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When a star like our own reaches the end of its life, it begins to run out of hydrogen fuel in its core. Like a car running out of gas, it will begin to sputter, swelling to a size that could encompass every planet in our solar system out to Mars. When this happens, the sun will swallow the Earth and will spell certain doom for all life on our planet. Today's tutorial is part of a 4-part series depicting the journey of the inhabitance of a dying world that must travel into the unknown to find a new world to call home. In this series, we will explore the cosmos from the perspective of this fictional civilization making their way through the universe and will demonstrate the techniques that you can use in Photoshop to depict your own cosmic scenery. In addition to written content, this tutorial also includes about an hour of video instruction to help you along the way. So what are you waiting for? Let's get started!
Tutorial Assets
The following assets were used during the production of this tutorial.
Step 1 - Creating Our Brushes
This step is very important, we will be using these brushes and this brush creation process extensively throughout not only this tut, but through the whole series. So I will show you the creation of some brushes and that will easily take you onto creating your own collection. We will be using the textures I made provided in the download link 1 and 2 for this so go ahead and get those first, of course that is my selection yet you might find something that you prefer or make your own, either with your camera or with a texture generator software. I used Artmatic for most of them but its Mac only, yet you have an awesome alternative on windows called Genetica. OK got them all? let's open up this one below.
Now let's trace with the lasso tool the features we want to include in the brush, just set the feather of the lasso tool to around 50px so we get a nice soft edge.
Next do a copy and paste on to a new layer so we get our selection out of the background.
And then just scale it down a bit nice and centered so that our brush its not too big; if the selected portion to define the brush its too much, the define brush preset option might not be available.
Perfect; next invert the image and erase any dark border softly with a big soft brush. Whatever you select to create a brush, black and gray tones will appear when you stamp your brush, and white means the opposite, nothing will appear.
Here you see I selected the eraser with a big soft brush and below you can see the areas that needed erasing a bit so there will be no sharp edges in our resulting brush.
Just be sure the size falls into an accepted range for a brush, if not scale it a bit more. Don't worry you will know if its too big, the option will be grayed out.
Once you have it ready just drag a square selection around it leaving breathing space and with the content centered. Then go to the menu and select the define brush preset option.
Now let's make a document the size of the piece we will be working on, I selected the settings shown here, fill the document with black and create a new layer for the testing so you don't mess up our black background.
OK now select a bright color for the tests, I selected bright yellow since we will be working with the fire of the sun. Then scroll down the brush list to find the newly created brush.
Stamp it once first to see how it looks, like it very much; yet if you need to do adjustments go back to the image, erase more if you need, or repeat the selection process, or even adjust the levels to alter the contrast and then define the brush again.
OK now most of the time we wont be using the brushes just as a stamp so we must see how they behave with different options enabled. So check on shape dynamics and transfer in the brush palette with pen pressure control.
Let's test this again, looking good so far, play with the palette options so you start to get a feel of what everything does and affects your brushes.
For example for this brush I decided to try out some more angle jitter and tested it again.
Next on we will be doing a couple of more brushes so you get the hang of it plus you will see some differences in each. Even though I assume most of you already have the creation process down read on with the rest of us. OK so open this other texture I made.
So again with the lasso tool and a feather of about 50 px which you must remember to set back when we finish with the brushes or all your selections will be 50 px soft. OK so select the part of the texture that has interesting details and copy and paste it on to a new layer and then hide the original.
Then scale it down nice and centered followed by an invert Command/Ctrl.
Let's now adjust the levels for this one a bit also as shown here.
Nice in this case I think we are ready to define the brush preset. Name it or just click OK; you can always rename your brushes later.
Again scroll down the brush list and find the newly created brush, select it and do a test stamp. Looking quite nice to me.
Then as we did before let's try it out with some settings enabled to see how it will work. Go ahead and select shape dynamics plus transfer all with pen pressure enabled.
I like the results, I don't think we need adjustments.
Happy with the last one let's go on to this other texture and find a good zone for another brush, this image has a couple of good zones so we will be getting 2 brushes from it.
OK go ahead and repeat the process; copy and paste to a new layer, invert, scale it down, and in this case adjust the levels as shown here.
OK now drag the selection for this brush define the brush and let's go test it.
Let's go all the way down the list again, find the new one and do a test stamp. This one looks very very nice
Enable the usual shape dynamics plus transfer; yet this time adjust the angle jitter slightly and do a test stroke.
This one really looks sweet, let's try this same brush blocking capabilities so select black and stroke on top of the test, Very very nice we have a gem here.
Now brushes are not limited to this options, you can apply texture to the existing brush, and you can combine the brush with another brush as shown below. Test it out and see the effects you get.
Here are my results with the settings above; ain't that interesting. OK let's move on we have much to do.
This same texture has this very interesting zone that might make a delightful brush so select something like this below and of course copy and paste it on to a new layer.
Then again invert the image and adjust the levels as shown here.
Nice, now define the brush as you already know and let's go to the test document, find the new brush and stamp once. Lovely I knew it was going to look cool.
Let's now enable our basic settings for shape dynamics and transfer to do a stroke test. Looking very nice also; this texture is a success.
Now let's move on to another sweet texture that has also a couple of sections we can use separately; go ahead find and open this one below.
OK let's start with the section shown here, so grab the lasso again and select something similar, then copy and paste it to a new layer.
Now let's invert the image and ...oops we don't need those red tones, we can hardly see the features of it. So let's desaturate the image so we only get grays.
Nice that is much better now let's adjust the levels a bit to get more contrast as shown below.
You can see the results below, now let's make the selection and define yet another brush preset.
Scroll down the list of brushes and test this one too, if you are satisfied let's move on.
Let's now choose this other section of the texture and follow the same process, copy and paste it to a new layer, this time desaturate it first since we know we will get the red inverted result.
Next invert it and adjust the levels as shown here.
Great nice looking brush, so now drag a selection for it and define a new brush preset.
Next let's find it and test it; if you tested the other selection from this texture you can see both have similar features yet slightly different patterns, we have two delightful cloudy brushes. Go ahead and test it with the palette options enabled.
The last brush I will show you its not from a generated texture, its from an image in case you don't have access to any texture generating software, or you prefer to take images of your textures with your camera, which is just as good. So let's open up the image here from link Texture2.
The process is more or less the same, define the elements to include in the brush, just have in mind that the brush will be inverted when selecting the features. Copy and paste to a new layer and scale the resulting section a bit centered in the image.
We will also desaturate this one to get rid of any distracting color information and we will also invert our results.
This one will also benefit from some levels adjustments to set the contrast to our liking.
More often than generated textures, images need for us to fine tune the edges erasing bits and making it softer. So grab the eraser and with a big soft brush erase as shown below.
Now that you have erased what is needed then just as we have done before drag your selection for it.
Then define the brush preset, name it or just click OK.
And of course let's go to our test document, find the brush all the way down the list and make a test stamp.
Now let's enable the options we have been working on, in this case I varied the spacing just a bit. And do a stroke test. Do some variations, get to know your brush capabilities and properties. We have finished with this step, go ahead use as many textures as you want do as many brushes as you want; just remember big brushes like this slow down Photoshop's load time so keep your collections restricted, I recommend not to have huge lists of brushes. You can also load the brush file I used so you have the same exact brushes for the rest of the tutorial and for the rest of this series.
Step 2 - Sun Texture
Now we will be creating the base for our main character the big red giant star, we will be using the same document where we have been testing our brushes, simply delete the testing layer and grab the ellipse shape tool with a medium gray and while holding shift we define a huge round shape that exceeds the boundaries of our canvas as shown here and if needed we scale and move it into position.
Great, once you have it we need to rasterize the layer and lock the content as shown below.
Next we will be using several of our newly created brushes to create the texture of this great big star, we can start with this one here and setup the brush palette as we have done in the testing.
This is a very personal process; what looked good to me might not look as good to you, to check out exactly what I did follow the video. Paint some texture with black, and then change the brush, maybe to this one below, and paint some more.
Keep on changing the brush adding new surface features, if it turns to dark you can change the color back to a lighter gray and alternate between the black and the gray as well as with different brushes and settings.
OK this is what I came up with, a nice varied surface that we can work with.
Once you are satisfied with your results we need to make this texture have the appearance of a spherical body, let's start by using the layer to make a selection of it by hitting Command/Ctrl + click on the layer thumbnail (Command/Ctrl + click windows)
Once you have the selection apply the spherize filter twice with the settings shown below.
Perfect, this is the result so far after the filter has been applied.
Next we will create a couple of adjustment layers for our sun surface so we can tune it and make it look like a sun. First create a levels layer and adjust it as shown here. You can see the increased contrast results below.
Then create a hue/saturation layer and adjust the settings as shown below.
When you are done grab both layers and create a clipping mask so they only influence our suns surface
Nice, now we have a big orange texture that starts looking like a sun. We will now begin a several stage process of making this surface unique and ours by using the smudge tool and adding some delicate flow to it on several of the sections.
You can clearly see this process in the video, yet here is a before and after captures so you can see what we are after
Step 3 - Sun Adjustment Layers
Before continuing we must make this surface really feel like a giant star, so we will be adding several adjustment layers and several layers with different layer modes to achieve this, so let's start with duplicating the layers that we have up until now and set this new surface copy to overlay mode.
Now change the settings for the adjustment layers for this new surface as shown here.
Now select all this new layers and duplicate them once again, only this time merge them together.
Set this new layer mode to overlay and make a duplicate of it.
Next on this last duplicate we will apply an emboss filter as shown here.
We will then set this layer mode to hard light and reduce its opacity as shown below.
Now select all the layers we have created, including the original and drag them to the folder icon to quickly make a group of them. Once you have the group then duplicate the group as shown below.
Now merge the group, hide the original group for safe keeping and duplicate the resulting layer.
We will keep the duplicate just in case we need to go back to it, so for now just hide it.
OK now we have a solid layer with bright orange and red that looks much more like a star surface; we can now continue our ongoing process of making this surface unique with more flows and surface details, so let's grab the smudge tool once again and starting in the section shown below let's continue with the process.
Select the brush shown here for this and start smudging features and flow as shown below.
This is also much better appreciated by studying the video for this section since its impossible to duplicate my every stroke you need to get the idea of what we are after. Here you can see my results for this stage; remember you have a safe copy for this, so don't be afraid to have fun adding detail and features you can always go back to the copy and start over.
Step 4 - Flares and Wisps
It is now time to generate the huge wisps and flares that erupt form the stars, so once you are finished and satisfied with your work in the previous step let's duplicate our layer and delete the one we had for safe keeping.
Now on the newly created duplicate let's continue our work first with the smudge tool, so grab that one and select a brush as shown below.
I can only show you a sample of what needs to be done here so again be sure to watch the video so you don't miss anything in this process. The idea here is that from the bright areas of our sun, huge flames and flares shoot out onto space, but then get pulled back to the surface by the suns gravity. So let's start smudging as shown below to create these arches.
OK we can only go so far with the smudge tool, we must also paint in some detail so grab the paintbrush tool and selecting a very small brush as shown here and sample a bright yellow as shown below now let's paint some wisps over the work we have done with the smudge tool.
You can see in the next sequence what we are trying to do here; we have smudged the base of our flares and where needed we paint in some more length and detail to this as shown below.
We will go on with the brush tool in sections such as this where we don't want to pull of the surface and paint in the wisp shapes that we need as shown below.
Then sample an even brighter yellow from the surface and add greater intensity to the crest of these wisps.
Then when you are finished grab the smudge tool back to soften a bit of these strokes, and enhance the flow of them as shown here.
Here is what I have come up with so far and I can't stress this enough, watch the video, be creative, have fun.
Step 5 - Corona
OK for this next step we will be creating the suns corona and activity that lies beyond the surface. Let's start right away with a new layer, choose a deep dark red as the one below and fill in the layer.
Now set the layer mode to soft light and reduce the opacity to about 55% You can see the results this provides us below; a much deeper red star.
OK now let's duplicate our last surface layer and drag it on top this new red layer.
Now let's open up our saved group and on the top layer thumbnail do a Command/Ctrl +click to get a quick selection of the circle of the original layer as shown below, without the wisps.
Now invert the selection and click on the layer mask icon to get a quick mask.
Perfect, now duplicate the layer and hide everything else as shown below.
Now we can clearly see what we don't need for this layer, we want to remove those wisps that extend outside the original circle; so grab the eraser, but hold on don't erase nothing yet.
Now Command/Ctrl + click on the mask thumbnail as shown here to get the selection shown below, and then we can safely erase the wisps.
Once we are done with this, we can make all the layers visible again and with the smudge tool and a brush as shown below let's start pulling out our corona as shown.
Next select this other brush and reduce the size of the brush quite small.
And now with this very small smudge brush you can see below what we are after pulling out small detail out of the basic work we did.
We will do this all around the sun to generate the base for our corona as shown here.
Once we are finished with it let's duplicate the layer and apply a radial blur to it with the settings shown below.
Here is what you should get after the filter.
Duplicate the layer and then merge them together.
Now create a new layer mask for this resulting layer and with a soft brush, mask of randomly until you get a more subtle effect as shown below.
Once you are satisfied, duplicate the layer once again and set this new layer to hard light mode
You can see the result so far here.
Now to make the effect more subtle apply the radial blur to this layer as shown here, which applies it with the same settings as before.
Now on top of this layer shown here create a new layer.
Make a duplicate of the layer below to get a copy of the mask; then drag the mask over to our new layer.
Now just delete the copy of the layer.
Next on sample a bright orange from the surface and select the custom brush shown below at about 715px
and paint some cloudy effect as shown here.
Now sample a slightly darker orange as shown here and paint in some more; remember to setup your brush with both transfer and shape dynamics with the pen pressure option enabled.
Then simply grab the eraser and randomly eliminate some of it as shown here.
Now find this brush here down the list and set up the brush palette as shown below.
With it paint in some nice delicate wisps as shown here.
Now select this other brush and set it up as shown here always with pen pressure enabled.
And with a darker red selected paint a bit more further away from the surface as shown here. Be sure to have a good look at the video to be sure you get the idea of what its been done here.
Now let's go back to our original surface group again to quickly get a surface selection by pressing Command/Ctrl + click on the layer thumbnail.
Once you have the selection, press the delete key for every mask and fill it with black to eliminate everything that sits inside.
Now let's drag our red fill layer to the top and create a new layer as shown below.
Now select the paintbrush once again with a bright yellow color and pick up the big soft brush with the size as shown below.
Now brush some glow as shown here over both the left and right edges.
And then set this layers mode to hard light so we get the results shown below.
OK grab all the layers we have been working on and make a new group from them as you can see here leaving the hidden layers and the red fill outside.
Next duplicate the red fill layer and create a layer mask for it.
OK now select the big soft brush again and make it about 813 px plus an opacity of about 48%.
Now finally using the mask paint in with black to mask off this layer effect from all the area indicated in blue. OK looking very nice so far, we have a very nice looking Red Giant star almost formed.
Step 6 - Planets
In this step we will go ahead and create the planets that are about to be consumed by the great big star, for this we will use the texture from the satellite link offered by the good guys at NASA where you can use all images provided for your projects, so use this one I have chosen or select one that you like.
Then just use the circular selection tool and choose a big portion all the way to almost the border so we get many terrain features included.
Then copy and paste it into our main document plus scale it down to the size we will be using.
Then Command/Ctrl click on the layer thumbnail to quickly make a selection of it.
Then as usual we will run the spherize filter twice with the settings below.
Next, our planet will need some adjustment layers, let's create a levels layer first and clip it to the planet.
Then adjust the levels layer as shown here to create the shadow for our planet.
Now using the layer mask and a soft brush we will mask off the shadow where we don't need it all around the planet as shown below.
Next we will also create a hue/saturation layer for our planet and adjust the settings as shown below.
And finally we will add a color balance layer and adjust it as shown below to get a nice red tint on the mid tones.
OK let's go ahead and create a new layer to add some nice details to our planet so grab a bright blue color as the one showed here.
For this we will need a very small defined brush and adjust the settings for it as shown below with scattering enabled and a maximum spacing setting.
Then just start painting city lights all over the terrain, avoiding the water.
Then just adjust the spacing as shown here.
And with this new setting let's paint some straight lines connecting the cities simulating transport lines or something like that.
Once we are finished just duplicate the layer to enhance the look of it and merge the two layers together.
And there we have it, a sweet planet with detailed city lights all setup.
Steps 7 - 12 Continued Below
You can view steps 7 - 12 using the pagination below.
Step 7 - Ships
OK time to add a bunch of ships leaving this doomed planet, for this we will create a simple brush so we can easily paint in a bunch of tiny ships. Let's make a new 500 by 500 document at 300dpi and with white background, and then select the pen tool and define a simple shape for our ships as shown below.
Now let's change the fill of this newly created shape to black.
Now use the scale tool to make a decent size of it and center it on the document.
Now as we have done many times make a selection, in this case all, and define a new brush preset.
Now name the brush or just leave it as is. Then go back to our main document, find the brush and adjust these settings below.
And paint a bunch of ship shapes leaving the planet.
Too many? Erase some of them like shown here.
Now let's select a bright orange color such as this and a very small soft brush.
OK now lock the pixels on this layer and paint in some highlights as shown below and marked in blue.
Great now we will need a new layer where we will add some tiny windows to the ships, so select a bright blue such as this one and a very small 1px sharp brush.
Let's use almost the same settings as the city lights brush, just vary the spacing a bit.
And add some specs of blue light to all ships as shown here.
Now grab both layers and let's distort them a bit.
Use the distortion tool slightly to get a bit more perspective in our ships.
OK now we will add some engine streaks to each ship, so grab a bright blue color and a very small brush.
Paint some streaks for each ship as shown here.
Once you are finished just duplicate the layer and merge the two together.
Then just set the resulting layer mode to hard light.
Now we will ad a tiny burst to the beginning of each streak so grab this star filter, included in Photoshop and a bright blue color.
We will need a new layer for this so go ahead and create on plus set it to overlay mode.
Now paint in a tiny spec for each ship as shown here.
Perfect, now select the smudge tool and a small brush such as this one below.
Go back to the streaks layer and pull each one of those down a bit as shown here with the smudge tool.
OK we are finished with our ships, but let's easily create another group of ships; grab all the ships layers, streaks lights, all of them and group them.
Now name the group ships and duplicate it.
Now flip the new group horizontally and move it into position as shown here.
Then rotate the group a bit so it looks different.
And finally just erase some of the ships as well as their lights and streaks so you have a different looking group. And that is it, we have reached the end of this step
Step 8 - Planet Effects and Small Planet
In this step we will be adding some nice blast effects to the planet plus we will be creating another small planet or moon to accompany it in our scene. So first we will need a new layer and we will clip it to the rest of the planet adjustment layers.
Now let's pick a bright yellow such as this one and the big soft brush shown below.
Now add a nice highlight around our planet as we can see here.
Now change this layer mode to overlay, and paint in a bit more if you need to accentuate the effect.
Now create another layer below this last one also clipped to the planet.
Paint around in this new layer to enhance the effect and reduce the opacity to about 51%
Now let's do some fine tuning in the planet adjustment layers; go to the color balance layer and adjust as shown below, notice we are not modifying our previous settings, we are modifying the shadows setting.
Next up grab all the layers and make a group; then duplicate the resulting group
Move all of our new group layer and scale it down drastically
Then move it into position as shown here and let's open up the group and find the last layer we worked on the other group copy.
Reduce the paintbrush quite a bit and paint in a highlight for this small planet as shown here.
Adjust this layer opacity a bit more and now just create a new layer on top of everything.
Now we will be using this defined sharp brush and the same bright yellow we had selected; if not just sample a very bright yellow from the canvas. And paint some quick daubs around the planet as shown below.
Now we will need a big round selection for this so grab the circular marquee tool and drag a big selection as shown below.
And now we will apply a radial blur with the settings shown below.
Then we will paint in some more daubs and apply the same filter again
Now let's sample some other yellow/orange from the canvas and paint in some more
Apply the same radial blur and set the layer mode to hard light.
You get the idea of what we are building here we repeat this process until we are satisfied with the look.
Then we will do the same thing for the small planet, paint in some bright daubs in a new layer but this time we will use motion blur instead, with the settings below.
And again we will repeat the same steps until we have the effect we want; then I decided to distort this effect layer to create the appearance of a bit of perspective as shown here.
And that is it we are finished with setting up our planets, just set this last layer mode to hard light, and below you can see the stage we have completed, we have a nice looking piece.
Step 9 - Detailing the Wisps and Flares
Next up its a very long step, yet not much to explain as all its painting in detail for our wisps and flares, so watching the video its a must. We will need a new layer created on top of the red fill layers to start with.
Now we will choose a tiny sharp brush as this one here, and a very bright yellow as the one below.
Now we will go all around the piece painting detail highlights to each feature in all the wisps and flares all over our sun as shown in this before and after images and indicated with blue arrows. And that is it, not much else to say, watch the video and have fun painting.
Step 10 - Extra Surface Detail Texture
This step could be flagged optional, I decided to add a bit of extra texture appearance to the sun surface. Yet it's a simple fast step you might want to try it and see if you like how it looks. We will need a new layer, and we will also need to go back to our hidden group to make a fast selection and fill it with black.
Now grab our custom brush shown here and simply go about painting in texture for this layer as shown below, with the same bright yellow we have been working with.
Once you have a nice look, set this layer mode to soft light.
Then add a mask for the layer and a big soft brush as shown below.
And mask it off with black where there are bright yellow areas shown here in blue. That is it, I think this step adds subtle detail to the darker areas and it makes the overall feel of the image better.
Step 11 - Detailing the Sun Surface
OK here we are at another very artsy step where there is heavy smudging, much fun and much creativity. So let's see what we will be doing. First in our surface group we will need a new layer and we will fill it up with black. Then we need that layer all the way to the bottom of the group.
Once we have that done let's duplicate the whole group.
And you guessed right let's merge the group and hide the original.
OK we are ready, now we have a solid layer to work with. We will be as I said smudging heavily, so grab the tool and select a brush as shown below.
Then we will go all over the surface adding detail to all the previous smudging steps we have in place but making all of it integrate fully with the surface as shown in this sequence. Hard to get it from still images I know, that is why we have the video in all of our steps and this one benefits greatly from the recording. So go ahead and take a good look at it and have fun detailing.
Step 12 - Final Details and Adjustment Layers
OK we are in the final stretch, yet we have much work to do in this step. We will start with a new layer for this, create it below all the planets and ship groups. Now find the brush shown here and adjust its size as shown.
Now turn on shape dynamics with just angle jitter as shown here. And with the same bright yellow we used for the last step let's paint in some detail as shown below.
Once you have something you like set this layer mode to soft light.
Next create another layer and drag it below the last one. Then select the soft brush with about this size here and paint in some nice glow as shown below in both sides of the sun.
Now just set this layer mode to soft light and reduce the opacity as shown here.
OK now let's create a photo filter layer on top of everything and adjust its settings as shown below.
Next up let's create a curves layer also on top and adjust the settings as shown below
Here is what you should be getting so far, our star its gaining presence and impact, looking very nice.
Now with these last adjustments we need to go back to our planet group and adjust a bit, creating a new curves layer for it and adjusting as shown below.
There that should do it now it looks paired up again.
OK let's move on create another layer just below the last two adjustment layers and select our big soft brush once again.
Paint in a bit more glow around the star and set this layer mode to overlay, you can reduce the opacity a bit if you think it's too much.
Now duplicate the layer and set the opacity to about 49% once you are happy with the look of it merge the two layers back together.
Now go back to the soft brush as shown here and create a mask for this layer.
Mask off a bit off the inside of the star as shown here.
Then change the soft brush for this other one, and enable both shape dynamics and transfer with pen pressure enabled.
And mask off from the outside glow to get this fiery storm look.
Final Image
And there we have it we have reached the end of this tutorial we have a big amazing star to show off our efforts and we have learned quite a bit of techniques along the way. Remember to spend a good amount of time studying the videos. Thanks for your time and hope to see you on part 2 of this series.


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The Golden Claw
The quest, The Golden Claw, can be activated by overhearing Bandits in Bleak Falls Barrow or obtained from Lucan Valerius in Riverwood.
- Retrieve the Golden Claw
- Cut Arvel down
- Find the secret of Bleak Falls Barrow
- Bring the claw to Lucan
Reward: 400 Gold
Video Walkthrough
This quest can be done before heading to Whiterun, which is actually recommended. However, if you skipped over this quest and received Bleak Falls Barrow from Farengar, you should do this quest at the same time. Since the steps for both of these quests converge, you can find the full walkthrough for Bleak Falls Temple in Bleak Falls Barrow.
To get The Golden Claw quest, speak to Lucan in the Riverwood Trader to discover that Lucan has had a bout of bad luck regarding bandits robbing his shop. Although they didn't make away with much, they did take one of his prized possessions: an ornament in the shape of a dragon's claw. Agree to help him recover the stolen item to begin this quest.
Recruiting either Faendal or Sven can be helpful, even if it's no more than just having an extra body for your enemies to target. To recruit either follower, simply talk to Sven to begin a miscellaneous task. Depending on how it pans out, you'll earn the consummate loyalty of either Sven or Faendal.
Camilla shows you to the edge of town, pointing in the general direction of where you need to go before she departs some time after. Basically, take the trail back out of town and head up towards the mountains. You know you're going the right way as your lush green environments cede to snowy, blizzard-like conditions.
In order to get the Claw, you must venture forth deep into Bleak Falls Barrow and find Arvel. You should be able to find him tangled in a spider's web.
Cut him loose of the spider's web, but first you must get rid of the creature that created it in the first place. Yup, you guessed it--it's a Spider! Specifically, it's a frost spider. Upon killing the spider and freeing Arvel, he will try to flee, not wanting to share his precious treasure. He will pay for his treachery.
Later on in the cave, you will find a locked door with pictures of three animals on it. The answer to the puzzle is etched on the Claw itself. Once you get it down, the door will unlock, opening up into a long hall, The Hall of Heroes. At this point, you want to defeat the draugr overlord and come across the first Word Wall.
Once you leave the temple, return to Lucan in Riverwood with the Golden Claw afterward. It's a little bit of a trek, but Lucan will make it worth your while.
Noteworthy Items Collected
Crafting Ingredients Collected
- 15 Skeever Tail
- 2 Spider Egg
- 8 Bone Meal
- 17 Glowing Mushrooms
- 2 Iron Ore Vein
- 2 Red Mountain Flower
- 2 Purple Mountain Flower
- 2 Blue Mountain Flower

subset: commoncrawl


text: This reply is a bit late... When I was getting into Beowulf's, setting one up as a newbie while in school, I could not find the resources that pertained to my questions. I scoured the net and could not find the appropriate FAQ's that addressed my problems, especially with RSH. I think now there are better resources as this was a few years ago, though not too far back. There still seems to be a lack of a 'One Stop Shop For Newbie's'. If anyone knows of one please advise. I been collecting information to create a site for Beowulf Newbies but so far I have lacked the time to organize it. There are still missing links in my experience because I am not as knowledgable as most folks on this list. If someone would like to help with this cause I would appreciate any guidence or suggestions as to what Newbie Information is needed most. Part of my modivation to do this is so that I can learn more about clustering. The work that I do is for my personal gain and I do it my spare time. Thanks, Just my half-a-nickel's worth. Louis Haynes Val Henson <vhenson at esscom.com>@beowulf.org on 09/19/2000 02:55:51 PM Sent by: beowulf-admin at beowulf.org To: Scott Burlington <scottyb at cim.mcgill.ca> cc: "Brian G. Powell" <bpowell at uucom.com>, beowulf at beowulf.org Subject: Re: Beowulf Clusters Book On Mon, Sep 18, 2000 at 02:23:10PM -0400, Scott Burlington wrote: > Honestly, I'd wait. We bought the Linux Clusters book and honestly I > don't feel that version 1.0 was really worth it. > > The software included could be useful, but as is always the case with > software an internet connection is far more valuable than a CD. > > The book itself seems to have a hard time identifying it's > audience. There aren't many linux newbie's with $100 000 for a linux > cluster yet the book seems to have an apologetic attitude towards being > technical, frankly I find this a little baffling. It seems to me that Linux newbies all too often find themselves in charge of setting up a new Linux cluster. Witness the number of rsh-related questions on this list. :) I agree, an internet connection is more valuable than a CD, and in this case, more valuable than the book. Someone setting up a Linux cluster would probably be better off reading a few FAQ's, checking out websites of other clusters, and reading the beowulf list archives. -VAL _______________________________________________ Beowulf mailing list Beowulf at beowulf.org http://www.beowulf.org/mailman/listinfo/beowulf


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I've always got my eye out for "the perfect bag". Even when I bought RTW I stuck to the same couple of perfectly functional bags – wrapped in different materials and styles to change things up.
Now that I am making my own, I am attempting to find the perfect bags for myself. I am completely satisfied with my tote bag but I am still searching for the perfect medium sized handbag.
I think though I may have found the perfect mini cross-body bag – give or take a small change here and there.
I am so certain that this is the perfect mini cross-body bag that I have named her "The Rosie © bag"!
I started with the usual steps. I cut out my bag pieces from the Mystery Upholstery Fabric Box my sister gave me and cut out the lining and interfacing from my stash remnants. After fusing the interfacing on to the lining pieces, I drew my lines and marks onto my interfacing.
Back pockets were completed, with no surprises. A magnetic snap on the outer back pocket of my bag and a zipper on the interior back pocket of my bag.
Front pockets – the outer is a zipper pocket and the inner has card slots which form a pocket.
This time I used my Janome 3160QDC to sew up my bag, along with a walking foot and a "Jeans" needle. Actually a couple of Jeans needles, the first one broke when it fell out of my machine as I was sewing – not quite sure what happened there, but I think I might not have tightened up the screw enough??? Or maybe it worked itself loose???
This bag is a different design than my previous ones, as it has a circular gusset sewn between the front and back pieces.
Turning the bag out turned into a bit of a problem – it was a tight squeeze! 😂
Also, since I have been using my Vintage Sewing Machine, Amber my Singer 421G, for my last few projects, it took a few times manually threading my needle to remember the fact that this machine has an easy needle threader on it!
My Rosie© bag is finished!
Inside back zipper pocket.
Lots of room inside still.
Card Slots and another pocket behind.
A handy little bag for a walk in the sun!
I'm going to hand this bag over to my sister to use (and abuse?) as I want some serious unbiased product testing done! Then after her review, I'll make any needed changes and start drawing up a pattern.
Am I the only one who solicits the advice of others on my me-mades? What about you?
Happy Sewing!
STASH BUSTING WITH THIS PROJECT? Nothing! Upholstery remnants and such were used for this project! Still 130.2 metres left in inventory!


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Discover a new perspective on Lincoln
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Elevate your stay at hotels with balconies in Lincoln
Lincoln hotels with a balcony are ideal for travelers who appreciate a picturesque view. In the morning, you can bring your coffee outside and watch the early morning rays paint everything they touch with rose-gold light. During the day, watch people walking below as they do errands or stroll with loved ones. In the evening, bring dinner out to the balcony and watch the sky turn from sunset to dusk as a twilight breeze blows. At night, gaze at the moon and marvel at the twinkle of distant lights. You'll have a whole new appreciation for Lincoln after admiring its unique features at any time of day from your hotel balcony.
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A Scriptural Reflection on the Third Sunday of Lent | Carl E. Olson | March 7, 2010
Readings for Sunday, March 7, 2010:When asked why they climb, professional mountaineers often give varied but interconnected reasons. They mention the challenge of doing something difficult and demanding, a deepening understanding of themselves, and, paradoxically, a loss of self-centeredness. In a similar way, those who spend time living alone in the wilderness can experience the same contemplative moments leading to a more honest and truthful view of themselves and others.
• Ex. 3:1-8a, 13-15
• Ps 103: 1-2, 3-4, 6-7, 8, 11
• 1 Cor 10:1-6, 10-12
• Luke 13:1-9
Mountains and desert play a prominent role throughout the Bible, not just on a physical plane, but on a spiritual level as well. Mountains were considered holy, ancient, and eternal; they were where God often met His prophets and people, as seen in last week's Gospel reading describing the Transfiguration. The desert, as harsh as it was, often represented a place of safety, discipline, and waiting for the promises of God to come to fulfillment. If the mountain was where God would sometimes reveal Himself, the desert was where man's trust in God was tested and increased.
Today's reading from Exodus describes Moses, many years after leaving the Pharoah's court in disgrace, tending sheep in the desert. Like another shepherd, David, he was toiling in anonymity—until he received the call of God at Horeb, the mountain of God. Also known as Mount Sinai, this was the same mountain that would shelter the prophet Elijah when he fled from Jezebel (1 Kings 19:8) and would, of course, be where Moses received the Commandments from God (Ex 19-20)
Moses's encounter with the burning bush was as dramatic as
it was mysterious. At first he was curious and then, upon realizing whose
presence he was in, overcome with awe and fear, hiding his face. In remarking
upon this encounter, the Catechism
provides a simple but urgent lesson perfectly suited for Lent: "Faced with
God's fascinating and mysterious presence, man discovers his own
insignificance" (CCC 208).
If there is anything clear about the name uttered before Moses, it is its mysterious nature: "In revealing his mysterious name, YHWH ('I AM HE WHO IS', 'I AM WHO AM' or 'I AM WHO I AM'), God says who he is and by what name he is to be called. This divine name is mysterious just as God is mystery. It is at once a name revealed and something like the refusal of a name, and hence it better expresses God as what he is—infinitely above everything that we can understand or say…" (CCC 206).
Although God is mystery, in giving His name He reveals that He is personal, loving, and faithful. Having revealed His name to Moses, "He has made known his ways to Moses", as today's Psalm proclaims. He desires the salvation of His people and He provides a means for that salvation. And so Moses is called from tending the sheep of his father-in-law to tending a new flock, the people of God, leading them out of Egypt, through the desert, and, after forty years, to the edge of the Promises Land.
Today's epistle makes a sacramental connection between the
prophet Moses and the greatest prophet, Jesus Christ. The Israelites had
experienced a sort of baptism (crossing the Red Sea) and Eucharist (miraculous
manna and water); these prefigured the sacraments of the New Covenant
established by Jesus, the New Moses. And yet the Israelites kept succumbing to
idolatry. Saint Paul exhorted his readers in Corinth—who belonged to a church
that was struggling with every type of scandal and sin—to learn from the
mistakes made by the Israelites, for "these things happened as examples for
The lessons of the desert, if not learned and heeded, go to waste when those who think they are standing securely do not take care of their spiritual lives.
Lent is a microcosm of the mountains and deserts that
every Christian travels between baptism and death. As the Holy Spirit helps us
to understand ourselves better, we begin to recognize that our worth can be
found in nothing else but the person of Jesus Christ.
And He asks that we, in turn, bear the fruit of His life in us, so that we might give witness to the mystery of the God who is.
Related Ignatius Insight Articles and Book Excerpts:
• The Cross, the Key to the Glory of Heaven: A Lenten Reflection for the Second Sunday of Lent, Feb. 28, 2010 | Carl E. Olson
• Who Creates Anew? A Lenten Reflection for the First Sunday of Lent, Feb. 21, 2010 | Carl E. Olson
• Lent: Why the Christian Must Deny Himself | Brother Austin G. Murphy, O.S.B.
• Lord, Teach Us To Pray | Fr. Jerome Bertram
• The Question of Suffering, the Response of the Cross | Joseph Cardinal Ratzinger
• The Cross--For Us | Hans Urs von Balthasar
• The Premises of Gospel Poverty | Fr. Thomas Dubay, S.M.
• Lent and "Our Father": The Path of Prayer | Carl E. Olson
• Thirsting and Quenching | Fr. Thomas Dubay, S.M.
• Seeking Deep Conversion | From Deep Conversion, Deep Prayer | Fr. Thomas Dubay, S.M.
• "Lord, teach us to pray" | From Earthen Vessels | Gabriel Bunge, O.S.B.


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KHLawLab is a fast-rising law practice based in Cyprus. KHLawLab serves local and international clients, either individuals or corporate entities as well as other organizations. The main areas of our practice are Corporate Law, Contract Law, Immigration Law, Immovable Property Law, Administrative Law, Constitutional Law, Wills and Succession Law, Intellectual Property Law and Employment Law.
KHLawLab was founded by Kyriaki Hadjithoma, who is a qualified and registered lawyer in Cyprus.
Our philosophy is the provision of cost-efficient, prompt and high-standard services tailored to the needs of each client, always in a friendly and professional approach.
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The U.S. Department of Justice is investigating the data breach at Target stores, which compromised as many as 110 million payment cards and personal records in one of the largest such attacks on record.
Attorney General Eric Holder told the U.S. Senate Judiciary Committee on Wednesday that "we are committed to working to find not only the perpetrators of these sorts of data breaches -- but also any individuals and groups who exploit that data via credit card fraud."
The DOJ veered from its normal protocol in revealing its probe. Holder said the DOJ generally does not discuss matters under investigation but did not say why it made an exception in this case. The U.S. Secret Service is also investigating, and other cyberdefense organizations in the U.S. government are contributing.
Target disclosed earlier this month that its payment networks were infected with malicious software that stole payment card details. Luxury retailer Neiman Marcus reported a similar attack.
Michaels, an arts and crafts chain, said on Saturday it was alerting customers after possible unauthorized charges were discovered from cards used at its stores. The company said it is investigating whether a breach occurred.
The Target data breach has led computer security experts to study the economy around stolen card data. It is suspected that many more retailers may have been compromised, with attackers focusing on point-of-sale devices.
The malware used against Target was a "RAM scraper," which intercepted unencrypted payment card data on the POS device. It is unknown how intruders gained access to Target's network, but it appears they gained wide leverage, taking more than 11GB of data.
Send news tips and comments to firstname.lastname@example.com. Follow me on Twitter: @jeremy_kirk


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Jim Brown's 1964 NFL championship ring is being auctioned online, but the Pro Football Hall of Famer says the ring was stolen from him more than 40 years ago.
Brown's ring is up for bidding on Lelands.com until July 25. As of Monday, the highest bid was for $33,275.
A quote on the Lelands website says: "The ring was obtained directly from a Brown immediate family member and sold by Lelands.com in 1998. During that original auction preview, Jim Brown himself inspected the ring and acknowledged its authenticity."
"That's a lie," Brown told cleveland.com. "I never spoke to anyone from there about the authenticity of the ring and I never would have given that ring to a family member."
A phone message from The Associated Press seeking comment from Lelands was not immediately returned.
In 1964, Brown rushed for 1,446 yards as the Cleveland Browns beat the Baltimore Colts 27-0 for the title -- the last for any major Cleveland sports franchise.
Considered by many the greatest player in NFL history, Brown now works as a Browns special adviser. He says the ring was stolen in the late 1960s, and he'd like it back.
UPDATE:Josh Evans, chairman of Lelands.com, told the St. Paul Pioneer Press on Tuesday that the sale of Brown's ring is legitimate. Evans said his company legally obtained the ring in 1998 from a Brown family member.
"We never sell anything that has been stolen or not authenticated," Evans said. "It's unfortunate that (Brown) has gone in this direction, but it came from a family member who turned around and sold it."
The Associated Press contributed to this report.


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Thursday, June 29, 2006
Sunday, June 25, 2006
Crash at Schiphol (2)
Crash at Schiphol
Always get concerned when displays at airports have such obvious faults. Not life-threatening, but reduces your confidence in other systems. Spotted at the luggage collection section of Amsterdam, Schiphol airport this morning.
Luggage Belts at Schiphol
I travel a lot and the luggage belts at Schiphol are definitely slowing down. Takes anything from 20 to 30 minutes after landing to get your stuff.
Saturday, June 24, 2006
Sale at Changi?
Passing through Changi airport in Singapore this evening, I see a promotion for a wind-up radio. But the price is very high compared to other parts of Asia. Likewise, the price of cameras on e-bay and internet shops was hundreds of euros cheaper than the cheapest price at the malls along Orchard Road. Singapore is no longer the gadgets paradise it once was. Clothes are cheaper than in Europe, but US is still the cheapest by a long mark.
Lunch at the Club
This is Singapore Golf Club, a very pleasant spot to have a (Chinese) meal. Seems there are time limits on the greens though. If you go round too slowly, you'll get a warning letter from the President to speed up your game.
Holland Promotion in Singapore
Nice bit of Holland promotion as you check in at the British Airways counter at Changi airport, Singapore.
Friday, June 23, 2006
Traditional Technology in Singapore Sun
The towers of Radio Singapore International and BBC's relay station are next to each other on one of the few bits of "rural" Singapore that haven't been developed. In fact, the land between them and a military wireless site has been developed into a golf course. I guess they could light the golf course 24 hours a day with flourescent tubes from the RF energy coming out of those antennas.
Saturday, June 17, 2006
Way home....
Well worth seeing. Greenaway has done a fascinating light and video show projected onto the real Nightwatch painting. The painting has been moved while the museum is being restored...so you can only see part of the collection at the moment.
Rijksmuseum on the hottest night of the year
Private Tour
Katherine Farnon gives an interview to WGBH in Boston about the Inspired by Rembrandt Competition. To the right of her is a noisy cocktail reception.
Rembrandt DVD on sale
Inspired by Rembrandt
Some of the projects I have been working on are coming to market....like the Inspired by Rembrandt competition which I helped launch Tuesday 13th in the Rijksmuseum. Went well, even though it was one of the hottest days of the year.
Thursday, June 15, 2006
Looking south
Amsterdam North
View from the EBU Meeting
We held the EBU meeting at the top of the Ij-Toren, with a spectacular view of Amsterdam below....this is the NEMO Science Experience, next to the Dutch Royal Navy Yard
Jesper in Amsterdam
Jesper Grunwald of the Danish Broadcasting Corporation inspired us with the way they have radically changed the face of public radio broadcasting in Denmark. No evolution here....a revolution
EBU Plenary
Helped to organise an EBU plenary meeting covering new programmes and technologies designed to change the face of international broadcasting. Two colleagues came from Africa...Graham Welch from SABC News and Soule from Radio Netherlands Cotonou Office.
Sunday, June 11, 2006
Inspired by Rembrandt 4
Inspired by Rembrandt 2
Start up IT company and investor Lunitech in Rotterdam organises an annual art event at its HQ each year. This year, 30 artists had come up with their works inspired by rembrandt. Now that kinda fits the competition I'm running now.
Saturday, June 10, 2006
ABU Radio in a Box
The Asian Broadcasting Union in KL, Malaysia has come up with a 30 watt FM station in a box. One of several solutions out there to help areas immediately after a disaster. www.broadcasterswithoutborders.org is now active.
Friday, June 09, 2006
Out with a crew...
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Baby Manor
Welcome to Baby Manor!
Baby Manor is an addictive unique puzzle game that combines baby raising simulation & home decoration & match 3 gameplay. It not only has extremely gorgeous decorations and exquisite elements but also has a warm-hearted storyline. Explore fascinating stories as you play, recognize vivid characters, and join their exciting lives! Well-designed puzzles, colorful and varied boosters, tons of match 3 puzzle fun, at Baby Manor you will never get bored!
Help novice daddy take care of the baby and build a warm and perfect home! Bobby took his wife Sarah and baby back to the old house where the great-grandma left behind. He hoped that his son would have a happy and carefree childhood in the place where he grew up. There are too many memories in this old house, let's explore together!
Bobby's father-in-law seems not like Bobby, and stewardess Sarah has to leave home to work from time to time. Can Bobby decorate his new home before his father-in-law arrives? Can he become a qualified daddy who can take care of the baby on his own? He needs your help!
Breaking through exciting match 3 levels to decorate the old house, unlock ever more chapters in the fascinating story along the way! What are you waiting for?
Game Features:
-Exciting match 3 puzzle challenges
Matching items has never been more fun!
Match baby items and solve hundreds of addictive blast match 3 puzzle levels;
Match pieces to create unique, powerful boosters in this fun match 3 puzzle game!
-Baby raising story
To help Bobby become a qualified daddy;
The Baby role will appear in the levels and accompany you breaking through!
-Mansion style design
Give full play to your creativity, a variety of decoration styles are up to you to decide; Renovate the old house and dress up it as you like!
-Addictive and enjoyable gameplay
Collect milk bottles, follow the story and complete the task;
Collect the panda and find the bear hidden in the box;
There are bulldozers, swimming pools, doughnuts, jam bottles, and more obstacles waiting for you to challenge!
-Vivid storyline
Enjoy plot twists in the story and collect puzzles;
Unlock interesting illustrations to bring you different multiple joys!
-Play anywhere
Baby Manor is FREE to play and available online or offline. Play this exciting match 3 games anywhere!
Differences from other games:
-Unique gameplay that combines baby-rising simulation with match 3 on the market;
-Different from a normal situation, dad takes care of the baby is a unique subject;
-Home Decoration & Baby dressing up: Unlock new furniture by unlocking the new storyline, renovate the shabby mansion, and help baby change costume;
-The story is close to daily life. The family story is easy to resonate with novice parents;
-More popular mini puzzle games will be added;
-Fine art style. Extremely gorgeous decorations and exquisite elements;
-Interact with players at high frequency in our community(FB/Tiktok/Ins/Youtube), user feedback is important to us
Play Baby Manor for FREE, with optional in-game items for purchase.
Baby Manor will be updated with more blast puzzles to solve and more romantic chapters regularly! Stay tuned for updates and drop us a review! Your opinion matters, and we're listening!


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From the studio that brought you Shrek, Kung Fu Panda and Madagascar, comes DreamWorks Animation's "The Boss Baby," a hilarious family comedy about how a new baby's arrival impacts a family, told from the point of view of a delightfully unreliable narrator — a wildly imaginative 7-year old named Tim. The most unusual Boss Baby arrives to Tim's home in a taxi, wearing a suit, carrying a brief case and speaking with the voice and wit of Alec Baldwin. The sibling rivalry between the two brothers is reluctantly cast aside when Tim discovers that Boss Baby is actually a spy on a secret undercover mission, and only he can help. An outrageous adventure ensues as the pint-sized partners prepare to thwart a dastardly plot involving an epic battle between puppies and babies.
Inspired by the best-selling picture book by Marla Frazee, this riotous comedy for all ages features the voices of Alec Baldwin as Boss Baby, Steve Buscemi as the villainous Francis E. Francis, Jimmy Kimmel and Lisa Kudrow as Tim and Boss Baby's unsuspecting parents, Miles Bakshi as Tim, and Tobey Maguire as the film's narrator.
Actor Tobey Maguire (Spider-Man trilogy, The Cider House Rules) narrates the movie. "Tim is a happy seven-year-old with two loving parents, who is initially an only child, but when he gets the news that he is getting a little brother, he is not too pleased that he has to share the love and time of his parents," explains Maguire. "He is struggling with the transition, so he has kind of created all these things about Boss Baby because he has a very strong imagination."
Maguire points out that Tim's relationship with his brother is very contentious. "Tim is very suspicious of his new baby brother because he's like a little man who's got an agenda, and he would like to expose him so he can get the attention of his parents back. But then they have to join forces and help each other fight Francis and stop his plot to destroy Baby Co."
When the baby's mission is accomplished, and he has to go away, Tim thinks he's happy, but he's grown really fond of his little brother, and he ultimately doesn't want him to go away." The talented actor says he finds the movie quite funny and very relatable. "The movie's themes are demonstrated through fantasy—through this really fun idea of essentially Alec Baldwin being a Boss Baby, which is a blast. But it's also relatable because if you've been in any of these roles, as a sibling or a parent, it's certainly something you have probably experienced."
Maguire is also quick to point that he has had a great time working with Tom McGrath and the rest of his creative team. He notes, "He has been great and very easy to work with, but I really admire his creativity. He's really imaginative, and very funny. I just think he has found such a charming and unique tone for this movie."
An ideal Easter weekend movie for the whole family, "The Boss Baby" opens April 15 (Saturday) in cinemas nationwide from 20th Century Fox to be distributed by Warner Bros.


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If you have your room decked out with Bob Marley posters and cut-out song lyrics, chances are, you will love this new line of products. Bob Marley officially licensed products. All of the proceeds from the eco-friends products are actually going towards Bob Marley's One Love Foundation.
A few of the products on display were headphones…
And a Boombox with an iPod dock.
Full details and purchase information can be found directly on The House of Marley's website.


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SAS Scandinavian Airlines - Pittsburgh Airport (PIT)
Pittsburgh Airport is formed by two main buildings known as Landside Terminal (connected to the parking lots and ground transportation), and Airside Terminal. Both buildings are connected by an underground people mover. All airlines have the ticketing in the Landside Terminal
Check your arriving flight here
Check your departing flight here
Follow the links below in order to see all the flights scheduled for SAS Scandinavian Airlines
- Arrivals
- Departures
In order to check in for your flight at Pittsburgh Airport (PIT), go to departures hall in the main building terminal, or follow the instructions provided in your ticket.
General Information
- IATA Code: SK
- Website: www.flysas.com/
This airline does not operate any flights, all flights are codeshared flights, operated by the following airlines:


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History is a diverse subject covering a cross-section of social attitudes and eras. Whether you've an interest in the history of art or classical history, there will be a number of postgraduate courses available in your specific field of interestRead more...


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The Glue that Binds Us All
How an electron-ion collider could help unravel what makes matter stick together and what puts the spin on protons
June 12, 2012
RHIC, the Relativistic Heavy Ion Collider at Brookhaven Lab, found it first: a "perfect" liquid of strongly interacting quarks and gluons — a quark-gluon plasma (QGP) — produced by slamming heavy ions together at close to the speed of light. The fact that the QGP produced in these particle smashups was a liquid and not the expected gas, and that it flowed like a nearly frictionless fluid, took the physics world by surprise. These findings, now confirmed by heavy-ion experiments at the Large Hadron Collider (LHC) in Europe, have raised compelling new questions about the nature of matter and the strong force that holds the visible universe together.
Similarly, searches for the source of "missing" proton spin at RHIC have opened a deeper mystery: So far, it's nowhere to be found.
To probe these and other puzzles, nuclear physicists would like to build a new machine: an electron-ion collider (EIC) designed to shine a very bright "light" on both protons and heavy ions to reveal their inner secrets.
"An electron-ion collider would be the brightest, highest-intensity 'femtoscope' to shine on the structure of matter," said Brookhaven theoretical physicist Raju Venugopalan, referring to its ability to discern structures at the scale of femtometers — that's 10-15 meters, a millionth of a nanometer, or a millionth of a billionth of a meter!
"Snapshots" of matter at that scale over a wide range of energies would offer deeper insight into the substructure of the nucleus, its constituents, and particularly its smallest components, the quarks and gluons and how they interact.
"Increasingly, it's looking as if gluons and their interactions may hold the keys to many of our puzzles," Venugopalan said. An electron-ion collider would be the ideal tool for gazing at the "glue" under conditions where scientists believe that it completely dominates the structure of neutrons, protons, and nuclei.
Glue holds the key
The simplest view of a proton or neutron (the most common hadrons, or particles composed of quarks and gluons) reveals three quarks interacting via the exchange of gluons. These gluons are carriers of the strong force, which "glues" the quarks together, similar to the way photons, particles of electromagnetic energy (or light), carry the electromagnetic force that governs interactions among charged particles.
Raju Venugopalan (L) and Abhay Deshpande, two physicists with a strong interest in the physics case for an electron-ion collider.
But the analogy is not quite perfect because, while photons do not interact with one another, gluons do. And experiments probing proton structure at the HERA collider at Germany's DESY laboratory, along with the increasing body of evidence from RHIC and LHC, suggest that those interactions make all the difference. They result in a much more complex picture of proton structure, with countless gluons (and a sea of quarks and antiquarks) flitting into and out of existence from the vacuum within each hadron.
"Think of the proton as a black night with the gluons like fireflies blinking on and off," Venugopalan said. "A snapshot with the proton at rest will reveal an ephemeral and diffuse glow from the fireflies whose flicker is barely visible in the darkness. With finer resolution snapshots, one may be able to determine the density of fireflies, localize them better spatially, and even extract details about their motion as they whirl about."
The experiments at HERA made it clear that getting more details about the gluons is essential because, at high energy, the fleeting gluons become vastly more numerous than the quarks.
"People found this very intriguing, that there were so many gluons, suggesting they play a much bigger role in nuclear structure and interactions than had been previously thought," he said.
A different spin
Around the same time, physicists looking for the missing source of proton spin — which was clearly shown in fixed-target experiments at CERN, SLAC, and DESY not to be accounted for by the net spin of all the quarks and antiquarks inside — became interested in gluons, too. Could the gluons carry the missing spin? Physicists have been measuring some aspects of gluon spin in collisions between beams of polarized protons at RHIC. But so far, in the energy ranges they've explored, the gluon contribution to overall proton spin appears to be near zero. They've only looked in regions where the gluons do not yet completely dominate proton structure, however.
"One thing we have not done in spin is explore the contribution of gluons where they exist in large numbers," said Stony Brook University physicist Abhay Deshpande. To do that, they have to ramp up the energy to look deeper into the proton.
Physicists' understanding of proton spin has evolved from the early view that the spins of the proton's three constituent quarks should make up most if not all the proton's spin (left), to one in which the gluons and the motion of the quarks and gluons — including an orbital component of that motion — can also play significant roles (center). Current and planned investigations of the angular motion of quarks and gluons — the latter to be carried out at a future electron-ion collider (right) — may finally help scientists resolve the mystery of the missing source of spin.
Light speed "magic"
As heavy ions are accelerated to near light speed, fleeting gluons appear to last longer, resulting in rapid growth in the number of gluons and dense, or saturated, gluon force fields. Probing these gluon fields directly with an electron-ion collider would help scientists better understand the strong force they carry to hold together the quarks of ordinary matter, and how they contribute to proton spin.
The closer the particles get to the speed of light, the longer the gluons that arise from the vacuum's quantum fluctuations last.
"It's a direct effect of time dilation, part of Einstein's theory of relativity," Venugopalan explained. That is, when something is accelerated close to the speed of light, time and the processes that take place inside the particles appear to slow down. "An outside 'observer' viewing a fast moving proton would see the glow of the firefly-like gluons last longer and longer the closer the proton got to the speed of light," he said.
So, in effect, by speeding the particles up, scientists can slow down the gluon fluctuations popping in and out of the vacuum to "take pictures" of them with their particle detectors.
Physicists like Deshpande and others interested in proton spin would like to look at the long-lasting gluons to tease apart their contributions to spin — including how their own orbital motion affects this intrinsic property.
"All the experiments that have looked at proton spin so far have smashed the whole system," Deshpande noted. "But if you break the proton, at that instant you destroy the orbital motion of the gluons, so you can't study it. Instead we want to probe the process more delicately without destroying the proton." An electron from an electron-ion collider with high enough luminosity, or collision rates, would be just the kind of precise probe scientists need to tease out these subtle contributions to proton spin.
Gluon saturation
A schematic illustration of the stage just after two heavy ions collide, with relativistic effects making the receding ions appear as flattened disks. When the ions collide, they pass through each other and the gluons interact to form "flux tubes" (indicated as colored cylinders). This is the initial state of quark-gluon plasma (QGP), called a glasma, because it has properties that lie between those of the saturated gluon state of the ions before they collide — also known as a color glass condensate* — and the QGP.
A high-luminosity electron beam would also help physicists probe another interesting phenomenon they think occurs in particles moving ever closer to the speed of light. According to the theory that describes the interactions of quarks and gluons, known as quantum chromodynamics (QCD), as the firefly-like gluons "glow" longer, they should start to overlap, interact, and merge with one another, while new ones continue to pop out of the vacuum. Eventually, a balance is reached between gluons emerging from the vacuum and those recombining. The physicists call this steady state of maximal gluon concentration gluon saturation, or color glass condensate.*
Such a state of gluon saturation may have already been reached at RHIC — in the heavy ions before they collide.
"Those particles, gold ions, are moving at nearly the speed of light, and at light speed it is mostly gluons," Venugopalan explained. "So really, what you have is two 'walls' of gluons colliding." The quarks, which carry about half of the ions' momentum, essentially move through one another, he said, while the dense fields of gluons are what stop and interact to begin the formation of the quark-gluon plasma.
The properties of those interacting gluon fields are therefore very likely linked to what's observed in RHIC's detectors.
Fingerprints in time
*Color Glass Condensate
Color is a type of charge that quarks and gluons carry as a result of their strong force interactions — which accounts for the term "chromo" in quantum chromodynamics (QCD). The word glass is borrowed from the term for silica and other materials that are disordered and act like solids on short time scales but liquids on long time scales. In the "gluon walls," the gluons themselves are disordered and do not change their positions rapidly because of time dilation. Condensate means that the gluons have a very high density.
Scientists have learned a lot about the dense gluon fields by tracing RHIC's particle paths back.
"If you look closely at the particles coming out of a gold-gold collision at RHIC, you find these correlations — a particle at one end of the collision seems to 'know' about another at the opposite end, and there's a collective kind of flow to the particles," Venugopalan said. "If you trace back the paths of these correlated particles, it's telling you stuff that happened very early in the collision — how the flow was formed, and the details of the flow."
In some ways, he suggested, it's analogous to the way cosmologists learn about the very early universe by looking at the cosmic microwave background radiation. Those measurements of tiny fluctuations in the universe's temperature 300,000 years after the Big Bang contain clues about what the universe looked like the instant after its birth, because certain aspects of its structure were "frozen out" at that instant leaving an imprint on the future measurements — and even on the large-scale structure we observe in the universe today, nearly 14 billion years after the Big Bang.
"Likewise at RHIC, we are looking at the spatial structure of the collision in ways that are very sensitive to the earliest moments of the collisions, when the gluons first interact and tiny fluctuations are in a similar manner frozen out and left as fingerprints," Venugopalan said.
The particle tracks observed in RHIC's detectors (extreme right) contain fingerprints or clues that reflect the conditions very early in heavy ion collisions, when gluons in the colliding ions were just starting to interact. This is somewhat analogous to the way the structure we see in the universe today is a reflection of structural aspects "frozen out" very early in the history of the universe (left). In each frame, time runs from left to right, but over a span of 13.7 billion years in the left frame and only billionths of a second in the right frame. Scientists can learn a lot about these early conditions by looking back, but they'd also like to probe the earliest stage of ion collisions directly. An electron-ion collider would make that possible.
But with so much still unknown about the gluon fields — and so many of the unexpected characteristics of RHIC's quark-gluon plasma dependent on them — scientists are eager to take a closer look.
The super bright electron beam of an electron-ion collider would allow them to do just that — send electron probes into light-speed ions to study the saturated gluon state directly.
"Before we built RHIC, we just wondered about the QGP — whether we could create it in a laboratory," Deshpande said. "Now that we have created a QGP and we find it so much more interesting than we expected, we want to explore it more, to understand how its properties emerge. To get a complete picture, we need to explore in both directions — by looking back with heavy ion collisions, and by probing the structure and properties of the saturated gluon fields directly with an electron-ion collider."
Collective behavior
The experiments would help reveal not just the femtoscale structure of individual particles, but also conglomerate structures and interactions among the constituent particles and fields.
"We are trying to go from a phase where we are studying the fundamental elements of the system — the particles — to understanding their collective behavior," Venugopalan said. "It's analogous to how this process led to the discovery of collective behavior like superconductivity in condensed matter physics. We are now trying to do condensed matter physics with quantum chromodynamics (QCD) — the theory that describes the strong force — the way physicists have been doing for many years with quantum electrodynamics — the theory of electromagnetism."
If physicists can figure out how the gluon fields interact, how the quark and gluon spins and orbital motions coordinate with one another, how the hot quark soup thermalizes — reaches an equilibrium temperature of more than 4 trillion degrees Celsius — in a few trillionths of a trillionth of a second, who knows where it will lead?
eRHIC: Colliding Electrons with
Ions at RHIC
There are compelling reasons to build an electron-ion collider (EIC) at Brookhaven National Laboratory, not the least of which are the Lab's rich physics history, accelerator expertise, and the existence of a fully functional and productive proton/heavy-ion accelerator/collider — that is the Relativistic Heavy Ion Collider (RHIC) — and its international collaborations of physicists eager to continue their explorations of matter. Adding an electron ring and other accelerator components to the existing accelerator complex would be a cost-effective, practical strategy for achieving the scientific goals of an electron-ion collider. More...
"This kind of curiosity and fundamental questions about electrons and protons and their interactions when present in large numbers are what drove us beyond the known electromagnetic interactions, and laid the foundation of condensed matter physics that is crucial for all the electronic gadgets we now use every day," Deshpande said. "With an electron-ion collider, we could go from QCD as we know it today to a theory of condensed strongly interacting matter — and see where that takes us.
"But to do this, we have to go beyond the capabilities that the HERA collider had. It collided electrons with protons, but it didn't have the heavy-ion beams, its proton beams were not polarized, and it did not have the brightness (luminosity) needed to explore all these pressing science questions that have only recently come to the fore."
One thing is certain: If an electron-ion collider becomes a reality, what the physicists learn will offer deeper insight into what holds 99 percent of the matter in the visible universe together. That's the percentage of everything we see around us — from stars to planets to our own physical forms — that gets its mass from protons and neutrons, and thus ultimately from the quarks and gluons governed by the strong force.
"At the most fundamental level," Venugopalan concluded, "we are driven by our curiosity to learn more about what we are made up of."
2012-2870 | INT/EXT | Newsroom


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The government of Thailand asked the two architecture firms to work on a solution for the increasing problem of flooding in Thailand. In the past, most people in Thailand lived near the river in homes equipped to deal with the rise and fall of the water, but as people have expanded beyond the river, their homes are no longer appropriate for flooding. As such, Site Specific and Prefab Laboratory were tasked with creating a solution that could permanently solve the property damaging and at times, life threatening, issue. Their solution came in the form of floating buildings that can rise and fall with the water. The various buildings are situated within the community so that neighbors can help each other during the flood and everyday life can continue on.
Four different types of buildings were designed to accommodate most of the needs for the community, including a residential building and civic buildings. The building is constructed on top of a prefabricated steel floatation system located in a trench underneath the home and is kept in place by a slip-column system that lets the house travel up and down with the water. The floatation system is underground for two reasons. First, with it under the house, the floatation system is hidden and the home sits at the street level, making it more appropriate for modern Thai life. Second, as flooding begins, water first pools in the trench and the home begins to be buoyant before major flooding occurs.
Backup systems like rainwater collection, solar and wind power systems, and protected food storage areas allow each home to function even if city utilities fail. The new buildings would be arranged in mini-communities typically made out of 5-10 buildings, so families can assist each other during the flood until more help arrives. Ideally, as the buildings float, no property is lost or damaged and people can continue to live as normal, albeit traveling by boat rather than by foot.


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Watch Robin Thicke, Bruno Mars, Icona Pop Perform at 2013 MTV EMAs [VIDEOS]
The 2013 EMAs took place last night (Nov. 10) at the Ziggo Dome in Amsterdam and the credo was "Anything goes!" It was quite a show. The tops of the pops were there, with Robin Thicke, Bruno Mars and Icona Pop turning in some of the most stellar performances of the night.
The stage dripped with sex, thanks to Thicke and Mars, while the lovely Swedish gals turned the auditorium into their own personal disco dance party.
Thicke ditched the black-and-white striped Foot-Locker-employee-meets-Alcatraz-inmate zoot suit of his 2013 VMAs performance in favor of an all-black ensemble and a golden microphone, surrounded by sexy dancers slicked in silver body paint and long, Godiva-like ponytails.
He performed 'Blurred Lines' not with Miley Cyrus -- been there, done that -- but with Aussie rapper Iggy Azalea. The femcee did bump and grind on Thicke, who was sweating profusely. He also performed 'Feel Good,' while seated at the piano, with dancers forming a circle around him. It was quite the opposite of a sausage party!
Watch Robin Thicke Perform at the 2013 EMAs
Thicke wasn't the only one to bring the sexy to the EMAs. Mars performed 'Gorilla,' a sexed up anthem if there ever was one! Come on -- a lyric like "makin' love like gorillas" demands a salacious, dripping-with-sex performance and Mars answered the call.
Mars donned his aviator shades but ditched his signature hat. He was surrounded by his band and a stripper, who had worked that pole. If there is a youngster in the room, you may wanna cover their eyes! That girl was some acrobat. We were left wiping sweat from our brows.
When Mars played the guitar solo "to" the stripper, it was a move totally cribbed from Prince. The suggestion that a guitar is a phallus was most certainly obvious.
Neither R&B crooner turned in a performance for the faint of heart.
Watch Bruno Mars Perform at the 2013 EMAs
The ladies of Icona Pop delivered their addictive smash 'I Love It' and yes, we loved it. They began the song quietly, back-to-back and dressed in mirrored frocks that looked like disco balls and gladiator uniforms. We lurved the attire.
The crowd chimed in from the get-go, singing along with the duo. There was lots and lots of confetti at the end. It was truly a disco dance party, lead by and hosted by Icona Pop.
These perfs made us wish we were there!
Watch Icona Pop Perform at the 2013 EMAs


text: Infographic: Fourth of July Safety Prep 27 June 2017 Lifes-Abundance Pet Advice & Ideas (0) We're only one week away from the Fourth of July! And while we may be ready to celebrate our nation's independence, it's one of the hardest times of the year for our companion animals. Every year, pet parents all across America deal with the emotional toll from fireworks. They're loud, scary and unpredictable. Even dogs who typically have totally chill personalities can go a bit bonkers at the "bombs bursting in air." The extreme fear felt by canines can be both traumatic and shocking. And the patriotic displays aren't just limited to a single evening. In the days running up to Independence Day, fuses will be lit everywhere from stadiums to cul-de-sacs. So, what can we do to protect our furry friends from explosions of anxiety? Here's a handy infographic to help you begin making preparations now to help make this year's festivities safer, and thus much more pleasant, for everyone! To view the full-size PDF, simply click on the image below. Infographic: Fourth of July Safety Prep This handy guide can help make this year's Independence Day festivities safer, and thus much more pleasant, for everyone! Tweet


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But first, let's talk about YOU
You have been on an upward spiral for a while now but lately you have been frustratingly stalled, thwarted, or impeded.
You have banked some successes but you are certain that you can take it to a whole new level if you could just remove some persistent and even unidentified barriers that keep getting in your way.
You ache for clarity about where you are, where you are headed, and even where you ought to be headed.
You are humble and you understand that humility is far from being weak. You know from experience that humility requires strength, certitude, and vision.
You have found it hard to find counselors with the guts, the smarts, and the clarity to hold your attention and to "speak truth to power", namely your power.
You have had enough of the way things are and you are looking for more than just a change. You will not settle for half measures, you will accept nothing short of a transformation.
Ok, I'm getting tingles.
All right, now we can talk about me.
I'm Kenneth Vogt and I'm the founder of Vera Claritas. (That means "True Clarity" in Latin. Erudite, hey?)
I am "The Clarity Guy". I bring focus and simplicity to the grand notion that businesses big and small can and must transform the world.
I am a man who has "been there, done that":
- I had a stodgy title at a traditional company (controller for a manufacturer).
- I had a sexy title at a splashy company (Principal Solutions Architect for a fabulously successful dot com).
- But mostly I have been an entrepreneur for over 30 years.
I created one of the first e-commerce web sites for a Fortune 500 company way back in 1997 and I've ridden the internet ever since. Having worked in entrepreneurial enterprises large and small, I have experienced what it takes to create, run and even recreate life-sustaining businesses.
I have lived and worked all over the US, Europe, and Mexico. I speak several languages poorly (Spanish, Hindi, Punjabi) and English quite well.


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Greetings from your wealth management team here at Gradient Capital. Here is a link to our 4th Quarter 2016 Market Review.
Gradient Capital Advisors, LLC is a Registered Investment Adviser. Advisory services are only offered to clients or prospective clients where Gradient Capital Advisors, LLC and its representatives are properly licensed or exempt from licensure. This website is solely for informational purposes. Past performance is no guarantee of future returns. Investing involves risk and possible loss of principal capital. No advice may be rendered by Gradient Capital Advisors, LLC unless a client service agreement is in place.


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text: One of four congressional sponsors of the ENCRYPT Act of 2016, which would preempt state and local laws banning encryption on smartphones, cut her teeth in mobile communications for Microsoft.U.S. Rep. Suzan DelBene (D-Wash.) worked as vice president of mobile communications at Microsoft from 2004 to 2007. That was her second stint at Microsoft; her first was from 1989 to 1998 after receiving an MBA when she worked on Windows 95, email and embedded systems. In between, she helped start Drugstore.com.Her tech background is likely to come in handy in the upcoming encryption debate. The ENCRYPT (Ensuring National Constitutional Rights for Your Private Telecommunications) Act, introduced this week, is designed to ensure a uniform national policy for encryption technology.DelBene and the bill's co-sponsors -- Reps. Ted W. Lieu (D-Calif.), Blake Farenthold (R-Texas) and Mike Bishop (R-Mich.) -- fear that a patchwork of state and local laws could be chaotic and disrupt interstate commerce. Two bills under consideration in California and New York would require manufacturers of encrypted smartphones to enable decryption of data on phones made after 2017.ENCRYPT "has a good chance of becoming law," DelBene said via email. That's partly because it "sets out the principle that laws on encryption are a national issue requiring policies from the federal government, not a piecemeal approach from the states."There are already deep divisions in Congress and between federal officials and privacy advocates over whether tech firms like Apple and Google should be forced find a way to decrypt smartphone data -- even when the encryption is disk-level hardened and passcodes are known only by users, not stored where a vendor can retrieve the data readily."No matter where you stand on whether there should be backdoors in devices for law enforcement to access personal information, you should be able to support this bill, because a patchwork of state laws on encryption will not make us safer -- it would actually weaken our national security," DelBene added.The congresswoman said she often hears from constituents who are concerned about privacy. "Many are surprised to learn that some of their electronic communications aren't subject to the same warrant standard [requiring a judge's signature based on probable cause] as a piece of paper in a filing drawer," she said. "America's most basic electronic privacy laws are woefully out of date. As we consider increasingly complex questions in the digital age, I'm committed to ensuring my constituent's privacy is protected in the manner the Fourth Amendment requires."The Fourth Amendment, which prohibits unreasonable searches and seizures without a judge's warrant, has become the lodestone for all types of electronic privacy matters. There are at least two major cases before the federal courts based on the amendment's privacy protections, but Congress appears primed to act as well.In addition to ENCRYPT, Senate Intelligence Committee Chairman Richard Burr (R-N.C.) and Sen. Dianne Feinstein (D-Calif.) are still working on a bill to guarantee law enforcement access to encrypted data. Meanwhile, Sen. Mark Warner (D-Va.) and House Homeland Security Chairman Michael McCaul (R-Texas) are drafting legislation to create a commission to study U.S. encryption policies and practices.A Burr\/Feinstein bill would undoubtedly ignite more fireworks than passing ENCRYPT. DelBene said such proposals, which require companies to break encryption, "will not make us more secure. They will just give bad actors more targets to exploit."Congress can "find a balance between preserving one's right to privacy and protecting our national security," she said.DelBene suggested she favors the commission concept from McCaul and Warner. "Lawmakers, industry leaders, privacy advocates, security experts and law enforcement need to come together to ensure we're doing everything we can to protect our national security in a responsible way," she said."As someone with a long career in the technology industry and as an entrepreneur, I know firsthand how quickly technologies have developed to become critical to our daily lives," DelBene said. "Policymakers need to be more engaged and informed on how technology works. For example, requiring companies to weaken devices with backdoors means opening up innocent Americans' personal information to bad actors and hackers who would love nothing more than to have easier access."


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Now that you've got a safe build environment and you're able to include the modules into PHP files, it's time to discuss how everything works.
All PHP modules follow a common structure:
Header file inclusions (to include all required macros, API definitions, etc.)
C declaration of exported functions (required to declare the Zend function block)
Declaration of the Zend function block
Declaration of the Zend module block
Implementation of get_module()
Implementation of all exported functions
Hosting by: Hurra Communications Ltd.
Generated: 2007-01-26 18:00:30


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Chris De Burgh
An art rocker who occasionally writes pop-oriented material, Chris de Burgh has never been as popular in his native Britain or the United States as he was in other areas of the world. In America, he's only managed two Top 40 hits -- 1983's "Don't Pay the Ferryman" (number 34) and the number three ballad "The Lady in Red" (1986). In Britain, he's had the same number of Top 40 singles -- "The Lady in Red" was a number one hit and "Missing You" peaked at number three -- yet he's had a number of minor hits. Nevertheless, he has gained an astounding popularity in other countries, particularly Norway and Brazil.
De Burgh signed with A&M Records in 1974, and supported Supertramp on their Crime of the Century tour, building himself a small fan base. His debut, Far Beyond These Castle Walls, was a folk-tinged stab at fantasy in the tradition of the Moody Blues that failed to chart upon its release in February of 1975. That July, he released a single from the album called "Flying." It didn't make an impression in the U.K., but it stayed on top of the Brazilian charts for 17 weeks. This became a familiar pattern for the singer/songwriter, as every one of his '70s albums failed to chart in the U.K. or U.S. while they racked up big sales in European and South American countries. In 1981, he had his first U.K. chart entry with Best Moves, a collection culled from his early albums. It set the stage for 1982's Rupert Hine-produced The Getaway, which reached number 30 on the U.K. charts and number 43 in the U.S., thanks to the eerie single "Don't Pay the Ferryman." de Burgh's follow-up album, Man on the Line, also performed well, charting at 69 in the U.S. and 11 in the U.K.
De Burgh had an across the board success with the languid ballad "The Lady in Red" in late 1986; the single became a number one hit in England (number three in America) and its accompanying album, Into the Light, reached number two in the U.K. (number 25 in the U.S.). That Christmas season, a re-release of de Burgh's 1976 holiday song "A Spaceman Came Travelling" became a Top 40 hit in the U.K. Flying Colours, his follow-up to Into the Light, entered the British charts at number one upon its 1988 release, yet it failed to make the American charts. de Burgh never hit the U.S. charts again and his commercial fortunes began to slide slightly in Britain in the early '90s, yet he retained a devoted following around the world. Throughout the '90s, de Burgh continued to release albums and had a handful of low-charting hits (making his biggest mark with 1997's "So Beautiful" -- which made it to number 29). The '90s also saw the beginning of a live album release frenzy for de Burgh, which continued into the 2000s -- racking up five CDs and five DVDs. With the new millennia came new studio albums as well: 2002's Timing Is Everything; 2004's The Road to Freedom; 2006's The Storyman and 2008's Footsteps (released a year later in the U.S. and the U.K.). He embarked on various tours across Europe during the latter '00s.
Stephen Thomas Erlewine
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