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One was fresh. One was re-warmed but still quite tasty. The third was rancid.
First Commentary by Adam-Troy Castro
Night Of The Living Dead (1968). Directed by George A. Romero. Screenplay by George A. Romero and John Russo. Starring Duane Jones, Judith O'Dea, Karl Hardman, Marilyn Eastman. 96 minutes. ***
Night Of The Living Dead (1990). Directed by Tom Savini. Screenplay by George A. Romero, based on the 1968 screenplay by George Romero and John Russo. Starring Tony Todd, Patricia Tallman, Tom Towles. 92 minutes. ***
Night Of the Living Dead 3-D (2006). Directed by Jeff Broadstreet. Screenplay by Jeff Broadstreet, inspired by the 1968 Screenplay by George A. Romero and John Russo. Starring Brianna Brown, Sid Haig. 80 minutes. *
Other Known Versions: Night Of the Living Dead Re-Animated (2009; jam animated version); too many sequels and films inspired by the original concept to list.
Before we begin this one, we'll note that we had an ulterior motive for placing this series of films so high up on the list of possible remake blog topics: the recent release of my own entry in this now-venerable and still growing subgenre, the gorily illustrated alphabet book Z Is For Zombie, by myself and dynamiting artist Johnny Atomic. That volume would not exist had an innocent nine-year-old with an interest in monster movies not wandered into a Saturday afternoon double-feature half some forgotten piece of crap I can no longer name and half the nightmare that warped him, and apparently, uncounted others, for life. Go ahead. Click the Amazon link above and buy a copy or twelve. We'll still be here when you're done.
Done? Now we can move on.
Zombies are everywhere. There are now several different postulated pathologies, including the brainless, slow zombies of the three films under discussion today, the various sequels directed by George Romero, and many of his imitators: slow, mindless, ambulatory meat, who eat flesh.
There are the sentient, somewhat faster zombies introduced in the competing Return Of The Living Dead series, who crave and chant "Brains" for reasons too depressing to go into right now.
There are the fast-moving zombies of the 2004 Dawn Of the Dead remake, who are not "all messed up" and can run. There's an entire suite of living "zombies" such as those postulated by 28 Days Later (2002) and, arguably, Zombieland (2009), who are better described as human beings who have come down with a virulent form of rabies.
There are the splatstick zombies of Peter Jackson's Dead Alive (1992), arguably the best zombie movie ever made, who remain animate even when chopped into little pieces; and there are the video-game zombies of the Resident Evil movie series, of which we shall only say, they suck. Nor are these the only variations. Even if you omit the traditional voodoo zombies which are , which another kettle of fish entirely, zombies come in more varieties than penguins. And then, on top of that, there are the variations postulated by the writers of horror novels, some of which are far removed from Romero's blueprint. (Check out, among others, Walter Greatshell, Mira Grant, and Brian Keene.)
But the subgenre as we understand it today did all begin in 1968, with a little low-budget movie that didn't even use the word "zombie" at any point. Its characters had never seen a zombie movie and were slow to understand the nature of the phenomenon they were dealing with. They called their shambling assailants "those things," and they struggled with the evidence of their eyes and their sense, learning the new paradigm of their world even as the monsters loose in that world closed in around them.
Night Of the Living Dead is the seed of the myth.
And all three of the movies bearing the same title share much of the opening premise. All three open with a pair of bickering siblings, Johnny and Barbara, on a long and unpleasant trip road trip to a cemetery. In all three, Barbara is the good daughter, fulfilling a family obligation to the dead; in all three, Johnny is the obnoxiously contrary brother, vocal about finding the entire exercise hypocritical and ridiculous. In all three, Barbara initially believes in showing respect for the dead; in all three, Johnny argues that the dead won't appreciate it. (He is correct about that, but obviously has no idea just how true that will soon turn out to be.) In all three, Johnny resorts to mocking his sister's piety by chanting, "They're coming to get you, Barbara;" in all three, the first of the ambulatory corpses shows up to prove him right. All three films proceed to quickly write Johnny out of the equation and send Barbara fleeing on foot to a nearby farmhouse, where she will soon find herself among a small group of survivors besieged by a growing crowd of hungry ghouls.
From that seed, though, the three versions head off into remarkably different directions.
The Iconic Classic: Night Of The Living Dead (1968)
In the first film, Barbara arrives at the farmhouse in a state of shock that renders her functionally catatonic for most of the action to follow. She is childlike, petulant, withdrawn, detached, and unable to answer simple questions when Ben (Duane Jones) arrives, having already survived several encounters with "those things." His understanding of what's going on is no more advanced than hers, except that he knows survival depends on keeping the creatures out.
Much has been made of Romero's genius in casting a black man as the hero, especially since subsequent events place him in opposition with another survivor who happens to be a loathsome white coward. In tumultuous 1968, when that kind of casting was practically unheard-of, Ben's race and the race of his instant enemy Harry Cooper (Karl Hardman) gave the film a contemporary resonance well beyond what one would expect of a silly little story about dead people who wander the countryside gnawing chunks off the living. It contributed to the film's notoriety and no doubt to its immortality.
As it happens, the casting was no stroke of genius, but a stroke of luck. The screenplay made no reference to Ben's race. Duane Jones was simply the best of the leading-men types who showed up to audition, and Romero's genius amounted to being open-minded enough to say, "Why not?" As it is, Jones demanded substantial changes to the character of Ben, before agreeing to play the part. The original Ben was an unsophisticated blue-collar guy, with uneducated speech patterns. The Ben Jones agreed to play is a well-spoken hero wearing a white shirt and tie, who may show up driving a pickup truck but who seems to have picked it up elsewhere when he first encountered the madness abroad on this particular night.
This Ben is clearly a capable and brave man, and the protagonist we root for when the cowardly, selfish, angry me-first type Harry Cooper emerges from the cellar, where he and several other terrified survivors have been hiding. Some have said that the black man being in charge, over a white man who is at best ineffective and at worst a dangerous liability, increased the chills for contemporary viewers, given that it formed a microcosm of a society that actually did seem to be turning upside down. This is a valid interpretation even if, as the facts bear out, the resonance was an accident of casting. We note that the movie is deft enough to avoid underlining it. Harry may think Ben is "crazy," but he never attacks him on racial grounds or questions the propriety of a black man being in charge – even though everything we know about Harry's character would make a racist streak wholly unsurprising. Nor does Ben ever bring it up. Ben is only the hero because he seems to know what he's doing; Harry is the villain because he's a loudmouth whose wife hates him, and because his strategy for survival consists of hiding.
There is an unfortunate, unwanted additional resonance in that hateful, white Harry actually turns out to be right; the first floor is a deathtrap, reinforcing the windows is a waste of time, and just about everything brave, black Ben does, to face the hordes of undead like a man, does lead this poor group of allies who trusted him to an early death. It's a very good thing for posterity that Ben and Cooper never actually have the white/black argument, because if they did, the bloody conclusion could be read as a vindication of Harry's position. As it is, Ben is so much more easier to admire than Harry that most viewers can see the movie multiple times and still fail to register that Harry's plan for survival was in fact the correct one.
In any event, the original Night established the rule followed by most good zombie fiction since then (not just in the movies, but in prose as well): that since zombies as they're usually imagined are inarticulate and unmotivated by anything but hunger, their mere presence cannot be the sole required story engine. It needs to be the motivating force that throws the interpersonal conflict of the living into sharp relief. This is true whether the issue at hand is rampant consumerism (Dawn Of the Dead), delayed adulthood (Shawn of the Dead), a surprisingly sweet love story (Dead Alive), or, as in the original Night, the forces that alienate human beings from one another and keep them from cooperating for the common good. A zombie story that fails to reflect this, that is merely a catalogue of ways to dismember corpses, will likely be as soulless as the ghouls themselves.
The movie ends, of course, with sole survivor Ben staggering from the basement, only to be shot dead by sheriffs who spot him through an open window and mistake him for one of the walking dead. His color aside, his climactic death was shocking at the time, when most thrillers and horror films ended with a happy restoration of the status quo, and the happy escape of deserving people to a happy ending. (In 1969, when I saw it at age nine, I couldn't believe that any movie would ever go there; today, of course, most mainstream horror movies go for that kind of closing shock, and the effect is not so much shocking as yawn-inducing.) Factor his color in and we get another accidental resonance, very vivid to those who first saw the film in those days of rural assassins taking up rifles against Medgar Evers, James Meredith, Martin Luther King, and the Civil Rights Workers Cheney, Shwermer, and Goodman.
The film itself still works, decades after zombies became commonplace on screen. The grainy black and white photography, the building tensions among the people in the house, the grinding unfairness of everything that happens, the inexorably worsening news on the radio, and the absolute dearth of any happy-ever-afters, still render it a powerful tour-de-force. There are some impressive non-performances, but Jones remains fine.
Alas for Romero, the distribution company never properly copyrighted it. The movie passed into the public domain almost immediately, and he no longer makes money from it.
Which was the key reason for the first of the two remakes.
The Unfairly Maligned First Remake: Night Of the Living Dead (1990)
By 1990, the very idea of remaking Night Of the Living Dead seemed so sacrilegious, to so many, that many critics who'd embraced the original (some retroactively) attacked this one as a blot on its memory.
It was, of course, impossible for any mere remake to have the impact or influence of the original. Among other things, the casting of a black lead was no longer shocking by then. But, largely, people who condemned this one condemned the very idea of it, rather than its execution. They hated that director Tom Savini chose to film this one in vivid color, instead of grainy black and white; they hated the sharp changes it made in the original story while simultaneously (and paradoxically) condemning it for going where Romero had gone before. In truth, consider it only as a film, without either the weight of an iconic original or the social background behind the initial release weighing it down, and it's very much in the first film's class, and can be sensibly defended as better.
Romero, who wrote the screenplay of this one as well, said at the time that he couldn't just make a shot-by-shot remake; people knew the original so well by then that the remake would not be nearly as effective if everything just played out the same way. So he set up the same situation and the same conflicts and went elsewhere with them, starting just a few minutes in, when the first person to bump into Barbara (Patricia Tallman) is not a walking corpse, but a traumatized survivor of a prior massacre.
Barbara is just as traumatized, just as unresponsive, when she gets to the house as she was in the original film. When Ben (Tony Todd) shows up, she is just as unable to answer him. But circumstances soon force her to kill a zombie sneaking up behind her, and unlike the original Barbara she soon starts to (forgive us) rise to the occasion, stunningly becoming one of the strongest people in the house.
By the time the Ben / Harry antagonism begins, Barbara begins to reveal herself as having more sense and more guts than the two of them put together. She is the one who sees that the walking dead are so slow that wasting energy on barricading the windows or hiding in the cellar amounts to defending a deathtrap. She is the one who, told she's losing it, coldly shoots an approaching zombie in the face and then angrily addresses the others: "Whatever I lost, I lost a long time ago, and I do not plan on losing anything else. You can talk to me about losing it when you stop screaming at each other like a bunch of two-year-olds. " (Patricia Tallman was so very good in the part, especially in this scene,that I expected major stardom for her; that never materialized, alas, though she worked regularly and was a supporting player on Babylon 5.)
Ben's fallibility is brought closer to the forefront. At one point, he tackles Harry, who's bringing a television downstairs. The TV is smashed, leading Ben to assault Harry for trying to sneak the TV into the cellar. Harry's response – that he was bringing the TV downstairs for everybody, that it wouldn't have gotten any reception in the basement – is stunning. Much earlier in the story, it becomes clear that Ben is actually part of the problem.
Nothing plays out exactly the same as it does in the original. Tom and Judy, the boring young couple nobody could stand in the first film, who get themselves and Ben's truck blown up in a failed attempt to fill the gas tank, are not quite as bland here, and while they get themselves blown up here as well, via a similar act of clumsy panic, the mistake they make is entirely different. Helen's death plays out differently. The final invasion of the house leads to an entirely different final confrontation between Harry and Ben (as well as the revelation that the house did include a perfect hiding place that nobody bothered to consider: the attic).
Barbara escapes by walking right past the zombies, just as she's always contended everybody could, and what she does when she returns with help – coldly shoot the surviving Harry right through the head, and telling her companions in zombie-killing that he's '"another one for the fire" — underlines the substantial changes the night has wrought in her. She's dead inside: a perfect denizen of the new world.
There was some impressive non-acting in this film as well, but most of the performances were better, and the pacing more assured. Tony Todd was an effective Ben, Tom Towles was an effective Harry, and Patricia Tallman was a powerful Barbara. The color cinematography was not quite as artful, but it had the benefit of being transparent: it did not get in the way of the story.
In short, the 1990 film is everything a remake should be. Aside from the accidents of casting and the contemporary background that boosted the original's impact, which could not be duplicated, it matches just about every narrative strength of that original while justifying its own existence with a startling different take. It didn't deserve the drubbing it got, and has fortunately been appreciated more and more as the years have passed.
No, if you want to see everything a remake should not be, just look at the most recent version.
The Awful Second Remake: Night Of The Living Dead 3-D (2006)
The makers of this version had a number of big ideas, none of them good.
Indeed, it is rare to see a remake that fails on so many levels, that has so many fundamentally bad notions, that showed such a universal misunderstanding of what made the original story work. Next to this, the Paris Hilton House Of Wax was a masterpiece.
We can't testify to the effectiveness of that much-maligned 3-D process here, since we saw a 2-D version. But we can say that it would have needed to transform the visual aspects of this version to something on the level of Avatar to counter even one-tenth of the damage their other big ideas did to the story.
The danger signs start very early. In both prior versions, the teasing Barbara's brother Johnny subjects her to in the cemetery ends as soon as the first zombie attacks; then the first zombie attacks, he sees that the danger is real, and he rushes to protect his sister, at the cost of his own life. This makes psychological sense, as it's what a big brother would do. In this film, he runs to their car and drives away, abandoning her to her fate. That is the act of an unbelievable asshole, which doesn't ring true at all. Still…all right. Maybe this Johnny really is just an asshole. If the rest of the movie were not filled with terrible ideas, maybe we could let it pass.
Alas, it is.
The biggest and worst of those ideas is the apparent premise that all the conflict inside the house, that doomed both prior sets of survivors to their unlucky fates, was boring and needed to be jettisoned. The second worst is the apparent belief that all the characters needed to be rendered more bland. As a result, this movie's Ben (Joshua Desroses) is just a generic white college student who helps distribute the product of this film's married Coopers , (Greg Traviss and Johanna Black), marijuana farmers who own the farmhouse and are thus perfectly at home there when "Barb" (Brianna Brown) shows up to tell everybody that the dead have risen.
Yes. The people behind this film actually thought the story would play better if Ben and Harry were friends, who knew each other and liked each other and didn't argue so much.
Chew on that. It deserves repetition.
The people behind this film actually thought the story would play better if Ben and Harry were friends, who knew each other and liked each other and didn't argue so much.
Having trouble digesting that, aren't you?
The third worst innovation is that the confusion over the nature of the phenomenon that faces everybody, so clearly delineated in the first two films, is here removed completely. In the first two films, the phenomenon was treated as something almost beyond comprehension. But this film's Barb knows the word "zombie" from seeing zombie movies herself, and bursts in on Coopers who are getting stoned while watching the 1968 version. They know exactly what she's talking about; they're just skeptical and reluctant to call the police to their pot farm. The conflict is reduced to Barb's increasing frustration at them for being so thick and stupid – which they greet with a compassionate equanimity that goes on for way too long. It's deadly to any suspense the film might have, even as the zombies start to accumulate in the yard.
The fourth worst is the removal of the disaster's scale. Any implication that the rising of the dead is afflicting anybody but this one small group of people is simply omitted. We don't get the horror from the first two films of a widespread disaster and of the radio and television reports sending people to shelters that are then described as overrun or no longer accepting refugees. So we lose that, too.
The next worst is the reduction of this film's doomed Tom and Judy to a standard horror movie couple who we see fucking so we can then still see them get killed. They are the worst incarnation of Tom and Judy, and that's saying something.
The result of all of this is that there's no subtext, either by accident or design. It's just stupid boring people being attacked by zombies, none of whom do anything we haven't seen zombies do before. Even a bad zombie movie, like Flight Of the Living Dead, can be remarkable for the cleverness of its zombie gags. But no. For the first time, a Night Of the Living Dead movie is exactly what the detractors of the series would say it always was: a stupid exploitation movie without any ideas.
All of that, which serves only to establish that nobody involved with this thing had any idea why this story ever worked, and completely remove the character issues that gave the first and second versions whatever weight they had, is just background to their greatest innovation: casting horror-movie veteran Sid Haig as a mad mortician whose funeral home is the source of the contagion. It all, eventually, becomes about Haig acting crazy. And it must be said that he does give the proceedings what little energy they have. But the character is a stupid innovation and he isn't good enough to overcome a story which, ironically enough, has had all its life sucked out of it.
The Final Respects
The 1968 version, a hugely influential and still terrifying horror film. The 1990 version, a worthy remake marked by a genuinely different take. The 2006 version, nothing but rotten meat.
Thanks to K.C. Locke, who provided us with the 1990 version.
And now, the wife peers out through the barricaded window…
Second Commentary by Judi B. Castro
Night Of The Living Dead (1968). Directed by George A. Romero. Screenplay by George A. Romero and John Russo. Starring Duane Jones, Judith O'Dea, Karl Hardman, Marilyn Eastman. 96 minutes. ***1/2
Night Of The Living Dead (1990). Directed by Tom Savini. Screenplay by George A. Romero, based on the 1968 screenplay by George Romero and John Russo. Starring Tony Todd, Patricia Tallman, Tom Towles. 92 minutes.***
Night Of the Living Dead 3-D (2006). Directed by Jeff Broadstreet. Screenplay by Jeff Broadstreet, inspired by the 1968 Screenplay by George A. Romero and John Russo. Starring Brianna Brown, Sid Haig. 80 minutes. 0000000 NO!!!!!
Other Known Versions: Night Of the Living Dead Re-Animated (2009; jam animated version); too many sequels and films inspired by the original concept to list.
I thought that this comparison was going to be an easy-peasy job based on having seen and loved the original and seen and hated everything about the third, but damn the middle version made it rough.
Let me warn anyone who even slightly enjoyed the 1968 NOTLD, DO NOT WATCH THE 2006 REMAKE!! I REPEAT DO NOT WATCH THE 2006 REMAKE! That so called movie takes everything that was right and tosses it to the winds. Why bother with character development and plot, when special effects and action are available. OK. so fine, the makers wanted to cash in on the 3D craze, so they threw in a few hokey effects. I could deal with those as long as the story made sense, but come on guys, using the original film in your own really bad interpretation was just plain stupid! Why invite the comparison? Were you so sure of your own greatness or just too dumb to realize the end result?
Now, let me admit to something a bit shameful. I didn't see the 1968 original film until sometime in the late 1970's, and that in a cut to shreds version on local TV. Of course, I doubt my parents would have allowed me to see it much before then, but I had snuck in a few nightmarish childhood treasures by that time (The Birds remains a favorite pre teen scare). However, even that ripped apart, commercial-ridden version left me wanting more undead fun. I even placed the film into my pantheon of classic horror to be rewatched and savored alongside the Universal classics I so adored. High praise for a little black and white film. I finally got to see the film uninterrupted by ads and hopefully uncensored in college and realized there was an art to pulling the guts out of a writhing body. Wow, even more coolness! I was hooked like the proverbial big fish. And again, I begged and pleaded for more, but none came.
Sure, there were the sequels, but they just didn't have the oomph I got from the first. The magnetic draw just never occurred. And, while I enjoyed the Evil Dead movies for the fun romps they were, I still didn't find the walking dead I needed to tickle my thrill bone.
By this point I had given up on ever seeing NOTLD remade with the proper respect, but thanks to this blog, I got most of my wish. The 1990 version directed by Tom Savini and written by dead master/creator George Romero reworks the original into an updated story, tighter and tauter than the original. The film follows the same opening premise, but from there, most of the character conventions shift slightly. We no longer have just the tough hero, we get a useful, tough Barbara instead of the whimpering, nearly comatose girl from the original. Tony Todd and Patricia Tallman are not just folks that were picked for their availability, they can act and did. The nods of respect to the original are there throughout the film for the people who need that, but the changes make for a better film overall. Why then, did it leave me just slightly disappointed?
When a masterwork is created no revision, even by the originator, is ever going to give me the same feeling of wonder/chills/awe, that the original had. Is a copy of the Mona Lisa as good as seeing the original? Is Beatlemania the same as having seen the Beatles perform live? That's the problem I have here. The 1968 film crept into my soul and warped me permanently. The 1990 Savini vision, while really good and eminently watchable, just becomes a poor cousin despite the fixing of the original's flaws. So, yes, watch both films. Enjoy both for the works they are. And, please, I beg of you, DON'T WATCH THE 2006 3D NOTLD! Pretend it doesn't exist. It will poison you. In the immortal words of Latka Gravis, "Thankyou very much."


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#30730 - LEXUS LS430 SESSIONS Ver. BODY (200mm)
1/10 Touring Car Size/Use 3mm offset wheel for 190mm width chassis
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subset: commoncrawl


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Next Episode of The Tomorrow People (1973) is
not planed. TV Show was canceled.
The Tomorrow People are 'homo superiors', the next stage of human evolution. They have special powers including telekinetic abilities and teleportation skills, commonly known as "Jaunting". They are assisted in their adventures by a futuristic talking computer called Tim.
The Tomorrow People ran for nearly six years and over the years we see a number of ' Tomorrow People' depart the show. However one member of the team remained throughout the series and that's John played by actor Nicholas Young, he is in all 68 episodes.
The Tomorrow People
~Opening & Closing Titles Video Clip~
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Canvas Draw Created Dec 26, 2011 640 x 460px Unless noted Copyright 2011 antoneqween.
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your incredible horse drawing is perfect for a collection I have great work like fav
I really enjoy the color and light in this. animals are great and horses are a particular fav of mine.
Such a wonderful drawing ... It looks amazing ... I love all of it :D
Very nice work!
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very pretty horse 5/5
Your style is your own, I hope to learn so much from you!
Great draw nice style
looks like a fantastic horse, how i wish i could draw horses haha :p like how u added a fiery tint 2 it--fav
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Now that we have defined the class as persistable we need to define how to persist the different fields/properties that are to be persisted. Please note that JDO cannot persist static or final fields . There are two distinct modes of persistence definition. The most common uses fields , whereas an alternative uses properties .
The most common form of persistence is where you have a field in a class and want to persist it to the datastore. With this mode of operation DataNucleus will persist the values stored in the fields into the datastore, and will set the values of the fields when extracting it from the datastore.Requirement : you have a field in the class. This can be public, protected, private or package access, but cannot be static or final.
An example of how to define the persistence of a field is shown below
@PersistenceCapable public class MyClass { @Persistent Date birthday; @NotPersistent String someOtherField; }
So, using annotations, we have marked the field birthday as persistent, whereas field someOtherField is not persisted. Please note that in this particular case, Date is by default persistent so we could omit the @Persistent annotation (with non-default-persistent types we would definitely need the annotation). Using XML MetaData we would have done
<class name="MyClass"> <field name="birthday" persistence-modifier="persistent"/> <field name="someOtherField" persistence-modifier="none"/> </class>
Please note that the field Java type defines whether it is, by default, persistable. Look at the Types Guide and if the type has a tick in the column "Persistent?" then you don't need to mark the persistence-modifier as "persistent".
A second mode of operation is where you have Java Bean-style getter/setter for a property . In this situation you want to persist the output from getXXX to the datastore, and use the setXXX to load up the value into the object when extracting it from the datastore.Requirement : you have a property in the class with Java Bean getter/setter methods. These methods can be public, protected, private or package access, but cannot be static. The class must have BOTH getter AND setter methods.
An example of how to define the persistence of a property is shown below
@PersistenceCapable public class MyClass { @Persistent Date getBirthday() { ... } void setBirthday(Date date) { ... } }
So, using annotations, we have marked this class as persistent, and the getter is marked as persistent. By default a property is non-persistent, so we have no need in specifying the someOtherField as not persistent. Using XML MetaData we would have done
<class name="MyClass"> <property name="birthday" persistence-modifier="persistent"/> </class>>
If you are using XML MetaData you can also override the MetaData for fields/properties of superclasses. You do this by adding an entry for {class-name}.fieldName , like this
<class name="Hotel" detachable="true"> ... <field name="HotelSuperclass.someField" default-fetch-group="false"/>
so we have changed the field "someField" specified in the persistent superclass "HotelSuperclass" to not be part of the DFG.


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Well, I don't live next door to nuclear power plants, but I live close enough to two. If they go wrong, I will definitely have to flee.
I did some measurements on Google Map. The First Nuclear Power Plant (Nuke 1, as it is usually called) in the northern tip of Taiwan is about 50km from my house - which is located in downtown Taipei City (the capital of Taiwan that houses around three million people) and only about 1km from the Presidential Palace. A car ride from the plant to my home takes only one hour and nine minutes.
The distance from my house to the Second Nuclear Power Plant (Nuke 2) is actually closer, only around 45km. Nuke 1 and nuke 2 are close to each other. This means, I am living in the range of 50km away from two nuclear power plants lying along the coast of New Taipei City, which has a population of six million.
According to an article in the New York Times, the US Embassy recommended US citizens living within 50 miles (80km) of the Fukushima nuclear power plant evacuate on March 17, 2011, amid threats of a meltdown. That means, I live within the recommended evacuation zone if something as drastic as what happened to the Fukushima plant happens to any one of the two nuclear power plants near my city.
And the Taiwan government and the state-run Taiwan Power Company (Taipower), which owns and operates all three existing nuclear power plants in Taiwan and is building another, which may be a littler farther from my house, but still close enough to send us all in the area worrying about its safety, and many calling for termination of the project.
According to Taipower, the current nuclear power plants account for around 20% of Taiwan's total electricity generated. And if the three nuclear power plants get decommissioned and the construction of the fourth plant gets halted, the electricity price in Taiwan will have to increase by 40%. According to a recent article by Taiwan-based Business Today, Taipower has not been consistent about the reasons why the construction of Nuke 4 has to continued, and actually the company has changed its argument many times. Also, the figures Taipower has presented to the Ministry of Economic Affairs - the governing authority of electricity - have been changed frequently. In addition, the report added, ever since Japan shut down its 54 reactors after the March 11 earthquake (with nuclear power accounting for more than 30% of total power generated in Japan), the electricity price only increased by 17%. So how is it that Taiwan will suffer a 40% increase in electricity price when nuclear power only has a 20% share? Taipower's figures are doubly questionable because the country has yet to use the electricity from Nuke 4.
Taipower's argument is that nuclear is the cheapest energy source in Taiwan. Compared to figures provided by other countries such as South Korea and China, Taiwan seems to have the cheapest nuclear power, and you cannot but wonder why nuclear energy is cheap in Taiwan, or whether Taipower's figures are biased. The skepticism is supported by the Business Today report, which claims that Taipower has been underestimating the costs of disposing nuclear waste and decommissioning. According to Taipower, the cost of producing electricity using nuclear power is NT$0.69/kWh (US$0.02/kWh). But a 2007 report by International Energy Agency (IEA), the cost of nuclear electricity from new power plants ranges from US$30-57/kWh, depending on the investments. The figures provided by Taipower are hard to believe because Taiwan imports the required equipment and components, not to mention the materials. It is nearly impossible for Taiwan to have the cheapest nuclear electricity cost compared to other countries.
And the dispute over Nuke 4 is not just about nuclear safety in general but also about alleged corruption and lack of quality plaguing this specific project. In the past 16 years of construction (yes, the plant has been under construction since 1997), Nuke 4 reportedly has experienced seven cases of flooding and several fires. Also, the project has been broken into several sub-projects with contractors for each of them having little coordination between them. There have been allegations that some of the work has been illegally outsourced.
The government should focus on campaigns to raise awareness of energy conservation and make the country a safe place to live in instead of constantly threatening citizens into supporting Nuke 4 with talks of imminent power shortages and increases in electricity prices. The government should help citizens to understand that as a nation that lacks energy resources, energy is very valuable. If we can rely less on imported materials to create energy, we should do so, and at the same time develop sustainable ways to maintain our quality of life.
The area affected by the Chernobyl meltdown is around three times the size of the entire island of Taiwan. And that was just the blast of one nuclear power plant. Taiwan cannot afford to have any radiation leak. What if there is an earthquake - which is very common here - that stops the cooling systems of the four nuclear reactors in Nuke 1 and Nuke 2? The debate about Nuke 4 and nuclear power at large is less about how much electricity we need than how it will affect the next generations.
A massive anti-nuclear protest in Taipei on March 9, 2013
Photo: Jackie Chang, Digitimes, March 2013


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Streaming Games
OnLive to be built into second-gen Google TV sets
A deal between OnLive and chip manufacturer Marvell will see second-generation Google TV devices capable of streaming games out-of-the-box.
Streaming Games headlines
Jaffe - "next generation of hardware will be the last"
Ex-Sony man and creator of Twisted Metal and God of War says consoles have had their time and will be gone within 10 years, but he concedes that his track record for predicting industry trends isn't the best.
OnLive's $10 per month flat-rate game plan launches January 15
OnLive Game System shipments have begun, and soon, so will a $9.99 per month flat-rate gaming plan from the service.
FCC mentions ZigBee and Bluetooth in OnLive MicroConsole report
Shots and a schematic for OnLive's MicroConsole TV adapter has surfaced via the FCC and according to the government agency's report, the streaming box contains ZigBee 802.15.4 and Bluetooth.


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Don't Buy an Expensive Personal Organizer – Create Your Own!
Do you often find yourself late for appointments? Do you feel unorganized? Have a hard time finding phone numbers, addresses or other important information when you need it? If so, then you need a personal organizer. A personal organizer system is an ideal way to help you stay organized and keep all of your information in one place. However, personal organizers — both paper-based and electronic — can be very expensive, and they usually contain categories or sections that you don't need.
Fortunately, it's not really necessary to spend a lot of money on a fancy organizer, PDA or smart phone. You can do it yourself and save a lot of money. Here's how you can create your own custom personal organizer that is inexpensive and perfectly meets your needs.
1. Materials you will need:
a. Small loose-leaf binder. You can find these at just about any stationary store, drugstore, discount, or grocery store. Make sure the binder has pockets in the front or back so you can put in a small calculator and your business cards.
b. Loose leaf lined paper. The paper needs to be the same size as the loose leaf binder.
c. Divider tabs.
d. Appointment calendar. These are small booklet-form calendars you can buy, or you may be able to get one for free from your bank or other merchants that offer these to their customers at the beginning of the year.
e. Small Calculator. Very inexpensive these days – sometimes as cheap as one dollar.
2. Create your categories:
a. Next, you will create the categories that you are going to put in your organizer. Common categories used by many people include addresses, telephone numbers, appointments, expenses, projects, to do list, notes, and so forth. You may create any category that suits your needs. Don't be afraid to be original, because this is going to be custom -made just for you.
b. Write the category names in the divider tabs. Place the tabs in the binder, and include several pieces of blank lined paper behind each divider section.
c. Put the calendar in the appointments section. Remove the outer cover first, and then punch holes along the inside crease of the calendar. Make sure the holes you punch are spaced the same as the binder rings.
d. Finally, put the calculator and your business cards in the inside pocket. The calculator will come in handy anytime you need to make calculations at work or when shopping, and your business cards will be readily accessible when you need to give them out.
3. Use it! Start using your new organizer right away. Any system, no matter how good it is, will be of no practical use if it is not used regularly. Get in the habit of writing down all of your business and personal appointments and important dates such as birthdays, anniversaries, holidays, etc. Also, write down the addresses, phone numbers, e-mail addresses, and other contact information for your family, friends and business contacts. Track your expenses, and write your to-do lists. Everything is effectively organized right there in one place to increase your efficiency and productivity.
That's basically it. You have created your own custom personal organizer for a fraction of the cost of the name brand organizer or a PDA. While it may not be as fancy-schmancy as one of the expensive organizer s, it will work just as well. In fact it will probably work better since you created this system just for you. Now, all you have to do is use it faithfully every day. You will be surprised at how well you will stay organized and keep all of your information in one place.


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We know it's a lofty goal, but we want our hair to feel soft and sleek every time we step out of the shower. No wonder we keep our caddy stocked with this mega-rich conditioner, which restores heat-damaged and chemically-treated locks. Oribe whipped up a rich combination of botanicals and proteins to infuse every strand with shine and lasting hydration. The sulfate and paraben-free formula also protects hair from the damaging effects of UV rays.
Oribe is by far my favorite hair care product brand. I use the shampoo with the conditioner and it makes my hair super soft and smell great! I have a lot of split end and dry hair problems and this helps keep that in check.
Last summer my hair got super dry and brittle. After getting some of the ends cut off it was still dry and flat. I bought this and the shampoo and it helped bring my hair back to life!
It's definitely a staple in my hair care routine. A good tip of making it last longer is alternate weakly or every other day with a cheaper shampoo since it's a pricey item and expensive to keep replacing!
And the smell? Amazing.
I am a big fan of Oribe. I normally use the Signature shampoo with the Conditioner for Brilliance & Shine. This conditioner, although it is supposed to be rich, is not as rich as the Brilliance & Shine conditioner. This is on the thin side. I felt like I needed to use a lot of conditioner each time, and it would rinse completely out, without leaving anything - which meant my hair was back to feeling unhealthy. I have fine, damaged hair and would prefer a thicker conditioner. I'll go back to the Oribe Brilliance & Shine.3


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Because Latin, not Greek,
Because Latin, not Greek, is, by and large, the official language of the Roman Rite. I would not mind, however, singing "Hagios ho Theos," on Good Friday, or "Kyrie Eleison" on any day. For that matter, nothing prevents celebrating the Ordinary Form of the Roman Rite in Greek. By the way, you used an "eta" where you should have used a "nu" and an "epsilon" where you should have used an "eta".
Jono - Then go edit the Koine Greek Wikipedia article.
Despite the jest and the point that seems to be lost -- our understanding and appreciation for Greek or Aramaic are equally important to the entire Christian community. For a few hundred years our Church [Pre-Schisms] expressed herself and worshipped mostly through Greek. The renewals of Vat II call for the Church to again appreciate ALL the rich heritage of our faith. Translations focused solely upon Latin are only halfway complete -- the very basics of our faith and liturgical life depend upon good translations of the Good News and Hebrew Scriptures.
Greek seems to have been
Greek seems to have been almost universal for only the first four centuries AD.
By the fifth century, various local Churches adopted "liturgical" languages as something other than the vernacular. Thus, by the fifth century we have liturgical Coptic, Amharic, Armenian, Georgian, Syriac, Old Church Slavonic (9th c), and Latin.
Note also that the Roman Liturgy was careful to keep some Hebrew and Greek.
Moreover, Greek often translated phrases literally.
Fortunately, the early translators of Scripture into English kept the Hebraisms that had previously passed into Latin, giving the English language a richer character (ex. apple of his eye; rise and shine; etc.)
The Wikipedia page has the
The Wikipedia page has the following: Κοινή. For what it's worth, I'll agree with you that we ought to embrace the whole patrimony of the Church. I think it's wonderful that the Maronites continue to say the Institution Narrative in their Eucharistic Prayer in Aramaic.
For that matter, I'm happy that ALL Catholics may gain a plenary indulgence on any day by reciting or singing the Akathistos hymn or the Paraklesis (as of the 1999 Enchiridion Indugentiarum) on any day in a family, church, or other gathering of the faithful.
We certainly ought to embrace the whole heritage of the Church. This includes embracing the heritage of the Roman Rite. Not only should all Roman Rite Catholics be able to chant the Ordinary in Latin (as Vatican II specifically requires), but we ought to be able to have a translation of the Roman Missal that does not obscure the meaning of the original (thus preventing us from actively participating in the liturgy).
I'm all for embracing the rites and popular devotions of the East as well, and do so in many cases (I can recommend the Melkite Publican's Prayer Book. This doesn't preclude me from wanting to embrace the particular heritage of my own rite.
Re: Koine?
The very basics of our faith and liturgical life depend upon good translations.
Is the translation currently in use good, though? It robs the faithful of a good chunk of the Scriptural references in the Missale Romanum, it dumbs down theological realities, and it lacks the poetry that should elevate people to an encounter with God.
The idea that the new translation is incomprehensible is ridiculous. Sure, there are a small handful of new words for people to learn, but many of the changes, particularly in the propers, actually convey the Church's teachings with greater beauty, poetry and clarity.
Maybe the new translation isn't perfect, but it offers English speaking Catholics an excellent opportunity to better understand their faith. Resistors like Bishop Trautman are only souring the faithful to the Mass they will soon celebrate and discouraging them from taking advantage of the great opportunity to come to better understand our faith that these changes present
Where would I fall along the
Where would I fall along the spectrum? I like the readings done in a language I can understand, preferably my native tongue. In my opinion, if the readings are done in a language that people don't understand without having to read a translation, then the purpose of proclaiming the readings has been erased. I don't want to have to read the readings through mass. I can read them just as easily at home. But often listening to them can give a different perspective.
However, if the entire rest of the mass was in Latin (with the exception of the homily, I don't know anyone who knows Latin well enough to do that) I would be fine with that. Everything else gets repeated every week, at every mass. It wouldn't take as long as people think it would to begin understanding the prayers without the need for a translation.
Have I made up my own version, not my intent. This is just what I feel.
I agree 100%. But, I decided to pick the all Latin option in the poll.
After attending the
After attending the Traditional Roman Rite (Latin) Mass a few times and using a hand Missal (with the Latin and Vernacular side by side) you will have absolutely NO PROBLEM following the Mass... indeed because you will read these prayers over and over again... you will tend to memorize and understand them.
As to the readings... they are usually chanted in Latin and then read in the Vernacular and of course the homily is in the Vernacular.
With a more complete Hand Missal you will have all the readings for the whole year written right there in the vernacular... which is very useful if you happen to attend the Traditional Rite Mass in a country where they do not speak your language... you will still FULLY PARTICIPATE in the Apostolic and Traditional Divine Liturgy.
I would prefer that the Mass be Prayed
Bishop Trautman really needs to give this a rest. We tried his approach, with the "new and improved, banal and trite English language" and it failed. People left in droves. I suspect most Catholics like sacral language, they like transcendence. If Hollywood can figure this out when they portray Catholic liturgy in the movies, why can't Bishop Trautman, who appears to have more in common with Calvinists than Catholics.


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Lost Animal is the project of Australian musician Jarrod Quarrell, whose hypnotic songs sound utterly suspended in time and free of genre.
"Ex Tropical," Lost Animal's debut record, which Hardly Art has just put out worldwide after its 2011 release, skips around the edges of trip-hop, doo-wop, lounge, and, most intriguingly, calypso.
The opening "(Intro) Beat Goes On" slinks out of the speakers with a string of nasty come-ons we can't print here, but it's unabashedly sexy. It sets the tone for an album that's a strange mix of electronic pop and global influences reimagined on Quarrell's keyboards; it feels both sleazy and sincere. Even when the melodies go soft and sweet, Quarrell spits his lines with a sneer you'd expect from Television's Tom Verlaine.
On "Old Lovers," as angelic female harmonies swirl overhead and bring to mind Leonard Cohen's "Death of a Ladies' Man," Quarrell muses, "Old lovers don't die / They just find somebody new to love." (Out now)
ESSENTIAL "(Intro) Beat Goes On"
James Reed can be reached at email@example.com.


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Join along for Central Oregon's premier bouldering competition! This year's Bash is super special as it will be hosted in conjunction with USA Climbing Open Bouldering Nationals. Competitors will receive a bunch of great swag from Bend Rock Gym – shoe vouchers, free memberships, apparel and more. Finalists will win some awesome bouldering gear from Metolius Climbing and a chance at the $5,000 Cash Purse! Bend Boulder Bash is a great competition for climbers of all backgrounds. This year, they will be adding a Masters category for female and male climbers 45 years and up. The top three male and female competitors in category will win a bunch of great gear and perks from Bend Rock Gym. Competitors will also receive free food and beverages from one of Bend's best local breweries, Silver Moon. Bend Boulder Bash is also a great event for spectators! Grab a beer or kombucha, buy some raffle tickets to support Bend Endurance Academy (Bend's Climbing Team) and watch some amazing climbing! It will be held at 3 p.m. on Friday, Feb. 1 at the Bend Rock Gym: 1182 SE. Centennial Ct. in Bend. Go to www.visitbend.com.
In celebration of Black History Month, the Cascade Festival of African Films shows us Africa through the eyes of Africans, rather than a vision of Africa packaged for Western viewers. It's five weeks of more than 30 feature, documentary and short films by established and emerging African directors from 18 countries. The films celebrate Africa's achievements, expose its failures, and reveal possibilities for a hopeful future. The annual festival is from Jan. 31 - Feb. 29 at two locations in Portland: PCC Cascade's Moriarty Arts & Humanities Building, Rm. 104 at the Hollywood Theatre. More online at africanfilmfestival.org.
The PDX Jazz Festival is a multi-venue series of jazz events presented each February within Portland. You can enjoy performances of international, national, regional and local jazz artists on six stages. They will also have educational workshops, jazz conversations, jam sessions, and student art. The festivities are from Feb. 19 - March 1 at various venues throughout the Portland metro area. More online at pdxjazz.com.
The FisherPoets Gathering is an authentic, creative celebration of life in the commercial fishing industry. A hundred fisher poets from coasts near and far share original stories, songs and poetry with each other. Enjoy storytelling, workshops, a self-guided cannery tour film and visual arts. It will be held from Feb. 28 - March 1. Numerous venues throughout downtown Astoria will be hosting FisherPoet Gathering events, so check the website for locations at www.fisherpoets.org.
The West Coast's longest-running consumer golf expo returns, Feb. 28 - Mar. 1! Take advantage of the lowest prices of the year on name-brand clubs from the industry's leading manufacturers, hit balls on a free driving range stocked with the year's hottest new clubs, play fun skills contests to win stay-and-play vacations, receive FREE lessons from top pros, enjoy beer and distillery tastings, plus special areas for kids, golf fitness and more. In addition, a $15 ticket includes up to four rounds of golf and more! It will be held at the Oregon Convention Center: 777 NE. Martin Luther King, Jr. Blvd. in Portland. Hours, exhibitors and activities at PortlandGolfShow.com.
The Bricks Cascade event showcases products like custom-made plastic elements and old or vintage LEGO sets and many more related products and services and in the Sporting Goods, Toys & Games industry. The event is for all ages, from the expert builder to those who just appreciate seeing the creations. It will be held from Feb. 29 - March 1 at the Oregon Convention Center: 777 NE. Martin Luther King, Jr. Blvd. in Portland. Go online to brickscascade.com.
Musica Lanterna Concert Series Project presents the fourth concert of the season in an intimate setting of Tandem Hall, Downtown Vancouver Washington. Join Florida-based Czech-American concert pianist David Kalhous in a program of solo piano music from Baroque to Contemporary styles. An evening is accompanied by an art exhibition of an award winning fluid artist Joanne Cavallaro. Special guest: 14 years old pianist Jeffrey Tso. Audiences are invited to join an after concert Talk/Conversation. You will be able to share your impressions, ask questions and get to know more insights directly from our artists. Drinks and refreshments are provided by Boomerang Bistro. Where? Tandem Hall at Boomerang Bistro, 808 Main Street, Vancouver, WA. When? February 29th, doors open at 6:15 p.m., show starts at 7 p.m. Tickets and info at www.musicalanterna.com.
Hosted by the Portland Christian Science Lecture Series, their third speaker this season is Phillip Hockley, CS of Chesterfield, Missouri. Phillip will share how the perspective of God and reality that Christian Science opens up is one that offers freedom from whatever in our lives seems painful, debilitating, or limiting. You will learn how Mary Baker Eddy's discovery in the nineteenth century is still relevant to our lives today because of what it reveals about God's great love for each of us and its powerful, life-transforming effects. His talk is on Thursday, March 5, 7:15 p.m. at the PSU Native American Student and Community Center: 1422 SW. 11th Ave. in Portland. More online at pdxcslectureseries.com.
This year, the 3-day festival will bring 12+ bands, new venues, dancers and workshops! It will be held from March 6 - 8 at the Crown Alley Irish Pub: 21712 Pacific Way in Ocean Park. For details, visit their Facebook page.
The 2020 Nehalem Winterfest at NCRD is made up of three shows, from March 6 - 8. On Friday, March 6, 7 p.m., Marlin James Band will be performing. They are one of the Northwest's most requested Country/Rock bands! They have been recognized as Band of the Year by 8 Seconds Saloon in Indianapolis and recorded the hit song 'That Old Familiar Pain' on the hit TV Show 'Supernatural'. They are influenced by Keith Urban, Charlie Daniels and other well known names in country music. Eagle Eyes will take the stage on Saturday, March 7, 7 p.m. They are a tribute band to the legendary music of the EAGLES. Eagle Eyes has taken great care in recreating the harmonies and capturing the live true magic that the Eagles were renowned for. Hailing from Vancouver Island, British Columbia, the four members of Eagle Eyes have over 120 years of combined experience as professional touring musicians. And the third within the lineup of performers is The Mel Brown Quartet on Sunday, March 8, 2 p.m. They came together in the fall of 2002 at Jimmy Mak's, a popular jazz club in Portland, Oregon. All seasoned jazzmen, the group has become a mainstay in the Portland jazz scene playing to enthusiastic, full capacity crowds at every appearance. In the 1999 Brown was inducted into the Jazz Society of Oregon Hall of fame. The Nehalem Winterfest is located at 36155 9th St. in Nehalem. Go online to ncrd.org.
There's so much to love about the Oregon Chocolate Festival! Each year the festival features the dreamy, mouth-watering creations of dozens of West Coast chocolatiers. These food artisans present a variety of fine chocolates and chocolate-inspired products that tease the taste buds of over 3,000 visitors. Chocoholics – ahem… that is, Chocolate Lovers – up and down the west coast dream about this weekend every year! Several tantalizing events have come to be associated with the Oregon Chocolate Festival including the Chocolate + Wine Party, Choclate Maker's Wine Dinner, Friday Night Disco Inferno Social, Charlie's Choclate 5K and 10K Run/Walk and more. This annual event is from March 6 - 8 at Ashland Hills Hotel & Suites: 2525 Ashland St. in Ashland. More online at www.oregonchocolatefestival.com.
The 10th Anniversary of the Washington State Horse Expo is March 6th through 8th at the Clark County Event Center: 17402 NE. Delfel Rd. in Ridgefield, Washington. Don't miss a weekend gathering of horse experts, vendors, a kid's corral and clinicians like Stacy Westfall, Steve Rother, Evan Bonner, Robert Eversole and many more! Advance discount tickets are available ONLINE and at participating Wilco Farm stores February 3rd through March 5th. Follow their page on Facebook and visit WashingtonStateHorseExpo.com for more details.


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Cloud Based Pos
Every month, thousands of businesses use Capterra to find the right POS software. SWIM offers a POS system for businesses operating within the jewellery sector. These relatively simple devices (compared to technologies today) have evolved in recent years to provide processing of multiple applications (credit cards, debit cards, gift cards, EBT cards) and also provide age verification & employee time clock. After all, we've installed over 30,000 POS systems across the U.S with the most reliable convenience store equipment available.
Note, hardware costs are not included in monthly POS software costs. This is one effective way to alert the company to any suspicious activity – such as a high number of cancelled sales by a certain cashier – that may be going on and to take monitoring action. The POS includes a payment system, online ordering platforms, accounting systems an CRM. After much consideration, our top picks for POS systems for small businesses are Vend, Bindo, ShopKeep and TouchBistro.
Moreover, depending upon the exact nature of merchant's' business, additional peripheral POS systems may be integrated, including electronic scales and conveyor belts. It's easy to throw in words like cutting edge intuitive, and powerful, but when it boils down to decision time, you and your staff have to decide whether the POS System is any of those things.
[ic_bing_related keyword="pos systems"]


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Editors Picks: October 2010 Scrapbook Products
Looking for the latest and greatest products for your scrapbooking? You'll love using these fabulous patterned papers, die cuts, bling, and more to create beautiful scrapbook layouts. Plus, we've discovered a fabulous kit to help you scrapbook even faster when you're on the go! Check out the following products:
Toil & Trouble Halloween Collection
The smiley spiders, skulls, and jack-o-lanterns in Making Memories' Toil & Trouble collection will outfit your scrapbook layouts in seriously spooky style. You'll particularly love the paper doll patterned paper: punch out and dress up a little doll to create a custom accent that's perfect for your child's Halloween parade layout
Get ready to scrap on the go with Me & My Big Ideas' purse-size matchbook kits filled with stickers, a title, and journaling spots galore. You'll be ready to get a jumpstart on your pages from your car, the hotel, or wherever your journey takes you. All you'll need are your photos, adhesive, and favorite pen.
You won't believe how easy it is to achieve an artistic lookon your scrapbook layout—just use one of these gorgeous peacock feather designs, foil printed on shimmery or textured paper, from Hambly Screen Prints, as your page background. With fabulous autumn color combinations like eggplant and gold or deep copper and turquoise, your Thanksgiving scrapbook pages will look stunning.
- see more cool scrapbooking products on page 2 -
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How Singapore's currency club fell apart8 min read . Updated: 07 May 2013, 05:28 PM IST
Rate-setting scandals in US, London triggered review in Singapore, which found signs of currency manipulation
Rate-setting scandals in US, London triggered review in Singapore, which found signs of currency manipulation
Singapore: Mukesh Kumar Chhaganlal said he tried to warn his manager at UBS AG about the "increasingly unrealistic" currency rates being set last year for the Indonesian rupiah against the dollar.
His manager told him nothing could be done because "there was no way to control the market or how people set the rates on the market", according to court documents Chhaganlal filed in Singapore recently in his wrongful termination suit.
Months after this alleged conversation, UBS fired Chhaganlal. He says in court papers he has not been given the reasons for his sacking, and that he was not a party to the fixing of any reference rates in the market. Six of his colleagues on the UBS trading desk also left the firm.
The staff departures came after regulator Monetary Authority of Singapore (MAS) ordered banks to review how they set currency and interest rates following scandals in London and the US.
Chhaganlal's battle with the Swiss bank is part of a broader story about how a clubby, foreign exchange trading community was torn apart in a rate-fixing manipulation probe in Southeast Asia's financial hub.
It also exposed weaknesses in the way central banks in the region manage their currencies—particularly in Indonesia. Bank Indonesia, the central bank, told Reuters it has been holding discussions with currency traders about how to strengthen its rate-setting mechanism.
UBS has declined to make any statement on the lawsuit by Chhaganlal, which it is defending, or the departure of its traders, saying it does not comment on legal cases or staff matters. It said it is "co-operating fully" with Singapore's reviews on how banks fix interbank lending and currency rates.
Born in financial crisis
The main product at issue, a non-deliverable forward (NDF), allows foreign investors and companies to hedge or speculate on emerging market currencies when exchange controls in those countries make it difficult to trade directly in the spot market.
Jakarta had strongly opposed the creation of an NDF market for the rupiah when it was first set up after the 1997/98 Asian financial crisis.
Unlike neighbouring Malaysia, Indonesia did not impose capital controls during or immediately after the financial crisis—it was under an International Monetary Fund (IMF) programme at the time and the IMF frowned on such controls.
But Bank Indonesia thought the lack of such controls made the rupiah vulnerable to speculators. So it imposed new rules in January 2001 banning the transfer of rupiah to non-Indonesian residents, making it harder for dealers in Singapore to trade the Indonesian currency.
Within a month, Singapore's bankers had found a way round the obstacle by establishing the rupiah NDF market—similar to what traders had done previously in Latin America, Eastern Europe and elsewhere in Asia.
Singapore's NDF market increasingly rankled central banks in the region, who loathed the idea that a handful of foreign bankers could undermine their exchange rate regimes by creating alternative offshore markets.
A trigger to act against them came in the mid of a probe by global regulators into bank manipulations of the London interbank offered rate (Libor) in Britain and the US last year. The MAS told banks on rate-setting panels to review how they determine reference rates used to benchmark bank lending and, subsequently, NDFs.
Reuters revealed in January those reviews had found evidence in eletronic messaging conversations that traders from different banks were colluding with each other to set NDF rates to benefit their trading books rather than reflecting market conditions.
Banks on the rate-setting panels have declined to comment on the investigations.
As banks pored over thousands of emails and electronic message conversations, they were under public instructions from MAS to take disciplinary action against anyone involved in "irregularities".
People with direct knowledge of the matter say that process has led to the decimation of a once robust community of NDF and interest rate traders. At least 50 were suspended by their banks at one point—around half the Singapore market—though some have since been allowed to return to work, they said. The rest were fired or left voluntarily.
The fallout from the rate-manipulation scandals in London, New York and now Singapore has put more regulatory pressure on banks—under scrutiny since the 2008 global financial crisis—to reform the way interest and currency rates are set.
Banks in Singapore have already decided they will stop setting reference rates for Malaysia's ringgit and Vietnam's dong. The local foreign exchange and banking associations are expected to announce further reforms in the coming months.
The scrutiny may also create more transparency in the way currency rates are set in countries such as Indonesia.
"The blackhole"
Singapore's NDF trading market is an especially tight-knit group, according to people involved. One of their favourite hangouts was the Il Fiore (or The Flower), an easy-to-miss basement bar below a Singapore office block. Nicknamed "The Blackhole", it's dark and cozy inside, with a portrait of a topless woman in a red thong greeting patrons heading to the toilet.
Outside, it's cramped and smoky, with card games common on the patio's round tables.
For more than a decade, many of these traders, operating with scant oversight or regulation, tried to help each other make money by manipulating the currency rates submitted to a Singapore bank panel, according to interviews with participants. They did this mostly through "chat" messages sent through their trading terminals.
NDFs allowed them to make a bet on the direction of the currency without ever having to physically exchange rupiah. The market also gave foreign companies and fund managers a way to hedge against sudden swings in the exchange rate that could affect the value of their investments in Indonesia.
The NDF market for the Indonesian rupiah began on 19 February 2001 with a $1 million trade in a six-month dollar-rupiah contract. Given the fledgling market's small size, the dealers drafted in to trade it were often quite junior.
But as the market started to thrive, and daily volumes went from tens to hundreds of millions of dollars, these traders swiftly rose up the ranks, and pay scale. Eventually it included other currencies, such as the ringgit, the dong and the Philippine peso.
"The NDF market grew very quickly," a former trader said. "Guys became head of desk when they were still pretty young." As volumes grew, so did compensation, as traders were typically allowed to keep a percentage of their gains as an annual bonus.
Significant impact
By 2011, according to data from the Bank for International Settlements, the offshore market for the rupiah was seeing volumes of up to $1 billion a day and was bigger than the onshore one. A study by Bank Indonesia in 2012 showed the NDF market often had a significant impact on its onshore market.
This underscored the Indonesian central bank's concern that a small band of Singapore traders was helping to move an exchange rate for a country of 250 million people.
Standard Chartered, Singapore's DBS and OCBC, UBS, Deutsche Bank, and Royal Bank of Scotland were among the players in the NDF market.
Despite advances in electronic trading platforms, where trades are executed in a faster and less expensive manner, the Singapore NDF market remained mostly an old-fashioned phone-brokered one.
The older generation of traders in particular liked to keep it that way. They used brokers to match up currency buyers and sellers during the day. After work, the traders were rewarded with nights on the town, expensed by the brokers.
Asked why Singapore's NDF market has been slow to shift to electronic trading, a former broker quipped: "Because a screen can't buy you a beer."
Cowboy market
While it would normally be difficult to influence an exchange rate—the billions of dollars that pass through most currency markets every day make them close to impossible to manipulate—currencies like the rupiah are different.
Traded just onshore, Singapore banks had to rely on quotes from traders in Indonesia to know what the spot rate was, but often they did not trust the prices they were being given.
"It's a cowboy market, nobody knows what the rate should be," said one trader. "You are sitting in Singapore, you don't know where the market is trading, (Bank Indonesia) is asking the local banks to quote you some other price, so we don't know where to put the rate."
With Singapore traders reluctant to rely on the spot rates they were being fed from Jakarta, they opted instead to talk among themselves about where the rate should be. It was, as one trader put it, a form of "price discovery".
Bank Indonesia acknowledged weaknesses in how the rupiah reference rate was fixed. The central bank has been discussing how to establish a credible reference rate in Indonesia that can be used as an alternative to offshore fixing in Singapore, said Perry Warjiyo, deputy governor of Bank Indonesia.
"When it is strong, we expect it can be a reference," he told Reuters. "We want to drive it as a reference," he said, adding that the central bank hoped to start the new reference rate within the next two months. "We have met with market players."
"Rigged dice game"
In June 2012, Britain's Barclays was fined $453 million for manipulating Libor, a lending benchmark used to price trillions of dollars of loans and derivatives. The shenanigans revealed in that scandal prompted other regulators to take a closer look at their own domestic benchmarks.
When banks in Singapore began MAS-ordered reviews into their domestic lending reference rates, it became clear a Libor-style pattern of rate rigging was apparent in the NDF market.
"They started to look at the interbank fixing, then they thought they should look at other benchmarks, so they looked at NDFs and went 'oh s**t'," said one banker with knowledge of the reviews.
Bank investigations were throwing up evidence that the constant messaging among NDF traders often centred on the daily fixings and whether dealers at different banks could do their friends a favour.
If they had a big set of contracts due to expire, they reached out to their peers, trying to push the fixing in their favour.
"It was like a rigged dice game, where the traders were changing the numbers on the dice when no-one was looking," said a former foreign exchange dealer.
As the MAS reviews took place, traders suspected of wrongdoing were suspended, causing trading volumes to sink.
To corporate treasurers and fund managers who paid for the derivative to hedge currency risk, long-held suspicions that the market was gamed was no longer a secret.
"It's one of those things that you have to live with because they do it, everybody knows it, and we are the victims," said one hedge fund manager who uses NDFs.


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Sonos was way ahead of the curve (as in a decade) in the march to connect the speakers in your living room to "the cloud," which it has done for years with an expanding line of home-networked speakers that connect to the internet and local machines to stream music throughout the home. But even as Apple's AirPlay continues to make inroads into that same market, Sonos continues on its mission — thanks in part to a $135 million investment round closed in June.
The rest of the world is catching up to Sonos' vision (see also: DLNA), but Sonos continues to add important features, the way it did today. Right on the heels of its integration with Songza, whose "music concierge" service streams free (and ad-free) music for specific situations, Sonos announced on Thursday that it now works with Amazon Cloud Player, allowing users to stream music from that locker service to any room with a Sonos in it. As usual, of course, you can control that music with an Android, iPhone, or any computer on your network.
"When we started designing our streaming music system 10 years ago, we always envisioned a world of music in the cloud," said Sonos senior PR manager Eric Nielsen. "The Amazon Cloud Player is a first for our customers in that you truly no longer need an active computer or a NAS drive to rock all of your music in any room in your house."
This is a nice addition to Sonos' suite of services, in part because streaming from a computer can be an issue with Sonos (which fails to recognize any music on my Mac due to some weird permissions issue), and because most people don't want to buy a NAS drive just to play music. If you're already storing music in Amazon Cloud Player (free for up to 250 songs or $25/year for up to a quarter of a million songs), this Cloud Player integration means you can play the music without worrying about home networking — or what happens if the person with the music on their laptop picks it up and goes to work.
Crucially, Amazon recently added scan-and-match functionality to Cloud Player, so you don't even need to upload the songs one-by-one — most of them just get recognized on your computer and zapped to the cloud, from where you can now play them on your Sonos, with the ability to "search, browse, and play every song, album, and playlist in every room."


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Geological Survey Pinpoints Ages Of New Jersey's Oldest Rocks
TRENTON — How old are the oldest rocks in New Jersey and where are they located? Perhaps these questions haven't exactly kept you up at night, but geologists have been wondering about them for a long time.
They know that the rocks in the mountains of North Jersey's Highlands, remnants of ancient Appalachian Mountains that at one time rivaled the Rockies in might, are the oldest in New Jersey. They also accept that these rocks are about a billion years old. But they never knew precisely how old — until now.
The New Jersey Geological Survey, within the Department of Environmental Protection, teamed up with the U.S. Geological Survey and the Australian National University in a project funded by private grants to provide the most precise dating ever of New Jersey's oldest rocks.
Rich Volkert, a geologist with the New Jersey Geological Survey, and a colleague from the U.S. Geological Survey in Denver, collected rocks from the Highlands, which were then analyzed using a highly sophisticated dating technique at the Australian National University.
The researchers were able to date the rocks to within nine million years of certainty, a degree of specificity never attained before. They found that the rocks are actually quite a bit older than the generalized billion-year-old estimate ascribed to them.
Most of the rocks fell in a range of 1.02 billion to 1.25 billion years old, but a narrow belt stretching from Wanaque to Ringwood was dated at 1.37 billion years old, making these the oldest rocks in New Jersey.
"Unraveling the geologic history of the New Jersey Highlands from the age of bedrock obviously is interesting to scientists," said State Geologist Karl Muessig. "But it also has practical applications for environmental risk assessment. For example, potassium-rich granites of a certain age in the Highlands contain higher concentrations of radioactive elements than most other granites and are likely to produce higher radon levels in soil and water. More precise mapping of these granites will help better identify areas that may pose greater public health risks from radon."
Geologists have long understood that the mountains of the Highlands were formed during a mountain-building period known as the Grenville Orogeny, which occurred about a billion years ago — a time when land that is now part of South America was adjacent to what is today New Jersey.
"Rocks of the New Jersey Highlands form the roots of the ancestral Appalachian Mountains that were formed during a collision of continental land masses about one billion years ago," Volkert said. "The result of this mountain-building event uplifted the earth's crust in eastern North America, including the Highlands, to heights rivaling the present-day Rocky Mountains."
Hundreds of millions of years of weathering have left erosion-resistant granite and gneiss that form the rugged ridges and steep-sided hills that are characteristic of the Highlands region. But the wearing-away occurred unevenly, meaning the rocks that you see jutting from a hillside or at a valley floor — or even just a short distance from each other — are likely to be of differing ages.
Volkert was joined by John Aleinikoff of the U.S. Geological Survey in looking for a comprehensive cross-section of rocks that would give them their best chances of finding the fine degree of age differences they were seeking.
The rocks were shipped to the Australian National University in Canberra, where scientists used an intense beam of energy to measure the half-life of radioactive isotopes in zircon particles that contain lead and uranium. This method is known as the uranium-lead method of geochronology using the Sensitive High-Resolution Ion Microprobe (SHRIMP) technique.
"This is the state-of-the-art method for determining the precise age of ancient rocks such as those that have been metamorphosed under conditions of high temperature and pressure as is the case with the bedrock in the New Jersey Highlands," Volkert said.
The rocks that the researchers dated are as old as those found in the Adirondacks and parts of southeastern Canada. The belt of oldest rocks is some 350 million years older than previously known. That's quite a difference, even considering the long spans of time geologists work with.
"Consider that it has only been 65 million years since the extinction of the dinosaurs, and 200 million years since continental drift and plate tectonics opened up the Atlantic Ocean," Volkert said. "This is why we are so excited about the new level of understanding we now have about the age of these mountains."
"This type of study is a geologist's dream come true," Muessig added. "Over the years, the New Jersey Geologic Survey has produced significant insights into these ancient and complex rocks, but the analytical methods used in this study have opened the door on the true antiquity of the Highlands. Through a more precise scientific understanding, comes an even deeper respect for these venerable mountains."
To view this article, visit http://njtoday.net/2010/12/02/geological-survey-pinpoints-ages-of-new-jerseys-oldest-rocks/.
The NJ highlands are right in the middle of the 'Reading Prong' - the formation that included Stanley Watras' home which runs from Eastern Pa to NY.
There was serious consideration to mining uranium in this area - before Three Mile Island and the pasue in building new nuclear planst in the US
Ogdensburg and Franklin NJ are considered the Mineral Floursescence Capital of the World
My home town of Rockaway is famous for its iron mines and the Picatinny Arsenal which produced cannonballs for the Revolution
And you thought NJ was just the Garden State


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Ferrari 458 Italia receives Auto Express "Performance Car of the Year 2011" award
Maranello, 3 August 2011. Not only is the Ferrari 458 Italia considered the benchmark by which all other sports cars are measured, but it is now the model which has received the highest number of the industry's leading international accolades ever. The latest of these was handed over last night at the 2011 New Car Awards ceremony held by the UK's biggest selling weekly car magazine, Auto Express, where the Ferrari 458 Italia took the title of "Performance Car of the Year 2011" ahead of 20 other performance cars, emerging as the clear winner in terms of performance and handling, both on road and on track.
The 458 Italia's critical and public acclaim knows no bounds, as can be confirmed by the over 30 international awards it has already accumulated. Among these is the recent recognition received from China, now Ferrari's second-largest market, where the 458 Italia was presented with the 2011 China Automobile Industry Outstanding Achievement Award.
This accolade joins other top awards such as BBC Top Gear's "Car of the Year" and "Supercar of the Year". The car also met with the enthusiasm of the German automotive public which voted it Best Sports Car 2011 in the prestigious specialist magazine Auto Motor und Sport, while in the USA the 458 Italia won the title of World Performance Car of the Year 2011 as well as Robb Report's Car of the Year 2011.


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General Information
We publish daily reports of observed and forecast, avalanche, snow, and mountain conditions at the 6 most popular areas of Scotland during the season.
You can find out more about Avalanches or, about Forecasts or, about the SAIS by clicking on the relevant index link on this page.
We keep an archive of all forecasts since 1993 which is browse-able and download-able.
Reporting an avalanche, especially if witnessed, provides valuable stability information which can be used to help all mountain users with their decision making process and, which also provides essential data for avalanche research. We encourage anyone who sees an avalanche to help the SAIS by Reporting an Avalanche using our on-line form.
Please feel free to send us your Comments or Questions.


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Partner | Washington D.C.
firstname.lastname@example.com | (202) 887-1574
J. Alex Ward is co-chair of Morrison & Foerster's Government Contracts and Public Procurement practice. His practice covers a full range of government contracts matters, including bid protests, claims, investigations, corporate transactions, and counseling. In addition, he regularly handles federal and state court litigation and alternative dispute resolution involving government contractors. In all matters, Mr. Ward's constant goal is to provide his clients the highest level of efficient, ethical, and effective representation.
Mr. Ward has served as lead counsel in dozens of bid protests involving military and civilian agency procurements of a wide range of products and services, including all manner of pre- and post-award protests in the GAO, the U.S. Court of Federal Claims, and state tribunals, as well as appeals to the U.S. Court of Appeals for the Federal Circuit and size protests before the SBA's Office of Hearings and Appeals. He has handled all aspects of the claims process, from the initial assessment and drafting of requests for equitable adjustment through litigation in the Boards of Contract Appeals and the Court of Federal Claims. He has represented contractors in internal and external investigations, disclosures to the government, and qui tam litigation, with a great deal of success in reducing or eliminating his clients' exposure through active engagement with the relevant government bodies. His work on transactions involving the purchase, sale, and restructuring of government contractors has ranged from overseeing diligence on the target company's government contracts portfolio to advising on issues such as FOCI and CFIUS review.
Mr. Ward's litigation and ADR practice covers the gamut of controversies confronting government contractors, including prime-sub, teaming partner, employer-employee, competitor, and indemnification disputes. His litigation work also includes a variety of pro bono engagements, in which he has represented both individual and institutional clients in matters ranging from criminal defense to protection of the environment.
Prior to joining the firm, Mr. Ward served in the U.S. Army as a commissioned officer and an Assistant to the General Counsel of the Army. His work for the Army included civil works and international matters.Show More
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