instead of rearing up his child for the public benefit he deserted it at birth.Bürgi's first wife died and he married Catharina Braun in 1611; they had no children. During the years that Bürgi worked in Prague, he made several visits back to Kassel. In 1631 he returned to Kassel where he died in January of the following year. His grave no longer exists but a plaque has been erected in the cemetery to commemorate his being buried there. You can see it at THIS LINK.
It reads:
In this cemetery lies buried
the Landgrave of Hesse's and
the Emperor's watchmaker and mathematician
Jost Bürgi
born February 28th, 1552 in Lichtensteig, Switzerland
died January 31st, 1632 in Kassel
ingenious designer of measuring instruments
and celestial globes, builder of the
most precise clocks of the 16th century,
inventor of the logarithms.
Article by: J J O'Connor and E F Robertson
List of References (18 books/articles)
A Poster of Jost Bürgi
Mathematicians born in the same country
Additional Material in MacTutor
- Picture of the clock
- Picture of its dial
- Burgi's grave
(Click the link below for those honoured in this way)
|Lunar features
|Rima Burg
Cross-references in MacTutor
- History Topics: Mathematics and Architecture
- Chronology: 1600 to 1625
Other Web sites
- Dictionary of Scientific Biography
- Encyclopaedia Britannica
- The Galileo Project
- Lausanne Switzerland
- Google books


text:
Love and partnership
In your relationship you are everywhere and nowhere. For a long time there haven't been any real central points and your partner is more fascinated by the sky than by you. Therefore, be honest with yourself and openly think about what went wrong and where the two of you ran out of steam! Try to address the problems at the root and solve them together with your partner.


text:
'Oz the Great and Powerful' has its magic moments (video)
In the movies' version of March Madness, Sam Raimi turns out to be a much better Tim Burton than Bryan Singer. Unlike "Giant Slayer" Singer, Sam's got a sense of humor. Taking on a prequel to the fairytale that frightened generations, Sam does scary. And does it well.
"Oz the Great and Powerful" is a winning back-engineering of the Oz fantasy, a "How the Wizard got to be wonderful" romp that is a stunning update with the most gorgeous use of 3-D since "Alice in Wonderland."
Screenwriters Mitchell Kapner and David Lindsay-Abaire manage just enough whimsy to make the movie's two hours pass without irritation. Raimi, having cut his teeth on horror and bringing "Spider-Man" to life, was the right guy to make this emerald-tinted world pop off the 3-D screen.
But the cast, plainly packed with second or third choices, lets it down. Is there anything in James Franco's past that suggests larger-than-life, a fast-talking, womanizing con-man?
And the three witches -- Theodora, Evanora and Glinda -- are Bland, Blander and Blonde Bland.
Oscar "Oz" Diggs is a magician who escapes the cut-rate Baum Bros. Circus in 1905 Kansas only to be swept, by tornado, to the Merry Olde Land of Oz. Where things aren't merry.
The king is dead, and "the prophecy" says that only a great wizard can replace him. Plainly, the guy with the same name as the place is their man.
Intrigues? The witch Theodora (Mila Kunis, never prettier) is smitten with him, her sister Evanora (Rachel Weisz) is jealous. They want the wizard to rid Oz of the Great Menace, Glinda (Michelle Williams), which Oz, easily bribed, agrees to do.
Sidekick? That would be Finley, a flying monkey Oz saves, who then owes a "life debt" to the pretend-wizard. He's amusingly voiced by Zach Braff.
Oz must trek and travel by bubble through the far corners of Oz and sort out who the real villain is and how to fight the hideous, 3-D flying baboons who have supplanted the flying monkeys.
Franco, as Oz, turns on the charm and oozes insincerity as he passes on what he's learned, conning small-town tent-show audiences -- "Lies, the steppingstones on the road to greatness."
But the witches -- an Oscar winner, an Oscar nominee and a Golden Globe nominee among them -- haven't the necessary vamp to make these conjurers sing. A trip to "Wicked" would have helped.
Even with the stunning production design -- done by "Alice in Wonderland" Oscar winner Robert Stromberg -- which starts our story in a black-and-white Kansas, where humor and pathos pop up, even with Danny Eflman's playful score, this "Oz" starts to drag in under an hour.
You may miss the witches' guards' (Raimi crony Bruce Campbell is one) song -- "Oooo weee oh." As the "climactic battle" story arc of way too many filmed fairytales settles in, you may find yourself checking the time and asking, "Donde estan los Munchkins?"
But fear not. Uncle Sam knows what you want. And when he's done giving a new generation of tykes frights about apes that fly in the night, he'll cover it all. If it isn't Oz without Dorothy and those ruby red slippers, he'll at least do justice to L. Frank Baum's malleable wizarding world and give us an Oz worthy of our times.
Title: "Oz the Great and Powerful"
Cast: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff
Director: Sam Raimi
Running time: 130 minutes
Rating: PG


text:
NIS is one of the largest vertically integrated energy companies in Southeast Europe.
Fundamental principles which support our progress
NIS is a company with the highest market capitalization on the Belgrade Stock Exchange.
The information for shareholders and expert community
NIS offers a wide range of products and services
Sustainable development is not only NIS' strategic objective, it is a fundamental practice we keep perfecting seeking to upgrade the quality of life in the community, where we operate, develop human resources and preserve the natural ones.
Program of support to local communities
NIS is a company with an up-to-date approach in business, with special focus on employees, the main factor of success and the gained status of the most respectable company in the Balkans. A policy has been defined to attract, gain, develop, keep and reward the right people, contributing to achieving the company's targets.
Join our team
Information on open tendering and bidding procedures.
See the current tenders
All information on NIS in one place
Stay up to date with our latest activities
"Western Balkans at a Crossroads" summit, Brussels, 2017


text:
I'm 21 years old and I suck at math, I mean really bad. I don't have the necessary logic to apply it towards programming. I would like to learn the math and logic of applying it. I found Game Institute (http://www.gameinstitute.com) awhile back and heard a lot of praise about them. Are there Math courses any good?
Thank you.
Edit: My high school was terrible and did not prepare me for any math. I am fairly decent at programming, I just don't have the logic to apply any mathematics to programming, as an example I don't understand the algorithm of finding the size of a user's screen.
Yes I have heard of KhanAcademy (http://www.khanacademy.org/) and I have completed a lot of maths on his website but I still don't have the logic to apply any of it to programming.


text:
Running in the Kingdom
This is the 32nd post I've uploaded since I started this blog. Over the last few months, some of the posts have been really difficult to write. When the other guys are chugging the post-marathon Gatorades and relaxing in their ice-baths, you'll find me frantically trying to throw together a race-report and maybe even organise a fundraising event in time for the next race. In spite of a ton of work, I'm pretty sure I didn't properly convey the experience of running the 100-miler in Connemara or even the Madventure or the 3-in-3, but today … no sweat! This week, the pictures are going to do the talking, and I'm just going to kick back, and maybe pop my head up from time to time to throw in a few half-assed observations and some lame picture-based humour. This week's post is quite literally a walk in the park. It's all about a race in the one of the most spectacular corners of the country, a place called Dingle in Co. Kerry, and if this doesn't make you want to run a marathon in Ireland, nothing will.
It seems that whenever I go to Kerry, it's exclusively for crazy purposes. For me, getting there requires a five-hour drive and my last visit was nearly a year ago, to climb Carauntoohill (Ireland's tallest mountain). Co-incidentally, this was on the same weekend as the Dingle Food & Wine Festival. Having lost my wallet on the way down the mountain, I spent most of the festival wandering around Dingle while guzzling nutella straight from the jar with a spoon.
Fast-forward to this year and despite the travel requirements, a huge international crowd descended on Dingle for last Saturday's marathon. Although I haven't been able to find official reports, I've been told that somewhere around 2,300 people lined out for the half, full and ultra-marathon events (The 50-mile ultra alone attracted 60 hardy competitors) All of which made for a festive atmosphere at the start-line.
Dingle is what my Drogheda club-mate Gerard Fay calls a "real" marathon – lots of elevation (gaining roughly 1500 feet), unbelievable scenery and a great atmosphere. It takes place right at the edge of the peninsula, and the course passes bays, historic sites, famine cottages and goes up plenty of hills!
I do have one good story though; about 15 miles into the race, I met up with a runner from Cork named Barry who was running his first marathon. (Doesn't anybody just do a nice easy course for their first marathon anymore?!) Barry was running in aid of a cancer charity and had set a goal for himself of finishing in under 4hrs30min while his friend had set a goal of 5 hours. As I hadn't any particular plan in mind other than finishing, I decided to try and pace them. By Mile 20, it was just myself and Barry, at which point the course took a rather arbitrary turn, requiring runners to hang a left down the Emlagh East Road towards Gallarus, before reaching a traffic cone, turning around and coming back up the way we came, and continuing on. This little head-trip is immediately followed by the monster hill that everyone was telling each other about before the race (about 320 feet of a climb), followed in turn by a mile-long straight section that appears to stretch out forever, on the way back into Dingle. Barry was in a great deal of pain with cramping but managed to put in a massive effort. By the end, he was moving really well and we both ended up sprinting into Dingle, crossing the line at the same time and beating his target by about a minute. His friend crossed the line shortly afterwards, beating his own target by about twenty minutes. It was a really extraordinary display of willpower on Barry's part and a fantastic result, especially considering it was his first marathon. For my own part, I've rarely gotten as much as satisfaction from a race, and was very happy to help out. Roll on Sligo!


text:
VS Naipaul is a winner of the Nobel Prize for literature, and is considered one of the greatest British writers of his generation. So he must be a smart guy, right? Sure, sure.
Hates women, though. Yeah. Shame. In an interview this week, Naipaul said, 1) that no woman writer could be his literary equal; 2) that Jane Austen's "sentimental sense of the world" made her his inferior; 3) "I read a piece of writing and within a paragraph or two I know whether it is by a woman or not. I think [it is] unequal to me."
What else?
"And inevitably for a woman, she is not a complete master of a house, so that comes over in her writing too," he said.
He added: "My publisher, who was so good as a taster and editor, when she became a writer, lo and behold, it was all this feminine tosh. I don't mean this in any unkind way."
VS Naipaul is like the Too Short of the literary world! But more patronizing.


text:
What's one of the first recipes you taught your kids to make?
We enjoy baking together like banana bread or coffee cake. Both are easy, lots of opportunities to divide up the measuring and mixing, it makes the house smell good while baking, and of course, the best part is eating it together (especially taking a sample bite after it comes out of the oven)!!


text:
Your source for SAP BI and BusinessObjects tutorials, best practices, and training content
Expand your search
across other Experts.
Learn how to configure knowledge articles in SAP CRM 7.0 from CRM expert Sruthi Jain. This is a great resource to use for agents who often receive the same queries from multiple customers. Using knowledge articles, you can create and maintain a reusable document bank of standard answers or instructions. In addition, learn how SAP CRM can help to drastically reduce processing time.
BI Expert is a trusted online library of independent SAP information that gives you and your team the in-depth, technical, verified information you need to succeed.
Learn more >>
Frank Bulacher is the manager of SAP CH, Alstom Switzerland. He has over 14 years of BI experience in the U.S. and Europe.
Stephanie Huber is a senior consultant for business intelligence at Deloitte Consulting, with extensive SAP BI experience.
Rich Chlebek has 19+ years of SAP BI experience; currently, he's a director of business intelligence at BIPC.
SAP Experts is published by WIS Publishing, a division of Wellesley Information Services and the publisher of SAPinsider.
20 Carematrix Drive, Dedham, MA 02026 USA
Customer Service: 1-781-751-8755; firstname.lastname@example.com
Copyright © 2019 Wellesley Information Services. All rights reserved.
SAP and the SAP logo are trademarks or registered trademarks of SAP SE in Germany and several other countries.


text:
Demos That Deliver - Tips on Mixing Your Demo Recordings
The best musicians spend years mastering their instruments and perfecting their composition chops. But that's often not enough to guarantee success in the music business. As in any other business, you need some sort of promotional device to get the recognition and earnings you deserve in return for your skills and services. In many instances, your most important promo is your demo recording.
Demos can be used effectively in the pursuit of many goals, including securing club and concert gigs, a music-publishing contract, and a record-label deal and producing music for film or television. But depending on which objectives you're shooting for, you might need to take a different approach in producing your demo. How much instrumentation do you need for your demo to be effective? Is the recording quality crucial to your demo getting favorable notice? Should you mix your demo to sound like a commercially distributed record or soundtrack, or should you goose the levels on important tracks, such as the vocal, to get your point across? Can you produce a winning demo on a tight budget, or must you outspend the competition? Where can you cut corners to save money without killing your chances of success?
To learn the answers to those and other critical questions, I asked top decision makers — producers, record-label A&R reps, and music publishers — what they want to hear in a demo. I also queried successful soundtrack composers for film and TV about how they produce demos to find work in those mediums. In addition, I drew upon my decades of experience as a studio owner and engineer to offer my own perspective on producing an attention-getting yet cost-effective demo for securing club and concert gigs. (For additional background about the pros I interviewed, see the sidebar, "To Their Credit.")
I won't discuss how to effectively pitch your demo after it's been produced; that's a subject worthy of its own article (see "Working Musician: Here Comes the Pitch" on p. 108). My sole focus is on what you need to do to produce a demo that will get noticed and propel your career forward. I'll start with how to record a demo to get gigs and then examine how to produce song, artist, and soundtrack demos.
Many musicians mistakenly assume that even a roughshod demo will get them work performing in local nightclubs. Although that's sometimes the case, the bar was raised by the digital-recording revolution that began about a decade ago. It's not hard to produce a great-sounding demo these days, and if you don't produce a quality demo, the next band will. With every kind of demo (including song and artist types), it pays to always put your best foot forward.
That doesn't necessarily mean you should produce an ultraslick studio recording for your gigging demo. Most nightclub owners want to hear something that sounds slightly live and raw. If the recording sounds too polished, they'll probably assume (in most cases, rightfully so) that you won't be able to pull off the same sound live. That leaves the nightclub manager back at square one, wondering how you will perform in a live setting.
But another misconception is that a raw, live sound equates to sloppy performances. You will never be penalized for being a tight band or flawless solo performer. On the other hand, derelict grooves and out-of-tune guitars might cost you the gig.
The key to getting a rougher sound while maintaining professionalism lies in your microphone-placement choices and the types and amounts of reverbs you use in the final mix. For a full-band recording, consider having some instruments playing in the same room (as opposed to playing in separate isolation booths) to add a little mic bleed to tracks. If you're recording in a pleasant-sounding room, placing one or two additional room microphones several feet back from the drums will add some natural ambience to the recording. Just make sure that the amount of mic bleed and ambience you add are subtle, or your recording might sound as though it was made in someone's unfinished basement.
To add a sense of realism to your productions, restrict your choice of reverbs to plates, springs, small chambers, and small rooms (whether digital emulations or the real things). Unless you're already performing concerts, large concert-hall settings tend to sound fabricated. Add enough reverb at mixdown to create a sense of depth, but not enough to be readily noticed by nonmusicians. With a moderate amount of natural ambience and signal processing added to your tracks, you can fool most nightclub owners into thinking they're listening to a well-made live recording, in spite of the numerous clean punch-ins you might have done. That will make them confident that you can pull off a live show in their club.
Never forget your purpose for recording your gigging demo. Unless you aim to release the recording for general distribution and sale, skip the temptation to triple-track the background vocals and add a tambourine overdub during the choruses. Such frills will have no material effect on whether you get the gig at a local nightclub, and most likely, the club owner won't even notice them.
Limit the number of songs on your demo to no more than three or four. Those who listen to your demo will probably make up their minds whether to hire you by the time they've heard the first couple of songs.
Plan your budget and your time in the studio to allow for getting great mixes. If possible, reserve 30 to 50 percent of your budget for mixdown. Trust me: you need that much time to get great mixes, especially if you're mixing more than 16 tracks. Most club owners cannot discern the difference between horrible mixes and poor performances. A wretched mix of great performances won't impress anyone. Great mixes of killer performances will get you enough gigs that you'll recoup your mixdown expenses in no time.
If you are trying to win concerts, consider producing some clean recordings of your live shows. Wild audience reaction garners instant credibility for your performance abilities. Just make sure any microphones intended to capture the crowd are far out into the seating area. If the mics are too close to the stage, your performance might overpower the audience reaction, making those mics worthless or even detrimental to the overall sound.
You might need to add a short delay to stage mics to get their signals in phase with the audience mics. If you don't align the phase of the stage and audience mics, the overall sound will likely suffer comb-filtering effects that thin out your sound as well as confusing slapback echoes that ruin the music's groove.
Unlike demos that purposely promote the abilities of the musicians involved, the sole goal of a song demo is to sell the song itself. However, that doesn't mean that the musicians' performances aren't critical to the song demo's success. Always seek out the best singers and musicians to perform on your demo so that the song is represented in the best possible light.
Country-music producer Byron Gallimore advises most songwriters not to sing their own demos unless they are really great singers. "If the vocal isn't up to snuff," he says, "there's a danger that [the person you're pitching the demo to] may focus on the singing and miss the song."
Jim Vellutato, creative director for Sony/ATV Music, agrees with Gallimore. "I believe having the best vocal you can get increases the chance of you getting a record deal," he says. "On every song, but especially on ballads, the vocal has to be exceptional."
That advice runs contrary to an urban legend that a great vocal is the kiss of death for a song demo. The theory behind the myth is that an artist might shy away from singing a song that the demo singer does better. "I haven't found that to be true," Gallimore says. "Most artists believe in themselves. Nobody I've ever worked with has been afraid to sing a song because a great demo singer sang it, and we have some great demo singers in Nashville, too."
Vellutato sheds further light on the subject: "If you're sending your demo to Celine Dion, she's definitely going to want to hear a great vocal. If, on the other hand, you're sending a song to a weak vocal artist, sure, a great vocal could scare him or her away. But it's probably not the type of song that person would do anyway."
Before beginning production on a demo, a songwriter must decide whether to use a male or female vocalist to sing the song. That can be a difficult choice if you know you'll be pitching the song to artists of both genders. According to Vellutato, the dilemma is that "if you're pitching to Celine Dion, for example, it's really difficult to use a male vocalist and have her 'hear' that song."
Vellutato suggests making two versions, male and female, of the same song so that you can pitch it to both sexes. That approach can be expensive, but Vellutato maintains that it's a justifiable strategy for producing a special song that you think has great potential. "One song can make your career," he says. "A lot of writers are making a ton of money based on one hit." That one hit often leads to other deals down the road.
If you're planning to pitch your song to a specific artist, you might be tempted to have your demo singer mimic that artist. That approach can help artists hear themselves singing a song, but it has one potentially huge pitfall.
"Michael Jackson likes to hear everything demoed by someone who sounds like him," Vellutato says. "But the problem is that if you do a demo that sounds like Michael Jackson, it's really difficult to get anyone else interested in the song. I think you should realistically think about who would do the song and lean the vocal toward that artist, but I wouldn't try to make it sound identical."
Mike Whelan, director of Creative Services for Acuff-Rose, says the stylized-vocal approach can be expensive. "If you stylize the vocal too much for one artist," Whelan says, "once you have pitched your demo to them and they've passed, then you have to put another vocalist on it. Unless we're going for a certain pitch, we try to have demo singers put the vocal right down the middle of the road. [That lets us make] a broad pitch on a song, hitting a bunch of artists with it."
If pigeonholing the vocal's style is often not advised, nailing the song's style for a particular artist is most definitely recommended. "In the majority of cases," Vellutato says, "I try to send something that's almost identical to what the artist recorded on his or her last album." The reason is that artists tend to stick with a winning formula, because it's in the style that won fans over.
Gallimore concurs, advising songwriters to "listen to the last two or three albums, and try to see the thread that runs through those."
Adhering too closely to what an artist has already done can put you behind the curve when an artist breaks new ground. But how can a songwriter know beforehand that an artist is about to change his or her style? In many cases, publishers tip their staff writers off to the upcoming change in direction.
"I think this is where a publisher is very important to songwriters," Whelan says. "Part of a publisher's job is to communicate daily, weekly, and monthly with the producers and record label of an artist to find out what the artist is looking for. Then we relay that information back to our songwriters." Having current information on what types of songs are needed is an advantage that staff songwriters have over the unsigned songwriter who makes broad, uninformed pitches.
Compared with the guitar-and-vocal or piano-and-vocal offerings that were common 10 or 15 years ago, many recent song demos feature full productions. Still, opinions vary as to how much production is necessary for a song demo to be effective.
"As long as the production does an adequate job of presenting the song," says Gallimore, "I don't think [the amount of instrumentation] really matters. You don't have to have 5,000 parts on these things. What you want to sell on a song is a vibe. If you are selling the vibe of the song with adequate instrumentation and a great singer, that pretty much does it." On an up-tempo song demo, Gallimore feels strongly that "adequate instrumentation" includes drums.
Gallimore's credits attest to his stature as someone with the ability to recognize great songs, even in stripped-down form. "But those guys are few and far between," says Whelan. "Usually, we tell our staff writers that they're going to have to make a record in order for producers and artists to hear it."
What if you're not pitching your song demo directly to a producer or an artist? Songwriters who present material to publishers need not be so thorough in their productions, according to Whelan. He notes that publishers typically have more time to dissect an undeveloped song demo than artists and producers do. As a result, he says that publishers can more readily hear a potential hit behind an undeveloped demo. "If you have a good guitar-vocal demo, most publishing companies can hear the talent," Whelan says. "If we hear a writer that we really like, we'll probably spend our money to do a [more fully developed] demo here in Nashville."
Whelan cautions songwriters not to submit outdated productions of their unplaced songs. "You probably need to update anything that sounds dated production-wise," he says. "You want to sound like you're on the cutting edge. When we get a song that we know was demoed in the '80s, we conclude that the songwriter probably hasn't written anything since the '80s and is still pitching back-catalog songs that he or she wrote 20 years ago. That sends up a red flag."
Vellutato says that the level of production a song demo needs depends on the style of music you're producing. "If you're writing a ballad," Vellutato says, "you can have a simple demo, perhaps consisting of only keyboard, drum machine, and vocal. R&B music is dictated by the track; if you don't have a great musical track, a lot of people aren't interested in listening to the song. A rock demo, on the other hand, doesn't have to be incredible, but it has to be a great song that the band can't write itself. But rarely do I have a rock song cut by a band, because bands are mostly self-contained."
Opinions differ concerning the level of recording quality needed to have your song demo succeed. Gallimore indicates that he often picks up poorly recorded songs; he considers the song's vibe to be far more important to a demo's success. Whelan's view, from a publisher's perspective, is that recording quality is more important.
Whelan recommends that you produce your song demo in a quality studio, even if the studio's rates and your budget constrain you to keeping the production simple. He explains that an unprofessional recording will not favorably distinguish itself from the huge volume of other song demos that the publisher hears. "You have to present your demo in a professional way," he says. "The music business is a music business."
Vellutato concurs. He recommends hiring an engineer or going to a quality studio if you can't get great results in your own studio. "It would be really difficult for me to rerecord a song," Vellutato says. "It would be up to the writer. Part of getting a publishing deal is being able to present sellable material. It's just like any other business. There's a certain level of quality that you have to attain in order to sell your product."
Okay, you've recorded all of your tracks, and now is the time to mix your song demo. Considering that the vocal track delivers the two most essential ingredients of a song, melody and lyrics, how loud should it be in the mix? Should you goose the vocal's level more than usual or marry it to the instrumental tracks as you would if you were mixing a record bound for commercial distribution and airplay?
"You want people to be able to hear the vocal," Vellutato says, "but it shouldn't be blatantly out front." That's good advice, but determining the right level for the vocal is sometimes difficult when studio time is whizzing by and your budget is being drained like water through a sieve. "It's difficult to perfectly set a demo's vocal against backing tracks like you would on a record," says Gallimore. "If I were going to err on one side or the other, I'd give it a touch more vocal. Try to make sure [the vocal is loud enough that] you can understand the lyrics. I don't like to look at lyric sheets when I'm listening, because it takes me out of the listening zone. I really need to be in a zone to see if a song is doing much for me."
Whelan takes no chances when it comes to setting vocal levels. "For country music," he says, "we encourage our writers to mix the vocal out front on the demo. For the most part, vocals should be mixed higher on demos than they are on records. We also encourage our writers to bring up any instrumental lick that's going to help get the song cut."
Vellutato agrees that instrumental hooks should be goosed. "Anything that you want to attract attention should be prominent in the demo," he says.
Gallimore also concedes that key licks should be easily heard but cautions songwriters not to go overboard. "I don't think [instrumental] hooks have to be stupid loud," he says.
The primary objective of an artist demo is to obtain a record deal for the artist performing on the demo. In many instances, the artist will also be the songwriter whose songs are featured on the demo. Artist and Repertoire representatives (A&R reps) are typically the people who screen artist demos at record labels.
When producing an artist demo, it's generally more important to make the completed product sound like a finished record than with a song demo. Presenting an A&R rep with a demo containing fully fleshed-out arrangements will often place you squarely ahead of the competition as long as your performances and songs are hot.
"The more music you include," says Jojo Brim, producer and senior director of A&R for Def Jam/Def Soul Records, "the more it increases your chances of someone like myself being interested in you."
Not everyone feels that full productions are always necessary, however. For Carole Ann Mobley, director of A&R for RCA Records Nashville, the amount of production you need on a country demo depends on the style of music you're doing. "For an Alan Jackson — style song," Mobley says, "a guitar-vocal demo is great. It's definitely not necessary for you to produce [that type of song] like a full record." On the other hand, Mobley notes that a more contemporary country song might need more production.
Brim and Mobley propose that an artist should submit at least three or four songs in a demo. "Three is a good number," Mobley says, suggesting "a ballad, an up-tempo song, and something else."
For those people who have the time and budget to produce an entire album, presenting such a package to an A&R rep is sure to raise some eyebrows. "If you have the savvy to put together an entire album," says Brim, "by all means, do that. It definitely gives you a sweeter [record] deal because you've already saved me half a million dollars in recording."
Brim recognizes that not everyone can deliver master-quality recordings, however. Although he appreciates a high-quality recording, he's also quick to say that a poorly recorded demo is not a deal breaker.
More important to Brim is that the artist's demo is fresh and real. He advises new talent not to mimic established artists and records. "Your work should be an extension of the deepest part of your personality," Brim says. "If it's not honest and fresh and who you really are, then I'm not going to be interested in it. If you're not helping to push the culture forward, then why are you participating?"
If Mobley is relatively short on advice on producing an artist demo, it's for good reason. To her, country music is mostly about live performance. "The demo package per se is not really that important," Mobley says. "There are lots of producers in town who can make a great-sounding recording. You can make anyone sound good nowadays. That doesn't tell me it's an artist we should sign. When we are presented with a new act that doesn't have a deal, we always have [the performer] come in and sing for us live. That's how we decide if it's worth moving forward."
If a musician impresses Mobley and the other members of the RCA staff at the meeting, the record company will then cover the costs for that person to make a demo. RCA will decide whether to pass on the artist or give him or her a record deal based in part on how the label-sponsored demo turns out. Personal contacts and working relationships are absolutely essential for a new artist to go the distance from initial meeting to demo to record deal. Recognizing that, Mobley has blunt advice for anyone seeking a recording career in country music: move to Nashville.
If you want to produce music for film or TV, your demos had better sound great. Full productions and high-quality recordings are critical to a demo's success in securing that type of work.
"You should do as much as you can to make it sound as good as possible," says TV and film composer Douglas Cuomo. "You have to realize that other people's stuff sounds really good, so yours had better, too. That sometimes means using live players [instead of using only sequenced synths]."
Film composer Carter Burwell agrees that quality is paramount in all aspects of demo production. "Let's face it," Burwell says. "Film is a medium where form often triumphs over content. Your demos have to be as impressive as they can possibly be. The people listening to them can't necessarily distinguish between composition, arrangement, and production."
Cuomo advises that you should provide a variety of material on your general demo reel (an anachronistic term, considering that demos are now usually presented on CD) to showcase your versatility. For example, the music might include a mix of underscoring (which can serve as background music) and thematic pieces.
Once you're considered for a project, Cuomo suggests that you talk with the producer or director to find out what kind of music he or she is looking for. Then create some music you think would be appropriate for the project and include it on your demo reel. But here's a hot tip: don't tell the producer or director that the resulting demo was made specifically for the project.
"Part of the danger of doing a demo is that you're saying, 'This is my take on your project; this is what I would do,'" Cuomo says. "If they really like it, that's great. If they don't, then they might say, 'Oh, well, that's what he would do; forget it.' The hope is that you can engage them in some dialogue. If you do something and they say, 'Oh, that's not right,' you can then ask, 'What is it about this that you don't like? What do you want it to do that it's not doing?'"
If you get the nod to score music for film or TV, expect the producer or director to ask you to make a lot of changes to the music throughout the life of the project. "You pretty much have to have your own recording gear," Cuomo says, "because you'll regularly be going back and changing things. It's not really feasible to go back to an outside studio and spend money every time a change is requested."
In a sense, the demo process never ends until the underlying project is finished. "Most composers will still be creating demos — synth sketches — once they're hired to illustrate their musical ideas to the director prior to recording the final score," says Burwell. "My own view is that those demos don't need to be as well produced as the ones created to get a job, partly because you can count on more good will at this point. Also, time is of the essence [because of tight deadlines], and I don't want to waste it perfecting a synth demo [for instance, writing continuous controller data for every MIDI track] if it's all going to be replaced by real players. On the other hand, there is often a sales-pitch aspect to these demos. You may find that it pays to create one brilliantly produced synth suite to convince everyone of your genius, followed by more pedestrian sketches of the film cues."
No matter whether you're producing a demo to get nightclub gigs, to score music for film or TV, or to win a publishing or recording contract, you need to make a commitment to stay in the game for the long run if you want to succeed in the music industry.
"Be realistic with your goals," Brim says, "and understand that the first few demos you make may not succeed." Practice makes perfect, but persistence makes a career.
Michael Cooperhas placed third in the Music City Song Festival and won first place in the Portland Music Association Songwriter's Contest.
The people interviewed for this article constitute some of the leading names in the music and entertainment industries.
When he's not in the studio producing leading R&B and hip-hop artists such as Mary J. Blige and Montell Jordan, Jojo Brim is discovering and developing talent as senior director of A&R at Def Jam/Def Soul Records in New York.
Carter Burwell has composed music for a multitude of feature films, including Being John Malkovich, Conspiracy Theory, Fargo, The General's Daughter, Gods and Monsters, Raising Arizona, and Rob Roy.
Douglas Cuomo's music credits include the hit TV series Sex and the City (HBO), Homicide (NBC), and Now and Again (CBS), as well as various film and theater projects.
At the time of this writing, Byron Gallimore has production credits for 8 of the top 60 singles on Billboard's "Hot Country Singles and Tracks" chart. Gallimore also claims several ACM and CMA awards for his productions.
Carole Ann Mobley is director of A&R for RCA Records in Nashville.
Jim Vellutato is the creative director for Sony/ATV Music Publishing in Santa Monica, California.
Mike Whelan is the director of Creative Services for Acuff-Rose, one of the most prominent publishing companies for country music.


text:
|Explore Art
|Research and Conservation
|About the J. Paul Getty Museum
|Public Programs
|Museum Home Past Exhibitions
October 15, 2002–February 9, 2003 at the Getty Center
All events are free and are held in the Harold M. Williams Auditorium, unless otherwise noted. Seating reservations are required. For reservations and information, please call (310) 440-7300 or click the Make Reservation buttons located with each event. Tickets are available on-site or by phone.
California in the 1930s: The Documentarian Impulse
Sunday, October 27, 4:00 p.m.
Frames of Reference: Photographers on Photography
Sunday, November 17, 4:00 p.m.
Gordon Getty Concert
Saturday, January 11, 2003, 8:00 p.m.
Point-of-View Talks
Talks are held at 6:00 and 7:30 p.m. in the Museum galleries. Sign up at the Museum Information Desk beginning at 4:30 p.m.
Clarence Williams, a staff photojournalist for the Los Angeles Times and
founding member of the Iris Photo Collective, discusses the exhibition About Life:
The Photographs of Dorothea Lange.
Donna Granata, a portrait photographer and founder and executive director of
Focus on the Masters, discusses the exhibition The Grapes of Wrath: Horace Bristol's
California Photographs.
Statewide Reading Program
"California Stories: Reading The Grapes of Wrath," encourages Californians to read and discuss John Steinbeck's classic novel during October 2002. The program is sponsored by the California Council for the Humanities in partnership with the California Center for the Book. Visit www.californiastories.org for related events.


text:
|Mobile Site
|eMail Author
|Caption Comp
|Monthly Poll
|Sudden Death
|Colour Key
|Cookie Usage
|Title :
|Rating :
|First Aired :
|8 Oct 2003
|Stardate :
|Director :
|David Livingston
|Year :
|Writers :
|Jonathan Fernandez, Terry Matalas
|Season :
|Rating :
|4.0000 for 2 reviews
|Add your own review
|Reviewer :
|Rating :
|Review :
|I love zombie movies so I enjoyed this episode far more than other people might. You've got zombies, a wounded party member, another slowly going zombie, unstoppable undead, and even the last minute zombification of someone. It hits every hit point, and its Trek. The onyl thing really missing was the gradual loss of party members as time went on. A fun episode for the series. Kind of a YATI issue, aren't Vulcans supposed to be significantly stronger than humans? The Enterprise personnel seemed to do quite well wrestling with people three times stronger than they are. "15 Minutes, maybe less." Much less apparently. While none of the explosions that started to rock the ship were that tremendous they still would have easily killed the landing party if they'd been at the wrong place at the wrong time.
|Reviewer :
|Rating :
|Review :
|This is far better than almost any zombie film I've ever seen. It's extremely tense, the sets are claustrophobic, the Vulcans are creepy and intimidating and the Enterprise crew trapped on board are put through the wringer. This is more "physical" than most Trek episodes, more aggressive, yet still Archer et al try to communicate with the Vulcans until realising they are beyond reason. We actually get conflict as the MACO sets his rifle to kill, to be immediately pulled up by T'Pol who isn't just trying to protect other Vulcans, she's remaining true to principles the Federation will later hold dear. It's a brilliantly directed episode, the action is staged well, plus there is a very distant shot of the Enterprise being dwarfed by the asteroid field which reminded me of a computer game (in a good way). I love this whole episode, I love it how T'Pol gradually begins to descend into violent paranoia... as a one-off action episode, this buries similar episodes such as the one with Janeway running around in a vest, and even one of my personal favourites, the one where the E-D crew turn into monsters.
|Copyright Graham Kennedy
|Page views : 4,872
|Last updated : 1 Jan 1970


text:
Video not playing/visible? Click here
This week, Papa Kenn reviews the latest entry in one of his favorite (and guilty pleasure) movie series, RESIDENT EVIL: RETRIBUTION!
"Resident Evil: Retribution"
Director: Paul W.S. Anderson
Writers: Paul W.S. Anderson
Starring: Milla Jovovich, Sienna Guillory, Michelle Rodriguez, Bingbing Li, Colin Salmon, Kevin Durand, Shawn Roberts, Boris Kodjoe
Review Transcript:
Let me make one thing very clear. I am a fan of the Resident Evil movies. I love them despite how every single one has been panned by critics, despite their vast separation from the games, and despite the consistently less than stellar acting. That being said, Resident Evil: Retribution is among the weakest of the series in my opinion.
Other than a flimsy script (something we've all come to expect from the series) and the usual obvious 3D tricks, Retribution has several factors working against it:
1) The constant slow motion. This has been a staple of the series' action scenes since the very beginning, and is pretty awesome to see at several points throughout the movie. However, there are so many action scenes that the slow motion seems to take up at least half of the movie. While shootouts and high-tension battles can (and do) take advantage of this effectively, had scenes with Alice and others running away from zombies in corridors been normal speed, the movie would have been easily 10 minutes shorter. They might have looked convincing during filming at regular speed, but in slow motion it looks like Alice is taking a nice jog while being pursued by running zombies that want to chew her face off. Take away the slow motion and you'd have a fast-paced and legitimately tense couple of moments. The extra time could always be filled with dialogue…though actually no. You wouldn't want to do that because…
2) Another staple of the series has been acting that rivals the PS1-generation Resident Evil games. Many of the actors in Retribution seem to have taken this to heart however, and really took the overacting to new levels. The only consistently good actors (with more than a couple lines) in the entire movie were Milla Jovovich (Alice), Michelle Rodriguez (Rain), Boris Kodjoe (Luther West), and Aryana Engineer who plays a little girl named Becky. You heard me right. Of all the actors in this movie, an 11-year-old is in the top four.
Of all the characters that made an appearance in this movie, the most disappointing for me was Ada Wong as portrayed by Bingbing Li. She was beautiful and ruthless like Ada from the games, but her lines were delivered as if they were coming from the original Silent Hill game. You see when you…talk like this in a…movie, it can get…really distracting. Come on, not even Captain Kirk paused that much in a sentence!
3) It's no surprise to fans that there are inconsistencies between the movies and the games. We learned this within the first 15 minutes of part 1. Throughout Retribution however, we see more and more influences from the games both old and new. There is absolutely nothing wrong with this, and should actually work as a means of connecting fans of the games to the movies even more than before. It should, but this is where major inconsistencies come in.
Creature names are switched, zombie mutations are misleading, creature size and behavior is completely wrong (especially one in particular), and why do zombies stop moving without getting shot in the head!? Some of these are issues with previous entries as well, and I would usually explain them away as creative license in the movies being separate from the games. It all seems exaggerated in Retribution however, and if specific creatures are going to be borrowed then there needs to be some consistency to avoid alienating the hardcore game fans.
Despite these negatives, I still enjoyed this movie on account of two major factors. The first being the characters Alice, Luther, and Rain. Even they have their hokey acting moments, but overall the performances are great and I honestly care about all three characters. The second and biggest factor of all the Resident Evil movies is the action. Dear sweet lord can Paul Anderson make cinematic gold out of action sequences! Except for the "corridor running" and oversaturation of slow motion, the fight scenes are phenomenally shot and really portray the intensity of every moment (as long as no one is talking).
In a series that is well known for being less than stellar but adored by its fans, Resident Evil: Retribution unfortunately falls short of the mark. It's not the worst of the series, but is dragged down by the lack of substance and problems inherited from its predecessors.
For anyone not already a fan of the series, I can't recommend this movie. Either you haven't seen the others and would have no idea who anyone is despite the helpful little summary at the movie's opening, or you've seen and hated at least one of the others and know you'll hate it anyway. For fellow fans, Retribution is definitely worth seeing, but don't expect to be blown away by anything…except maybe the action…and Milla Jovovich.
I give Resident Evil: Retribution: 6/10.
I'm Papa Kenn, and thank God for form-fitting body suits! See you next review.
Fair Use:
All copyrighted material used under Fair Use. If you are a copyright holder and believe your material has been used unfairly, please contact me at:


text:
bizwriter necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 72 diseños de 20 diseñadores freelance.
Need to redesign a logo for BusinessInfoGuide.com using vibrant colors and more dynamic design than what we currently are using.
I run BusinessInfoGuide.com, which is a directory of resources for entrepreneurs, authors and speakers. We are getting ready to redesign the site to look more like a magazine and would like a fresh new logo with vibrant colors.
- The logo should use the business name: BusinessInfoGuide.com
- I would like the logo to emphasize the capital letters BIG so that they stand out
- Our new tagline is BIG Ideas for Entrepreneurs, Authors and Speakers and may or may not be included in the design--I haven't decided
- For a color scheme, I would like vibrant colors with the primary colors being a dark turquoise or peacock blue and lime green. Additional colors may also be used.
- I'm not quite sure what I want the logo to look like so I'm looking forward to seeing your creative ideas. The focus of the site is to provide articles and resources for business owners, authors and speakers. The new content layout for the site will focus on Business Growth, Articles, Books and Resources. Perhaps the logo could represent growth in some way. Or it could represent a directory. I've been thinking about incorporating some nature elements to represent growth (plants, trees??). I am also interested in possibly using a leaping frog in the design as this is the mascot for the site.
- Overall, I'm not exactly sure what I want so I'll be paying close attention to your ideas and will do my best to provide feedback.
- Anything too simple. I would like this logo to be much more dynamic and interesting than the one we currently have.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text:
- Access Digital Exclusives, Hit Shows, Live MotorSports and more!
- Ad Free - Stream Across Multiple Devices
- Cancel Anytime
Stay Updated Car news, reviews, and more!
$ 22,818
47 / 90 cu. ft.
The refreshed 2014 Toyota 4Runner adds a host of new tech features including Entune Premium Audio. The SUV also gains a slightly improved interior with better materials, and creature comforts such as cooled front seats.
The 4Runner is one of Toyota's mid-size SUVs, slotting in size above the five-passenger Venza and below the Sequoia. It is sold in rear- and four-wheel-drive configurations and unlike its stable mate, the seven-passenger Highlander, the 4Runner sacrifices on-road comfort for all-terrain prowess.
The refreshed 2014 4Runner remains as the only true off-road-ready SUV in Toyota's lineup after the demise of the FJ Cruiser. Powered by a 4.0-liter V-6 that makes 270 hp and 278 lb-ft of torque, the SUV uses a five-speed automatic and is available in rear- or four-wheel drive. Regarding fuel economy, the 4Runner is rated by the EPA at 17 mpg city, 22-23 highway and 18-19 combined depending on whether it is rear- or four-wheel-drive model. While on-road manners are improved for 2014, the 4Runner's ride is not as smooth as crossovers including Toyota's own Highlander or the Hyundai Santa Fe.
Toyota has improved the 4Runner's interior but hard plastics remain a prominent feature. Inside, there is room for five to seven passengers and a generous cargo area that can accommodate up to 47.2 cubic feet depending on whether you opt for the sliding cargo deck. The addition of Entune Premium Audio improves the user interface for the infotainment system and gives buyers the option to add premium features to their vehicles. However, it remains clunky, unresponsive, and could benefit from a larger screen.
The 2014 4Runner has a four-star overall safety rating from the NHTSA (out of a possible 5 stars) but is not considered a Top Safety Pick by the IIHS, earning a marginal rating in the small overlap front category (good is the highest possible score) but a good rating in the other four tests.
Off-roading is where the 4Runner shines because of its truck-based body-on-frame construction, and features such as disconnecting stabilizer bars that allow it to navigate across the toughest terrain. In a First Test review, we said that the 2014 Toyota 4Runner remains true to its off-roading heritage but comfort remains a weak point due to wind and powertrain noise being "continually present." On a Quick Drive review we stated that that the five-speed automatic was one of the reasons for the lack of refinement and the "less-than-stellar fuel economy," while "the 270 horsepower, 4.0-liter V6 feels lazy."
You'll Like
You Won't Like
Key Competitors


text: Cute teens mouth spunky 0 / 0 Share Share https://www.pornrabid.com/cute-teens-mouth-spunky/ Copy the link Teens cute cute teen mouth teens 10:00 Teens Loves huge Cocks – Adria is a cute cock 12:00 Teens Loves huge Cocks – Sexy short haired gets her ass teased 05:00 Tight Teen Brutally Fucked 08:00 Teens love Huge COCKS – small teen (Whitney Westgate) takes a big cock – Reality Kings 30:00 Lexi Belle – Teens For Cash 08:00 RealityKings – Teens Love Huge Cocks – Clean Your Room 09:00 Busty teen is jumping on huge dick to feel hot cum on her body – Eva Elfie 11:00 TUSHY Naughty Teen Gets Dominated By Couple 10:00 Hot Bikini teens 12:00 ExxxtraSmall – Playful Teen Gets Tight Pussy Fucked Show more related videos Comments Cancel reply Your email address will not be published. Required fields are marked * Comment Name * Email * Website Notify me of follow-up comments by email. Notify me of new posts by email.


text:
Owning a TARDIS is like having access to a timeshare anywhere in space and time. It's a valuable commodity, but just how valuable? The speculative bean counters at Centives have decided to take a crack at figuring out how just how much one month's rent on the TARDIS would be.
On the heels of estimating how much it would cost to build the Death Star, Centives is back at it, this time turning their calculators on the Whoniverse. They look at how much a luxury hotel room, ready helicopter service, and other services similar to the TARDIS would cost for a year's time.
Of course, they can't quite calculate some of the TARDIS's more unpredictable powers (like granting the occasional bout of immortality), and some of their real-world examples aren't quite analogous. They use a trip on Virgin Galactic (which doesn't quite equate to visiting alien civilizations) to find the value of going to space, and they use cryogenic freezing as a proxy for time travel, even though it's one-way and doesn't return you safely to your bed five minutes after you left. So their estimate, while a strong effort, is grossly conservative:
In total then? We think that the market value of hiring the TARDIS would be £15,140,064 or $23,930,385 or 504,668,800 jelly babies.
They point out that, for that much money, James Bond could rent a fleet of 76 Aston Martins.
How Much is the TARDIS Worth? [Centives via GeekDad]


text:
The Inn is listed on the National Register of Historic Places, as part of the Fairville Historic District. Although the historical records are inconsistent, the Inn's Main House was most likely built between 1825 and 1837. The original summer kitchen with root cellar remains as well. The Inn has been home to members of many of southern Chester County's early families, including Mendenhall, Pyle, Trimble, Sharpless, and others. James Trimble was a relative of Daniel Defoe, author of Robinson Crusoe. His wife was sister to Ellwood Mendenhall, a prominent figure in the town that bears the family name.
Situated on over five acres (including the adjacent innkeepers' quarters) and surrounded by miles of back roads, the inn has 13 rooms and two suites, each individually decorated. All rooms feature king or queen beds. Five rooms are in the original Main House, one with a private deck.
Throughout the Inn, fresh flowers, and elegant country décor create a warm and quiet atmosphere. Each guest room has a private en-suite bath, individually controlled heating and air conditioning, flat screen satellite TV, telephone with unlimited local and long-distance service, and high-speed wireless Internet access. Many rooms have a canopied bed and eight have fireplaces (in season).
The Inn has been featured in many publications, including the New York Times, the Washington Post, Southern Living, and Philadelphia Magazine. In July 2009, the Inn was featured in Ralph Collier's syndicated column, Tours and Detours and on his radio show on the WRTI network.Click here to read this review.
The Inn serves a complimentary full breakfast with a choice of three hot entrees daily, together with a continental buffet of fresh fruit, yogurt, cereal, and Inn-baked breads and muffins. Afternoon tea is served daily, with a selection of cheeses and Inn-baked goods. There is a wide-ranging selection of fine restaurants for lunch and dinner, and the staff will be pleased to make recommendations and reservations.


text:
Engraving Plus wedding bridal party gifts & accessories, bomboniere, invitations & event stationery,
wedding and event gifts and favours, baby gifts, awards, special occasion gift ideas!
PLEASE NOTE: Due to the current workload, online orders will not be processed
until further notice. We apologise for any inconvenience.
Ivory silk and natural bamboo fans are perfect for beach Weddings, Asian themed Weddings, summer parties, or any outdoor event! With custom engraving they make a personalised and unique favor gift to be kept and used by your guests again and again, reminding them of your special event! Present your Wedding or Party Guests with something to take home and keep forever.
Custom engrave your fans with the Event (Bride & Groom Names or other special event) and Date, or a personal message. Or, you can engrave the guest's name. Engraving is permanent, so your personalised message will never fade of wash off, no matter how hot and sweaty those hands get!
Fans are supplied individually wrapped in a clear plastic sleeve. Fan length is approx. 21cm and measures 36.3cm wide when opened.
* Image Colours may appear slightly different to the actual fan colour.
Please Note: Engraving will be as typed. Please be sure to check spelling and use of upper and lower case.
Visit and like us on Facebook to receive up-to-date information, offers & specials as they happen...
Engraving Plus wedding bridal party gifts & accessories, bomboniere, invitations & stationery, event gifts and favours, baby gifts, Zippos, awards, special occasion gift ideas!


text:
Internet users who use online privacy tools or read certain websites may themselves become targets of NSA surveillance, according to a new investigation by public broadcasting outlets in Germany published on Thursday.
Citing documents that refer to "deep packet inspection" rules used by the NSA for its so-called "XKeyscore" program to determine what targets are selected for surveillance and how, the investigation (versions: German | English) reveals that people who seek out or use online privacy tools—including things like TOR, a network tool that provides digital anonymity and minimizes exposure to possible surveillance—may be targeted simply for making those efforts.
Other platforms targeted by the program include the LINUX open source operating system as well as privacy and encryption services such as HotSpotShield, FreeNet, Centurian, FreeProxies.org, MegaProxy, privacy.li and an anonymous email service called MixMinion. According to the reporting, the NSA characterized those who would use such services as "extremists," which sparked spirited outrage on social media as the story broke.
As part of its investigation, the researchers examined a piece of computer code found on a server maintained by Sebastian Hahn, a German student of computer science who manages a node on the TOR network. The discovery showed not only that Hahn was a target of NSA surveillance, but also the previously unknown lengths the agency has gone in targeting users of such tools.
Examination of the XKeyscore rules contained in the code (now published for the first time) goes beyond previous reporting by the Guardian newspaper about the program and, according to the English version of the new reporting, "provides a window into the actual instructions given to NSA computers" conducting the surveillance.
"The top secretsource code published here," the report continues, "indicates that the NSA is making a concerted effort to combat any and all anonymous spaces that remain on the internet. Merely visiting privacy-related websites is enough for a user's IP address to be logged into an NSA database."
When asked for his reaction to the findings, Roger Dingledine, an MIT alumnus who spearheads the TOR project, told the investigative team:
"We've been thinking of state surveillance for years because of our work in places where journalists are threatened. Tor's anonymity is based on distributed trust, so observing traffic at one place in the Tor network, even a directory authority, isn't enough to break it. Tor has gone mainstream in the past few years, and its wide diversity of users - from civic-minded individuals and ordinary consumers to activists, law enforcement, and companies - is part of its security. Just learning that somebody visited the Tor or Tails website doesn't tell you whether that person is a journalist source, someone concerned that her Internet Service Provider will learn about her health conditions, or just someone irked that cat videos are blocked in her location. Trying to make a list of Tor's millions of daily users certainly counts as wide scale collection. Their attack on the bridge address distribution service shows their "collect all the things" mentality - it's worth emphasizing that we designed bridges for users in countries like China and Iran, and here we are finding out about attacks by our own country. Does reading the contents of those mails violate the wiretap act? Now I understand how the Google engineers felt when they learned about the attacks on their infrastructure."
On Thursday, as news of the story spread around the world, Hahn himself answered questions about the new developments surrounding XKeyscore and his role in the investigation.
Asked how it felt to be in the company of German Chancellor Angela Merkel as a target of NSA surveillance, Hahn responded: "It is a different level of surveillance, thus I dislike this comparison. Every German citizen is subject of surveillance on a daily basis, without anyone mentioning it. My personal case might be good for headlines; the whole dimension and the missing protection measures, especially for less technical experienced people is the real scandal. I am shocked how easily innocent people can get into the focus of surveillance. Intelligence agency [sic] take that for granted."
As the German public broadcaster Das Erste summarizes, the investigation into the code and the NSA targeting it represents revealed: "Merely searching the web for the privacy-enhancing software tools outlined in the XKeyscore rules causes the NSA to mark and track the IP address of the person doing the search. Not only are German privacy software users tracked, but the source code shows that privacy software users worldwide are tracked by the NSA."
Cory Doctorow, writing for Boing Boing in a piece aptly titled, 'If you read Boing Boing, the NSA considers you a target for deep surveillance,' says the reporting contains several key revelations. He writes:
I have known that this story was coming for some time now, having learned about its broad contours under embargo from a trusted source. Since then, I've discussed it in confidence with some of the technical experts who have worked on the full set of Snowden docs, and they were as shocked as I was.
One expert suggested that the NSA's intention here was to separate the sheep from the goats -- to split the entire population of the Internet into "people who have the technical know-how to be private" and "people who don't" and then capture all the communications from the first group.
In addition, and not for the first time, the source of leak has the potential to be an explosive development all its own. According to Doctorow:
Another expert said that s/he believed that this leak may come from a second source, not Edward Snowden, as s/he had not seen this in the original Snowden docs; and had seen other revelations that also appeared independent of the Snowden materials. If that's true, it's big news, as Snowden was the first person to ever leak docs from the NSA. The existence of a potential second source means that Snowden may have inspired some of his former colleagues to take a long, hard look at the agency's cavalier attitude to the law and decency.
And technology expert and privacy advocate Bruce Shreier agreed, writing: "I do not believe that this came from the Snowden documents [...] I think there's a second leaker out there."