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[310 U.S. 404, 405] Mr. Charles H. Garnett, of Oklahoma City, for petitioners.
Mr. J. Louis Monarch, Sp. Asst. to Atty. Gen., for respondent.
Mr. Justice MURPHY delivered the opinion of the Court.
Oklahoma City Company in 1931 owned certain royalty interests, fee interests, and deferred oil payments in properties in Oklahoma. During that year it entered into a written contract with petitioner Prichard providing for the conveyance to him of these interests for the agreed consideration of one hundred sixty thousand dollars, payable fifty thousand in cash and one hundred ten thousand from one-half of the proceeds received by him which might be derived from oil and gas produced from the properties and from the sale of fee title to any or all of [310 U.S. 404, 406] the land conveyed. Interest at the rate of 6% per annum was to be paid from the proceeds of production and of sales upon the unpaid balance. Oklahoma Company was to have in addition a first lien and claim against 'that one half of all oil and gas production and fee interest ... from which the $110,000 is payable', the lien and claim 'not in any way (to) affect the one-half interest in all oil and gas production and fee interest or the revenue therefrom which ... (it) is to have and receive under this agreement.' The proceeds derived from the oil and gas produced and from sales of the fee interests were to be paid directly to Prichard who was to deposit one-half of them at a designated bank, at intervals of 90 days, to the credit of Oklahoma Company. The agreement recited that Oklahoma Company desired 'to sell all of its right, title and interest of whatsoever nature' in the described properties, and provided that a copy of the agreement and a release be placed in escrow for delivery to Prichard upon payment in full of the one hundred ten thousand dollars and interest. Immediately upon the execution of the contract the properties were conveyed to Prichard without reservation. 1 In entering into the agreement Prichard acted not only for himself but also for petitioner Anderson, each of them having a 45% interest. 2
The gross proceeds derived from the production and sale of oil from the properties3 during 1932 amounted to [310 U.S. 404, 407] some eighty-one thousand dollars. Prichard, upon receiving this sum, distributed one-half to Oklahoma Company pursuant to the contract. The question for decision is whether the proceeds thus paid over to Oklahoma Company should be included in the gross income of petitioner for the tax year 1932.4 The ruling of the Board of Tax Appeals against petitioners was affirmed by the Circuit Court of Appeals. 10 Cir., 107 F.2d 459. Because of an asserted conflict with the applicable decisions of this Court, we granted certiorari. 60 S.Ct. 609, 84 L.Ed. --. March 4, 1940
It is settled that the same basis issue determines both to whom income derived from the production of oil and gas is taxable and to whom a deduction for depletion is allowable. That issue is, who has a capital investment in the oil and gas in place and what is the extent of his interest. Helvering v. Bankline Oil Co., 303 U.S. 362, 367 , 58 S.Ct. 616, 618; Helvering v. O'Donnell, 303 U.S. 370 , 58 S.Ct. 619; Helvering v. Elbe Oil Co., 303 U.S. 372 , 58 S.Ct. 621; Thomas v. Perkins, 301 U.S. 655, 661 , 663 S., 57 S.Ct. 911, 913, 914; Helvering v. Twin Bell Oil Syndicate, 293 U.S. 312, 321 , 55 S. Ct. 174, 178; Palmer v. Bender, 287 U.S. 551 , 53 S.Ct. 225. Compare Helvering v. Clifford, 309 U.S. 331 , 60 S.Ct. 554, 84 L.Ed. --. No. 383, October Term, 1939
Oil and gas reserves like other minerals in place, are recognized as wasting assets. The production of oil and gas, like the mining of ore, is treated as an incomeproducing operation, not as a conversion of capital investment as upon a sale, and is said to resemble a manufac- [310 U.S. 404, 408] turing business carried on by the use of the soil. Burnet v. Harmel, 287 U.S. 103, 106 , 107 S., 53 S.Ct. 74, 75; Bankers' Coal Co. v. Burnet, 287 U.S. 308 , 53 S.Ct. 150; United States v. Biwabik Mining Co., 247 U.S. 116 , 38 S.Ct. 462; Von Baumbach v. Sargent Land Co., 242 U.S. 503, 521 , 522 S., 37 S.Ct. 201, 206; Stratton's Independence v. Howbert, 231 U.S. 399, 414 , 34 S.Ct. 136, 139. The depletion effected by production is likened to the depreciation of machinery or the using up of raw materials in manufacturing. United States v. Ludey, 274 U.S. 295, 302 , 303 S., 47 S.Ct. 608, 610, 611; Lynch v. Alworth-Stephens Co., 267 U.S. 364, 370 , 45 S.Ct. 274, 275. Compare Von Baumbach v. Sargent Land Co., supra, 242 U.S. at pages 524, 525, 37 S.Ct. 201, 208, 209. The deduction is therefore permitted as an act of grace and is intended as compensation for the capital assets consumed in the production of income through the severance of the minerals. Helvering v. Bankline Oil Co., 303 U.S. 362 , 366-367, 58 S.Ct. 616, 617, 618. The granting of an arbitrary deduction, in the interests of convenience, of a percentage of the gross income derived from the severance of oil and gas, merely emphasizes the underlying theory of the allowance as a tax-free return of the capital consumed in the production of gross income through severance. Helvering v. Twin Bell Oil Syndicate, 293 U.S. 312, 321 , 55 S. Ct. 174, 178; United States v. Dakota-Montana Oil Co., 288 U.S. 459, 467 , 53 S.Ct. 435, 438.
The sole owner and operator of oil properties clearly has a capital investment in the oil in place, if anyone has, and so is taxable on the gross proceeds of production and is granted a deduction from gross income as compensation for the consumption of his capital. See Burnet v. Harmel, supra, 287 U.S. at pages 107, 108, 53 S.Ct. 75, 76; Helvering v. Clifford, 309 U.S. 331 , 60 S.Ct. 554, 84 L.Ed. --, No. 383, October Term, 1939. By an outright sale of his interest for cash, such an owner converts the form of his capital investment, severs his connection with the production of oil and gas and the income derived from production, and thus renders inapplicable to his situation the reasons for the depletion allowance. 'The words 'gross income from the property,' as used in the statute governing the allowance for deple- [310 U.S. 404, 409] tion, mean gross income received from the operation of the oil and gas wells by one who has a capital investment therein,-not income from the sale of the oil and gas properties themselves.' Helvering v. Elbe Oil Land Co., 303 U.S. 372, 375 , 376 S., 58 S.Ct. 621, 622.
Other situations, falling between the two mentioned, have been put on one side or the other as the cases arose. The holder of a royalty interest- that is, a right to receive a specified percentage of all oil and gas produced during the term of the lease-is deemed to have 'an economic interest' in the oil in place which is depleted by severance. Palmer v. Bender, 287 U.S. 551, 557 , 53 S.Ct. 225, 226; Murphy Oil Co. v. Burnet, 287 U.S. 299 , 53 S.Ct. 161; Burnet v. Harmel, 287 U.S. 103 , 53 S.Ct. 74. See Lynch v. Alworth-Stephens Co., 267 U.S. 364 , 45 S.Ct. 274. Cash bonus payments, when included in a royalty lease, are regarded as advance royalties and are given the same tax consequences. Burnet v. Harmel, 287 U.S. 103 , 53 S.Ct. 74; Murphy Oil Co. v. Burnet, 287 U.S. 299 , 53 S.Ct. 161; Bankers' Pocahontas Coal Co. v. Burnet, 287 U.S. 308 , 53 S.Ct. 150. Compare Helvering v. Elbe Oil Land Co., 303 U.S. 372, 375 , 58 S.Ct. 621, 622. A share in the net profits derived from development and operation, on the contrary, does not entitle the holder of such interest to a depletion allowance even though continued production is essential to the realization of such profits. Helvering v. O'Donnell, 303 U.S. 370 , 58 S.Ct. 619; Helvering v. Elbe Oil Co., 303 U.S. 372 , 58 S.Ct. 621. Similarly, the holder of a favorable contract to purchase wet gas at the mouth of the well is denied a depletion allowance on the difference between the contract price and the fair market value. Helvering v. Bankline Oil Co., 303 U.S. 362 , 58 S.Ct. 616. Such an interest has been characterized by us as a 'mere economic advantage derived from production, through a contractual relation to the owner.' Helvering v. Bankline Oil Co., supra, 303 U.S. at page 367, 58 S.Ct. at page 618.
Thomas v. Perkins, 301 U.S. 655 , 57 S.Ct. 911, relied upon by petitioners, presented the issue whether the right to oil pay- [310 U.S. 404, 410] ments-that is, the right to a specified sum of money, payable out of a specified percentage of the oil, or the proceeds received from the sale of such oil, if, as and when produced-should be treated for tax purposes like the right to oil royalties or like the right to cash payments upon a sale. In that case, the assignment of lease provided for payments in oil only without the reservation of a royalty interest. The question was whether the assignees' gross income should include moneys paid to the assignors by purchasers of the oil. We stated (301 U.S. page 659, 57 S.Ct. page 912): 'The granting clause in the assignment would be sufficient, if standing alone, to transfer all the oil to the assignee. It does not specifically except or exclude any part of the oil. But it is qualified by other parts of the instrument. The provisions for payment to assignors in oil only, the absence of any obligation of the assignee to pay in oil or in money, and the failure of assignors to take any security by way of lien or otherwise unmistakably show that they intended to withhold from the operation of the grant one-fourth of the oil to be produced and saved up to an amount sufficient when sold to yield $395,000.' Under these circumstances, the money received by the assignors from the sale of the oil were deemed not to be income to the assignees. See also Palmer v. Bender, 287 U.S. 551 , 53 S.Ct. 225.
The holder of an oil payment right, as an original proposition, might be regarded as having no capital investment in the oil and gas in place. The value of the right, even though dependent upon the extent of the oil reserves, is fixed at the moment of creation and does not vary directly with the severance of the mineral from the soil. In this sense it resembles the right to cash payments more closely than the right to royalty payments. Yet it does depend upon the production of oil, ordinarily can be realized upon only over a period of years, and permits of a simple and [310 U.S. 404, 411] convenient allocation between lessor and lessee of both the gross income derived from production and the allowance for depletion. Compare Burnet v. Harmel, 287 U.S. 103, 106 , 107 S., 53 S.Ct. 74, 75. Accordingly, this Court in Thomas v. Perkins decided that the provision in the lease for payments solely out of oil production should be regarded as a reservation from the granting clause of an amount of oil sufficient to make the agreed payments, and should be given the same tax consequences as a provision for oil royalties. The decision did not turn upon the particular instrument involved, or upon the formalities of the conveyancer's art, but rested upon the practical consequences of the provision for payments of that type. See Palmer v. Bender, 287 U.S. 551 , 555-557, 53 S.Ct. 225, 226; Burnet v. Harmel, 287 U.S. 103, 111 , 53 S.Ct. 74, 77.
The Government maintains that the present case is distinguishable from Thomas v. Perkins for the reason that the basis for decision there was that ownership of sufficient oil to make the payments had not been conveyed to the assignee but remained in the assignor. It asserts that the terms of the contract and the instruments of conveyance here negative any intention on the part of the parties to withhold from the operation of the grant an amount of oil equal to the oil payments. The following factors, among others, are relied upon as supporting this contention: (1) the contract contains no qualifying language reserving from the grant any interest in the oil and gas in place; (2) the deferred payments of one hundred ten thousand dollars were payable in cash and not directly in oil; ( 3) the deferred payments drew interest until paid; (4) Oklahoma Company had a first lien and claim against one-half of the oil and gas production and fee interest; (5) petitioner Prichard had the right to sell the fee interest covered by the contract and discharge the deferred payments out of the proceeds of such sale rather than out of the proceeds of the oil and gas production. [310 U.S. 404, 412] Several of the distinctions urged upon us by the Government are without substance. The economic consequences of the transaction are not materially affected by the circumstance that the provision for oil payments is not phrased in terms of a reservation from the conveyance to Oklahoma Company of an interest in the oil and gas in place. And the fact that the payments to Oklahoma Company are in cash rather than directly in oil is of no moment in determining the issues presented for decision. Compare, however, General Utilities Co. v. Helvering, 296 U.S. 200 , 56 S. Ct. 185. Similarly, the retention of a lien, if it were construed as a lien only upon the oil and gas production, and nothing more, 5 would not make Oklahoma Company any the less dependent upon such production for payment of the amounts reserved.
The reservation of an interest in the fee, in addition to the interest in the oil production, however, materially affects the transaction. Oklahoma Company is not dependent entirely upon the production of oil for the deferred payments; they may be derived from sales of the fee title to the land conveyed. It is clear that payments derived from such sales would not be subject to an allowance for depletion of the oil reserves, for no oil would thereby have been severed from the ground; an allowance for depletion upon the proceeds of such a sale would result, contrary to the purpose of Congress, in a double deduction-first, to Oklahoma Company; second, to the vendee-owner upon the production of oil. Helvering v. Twin Bell Oil Syndicate, 293 U.S. 312, 321 , 55 S.Ct. 174, 178. We are of opinion that the reservation of this additional type of security for the deferred payments serves to distinguish [310 U.S. 404, 413] this case from Thomas v. Perkins. It is similar to the reservation in a lease of oil payment rights together with a personal guarantee by the lessee that such payments shall at all events equal the specified sum. In either case, it is true, some of the payments received may come directly out of the oil produced. But our decision in Thomas v. Perkins does not require that payments reserved to the transferor of oil properties shall for tax purposes be treated distributively, and not as a whole, depending upon the source from which each dollar is derived. An extension of that decision to cover the case at bar would create additional, and in our opinion unnecessary, difficulties to the allocation for income tax purposes of such payments and of the allowance for depletion between transferor and transferee. In the interests of a workable rule, Thomas v. Perkins must not be extended beyond the situation in which, as a matter of substance, without regard to formalities of conveyancing, the reserved payments are to be derived solely from the production of oil and gas. The deferred payments reserved by Oklahoma Company, accordingly, must be treated as payments received upon a sale to petitioners, not as income derived from the consumption of its capital investment in the reserves through severance of oil and gas.
Petitioners, as purchasers and owners of the properties, are therefore taxable upon the gross proceeds derived from the oil production, notwithstanding the arrangement to pay over such proceeds to Oklahoma Company. See Helvering v. Clifford, 309 U.S. 331 , 60 S.Ct. 554, 84 L.Ed . --, No. 383, October Term, 1939; Reinecke v. Smith, 289 U.S. 172, 177 , 53 S.Ct. 570, 572; Old Colony Trust Co. v. Commissioner, 279 U.S. 716 , 49 S.Ct. 499.
[ Footnote 1 ] Petitioners state that 'the instruments of transfer of those properties were absolute and unqualified assignments and conveyances' and that there was 'no reservation of any sort of interest, much less any legal interest, specified in those assignments and conveyances'.
[ Footnote 2 ] The remaining 10% interest was acquired for one Olsen, whose case was consolidated with those of Prichard and Anderson, and disposed of in the same opinion below, but who has not sought review here.
[ Footnote 3 ] The record does not indicate what portion of the gross proceeds was derived from the production and sale of oil and gas and what portion, if any, was derived from sales of fees and from royalties on leases. The Commissioner in determining deficiencies against petitioners, however, added $11,276.39 to the gross income of each with the explanation that this amount represented 'In-oil payments received in connection with the Patterson (Oklahoma Company) Deal' not reported by petitioners. Respondent, in view of this explanation by the Commissioner and the omission from the record of any disclosure of the method of computing the $11,276.39 addition to gross income, accepts petitioners' statement that 'the only income from the properties here in dispute is from oil production'.
[ Footnote 4 ] Revenue Act of 1932, c. 209, 47 Stat. 169, 26 U.S.C.A. Int.Rev.Acts, page 482 et seq.
[ Footnote 5 ] The lien here appears to cover both the oil and gas production and the fee interest from which the deferred payments were to be derived.
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I have a website sloane1.com which is in PHP (Wordpress). I want to convert it into Java. Now I am confused that which platform I should use. Please suggest me ..
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I have a website sloane1.com which is in PHP (Wordpress). I want to convert it into Java. Now I am confused that which platform I should use. Please suggest me ..
PHP is just a preprocessor language. To "replace" an entire WordPress site with a Java stack would be very difficult, as you would have to build the site from the ground up. Your poll makes no sense since a Java-based stack can incorporate PHP (though more often sites using JSPs on the front-end will use a different preprocessor), and all web stacks listed incorporate HTML.
You should stick to WordPress until you understand what is needed to put together a website from scratch.
Are you trying to write a CGI script? These are programs which run on the server side usually to process forms. The program name is specified in the HTML file and run on the server and receives data from the form. My understanding is PHP is now the most popular language for CGI programs. You can use others like Python and Perl. You can also use Java; these programs are frequently called servlets, and free tutorials are available.
** BUT ** your host must support running Java servlets. Almost everyone supports PHP. Perl is usually supported because it was once the most popular CGI language. Some support Python. I'm not sure about Java; it may not be popular for CGI. You MUST check with the host provider.
BTW: why change from PHP to Java? PHP looks to be robust and easy to learn and supported everywhere.
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This is Jeremy Renner in costume on the set of that David O Russell Abscam movie. Holy sh-t the cast on this film. That's 13 nominations between actors and the director, spread across 6 people, and 2 wins (Jennifer Lawrence and Christian Bale).
As we saw earlier this week, Bradley Cooper's perm has been dominating the focus on this project. We shouldn't however let that take away from Jeremy Renner's styling. Look at that (with Jack Huston trailing in the background). You know what that is?
That is Joe Pesci.
Isn't that Joe Pesci?
Joe Pesci is exactly the hair they were going for. Is there a picture of Joe Pesci's hair on the mirror in the hair and makeup trailer? Joe Pesci is the inspiration. Not a bad one either. After all, Joe Pesci won an Oscar for looking like this.


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Life is good if you are Reid Hoffman. The self-made billionaire was a part of the founding team at PayPal. He took his winnings from that expedition and went on to found LinkedIn. Hoffman knows what success is.
I'd like to tell you that I've been chumming around with him; that in his jet somewhere over the Pacific on the way to his private island, we bonded. I'd also like to tell you that he gave me a fistful of stock tips and a couple of hundred thousand LinkedIn options. I want you to believe that time spent with Reid turned my life into a dreamscape.
Instead, I have to report that I never met the fellow. I did, however, read his recent book, "The Start-up of You." The book, which is co-written by Ben Casnocha, is pretty inspiring and motivational. I believe that 'co-written' means that Ben got to do the bonding, jet riding and investment advice receiving for me. I think of it as outsourcing.
The Hoffman-Casnocha team does a really good job at delivering the scary truth. The days of stable employment, long term company relationships and fixed professions are over. Your future involves taking a series of jobs that disappear while you have them. The best you can hope for is a temporary reprieve.
10 kajillion faceless people in countries you've never heard of are waiting to take your job as soon as you get good at it.
Are you scared yet? In some ways, the book is like going on a camping trip with Uncle Reid while he tells scary stories around the campfire. In this case, it's the set up for a view of the world where being an entrepreneur is the only choice you have. Old school advice about getting ahead is simply outdated.
As scary as it is, he's probably right. And, after the scary stuff, he gives some good advice. Here are the things I took away:
Anyone can be an entrepreneur.
Actually, the point is more forceful. You don't have a choice; your future involves being an entrepreneur. Rather than a fixed destination and a once in a lifetime occupation, you are headed for a series of opportunities. The question is not whether you take them but how well.
It's always day one.
He stole this from Jeff Bezos. At Amazon, they always say it's Day 1. That means that Amazon is in a state of perpetual beta; that every day is the beginning of the company; that the trappings of success are the roots of failure. Keep yourself and your work fresh through constant reexamination and redefinition.
A million people can do your job. What makes you so special?
This one comes from a long standing billboard on Silicon Valley's Highway 101. Hoffman insists that you have to regularly (weekly or monthly) review the value you deliver and make sure that it is better than your competition, seen or unseen.
Beware of success. It breeds arrogance. Arrogance precedes massive failure.
Hoffman knows this terrain well. Not content to sit back and count his billions, he launched LinkedIn with serious personal and financial involvement. Thinking that you know it all because you've had a little success is the single biggest predictor of the next fall. Be paranoid about your history and question what you've learned.
Take risks when others take refuge.
When the economy goes south, the company folds or the world ends, hunt for the lemons and make lemonade. Anyone can whine and complain about how bad it is. Economic improvement depends on being able to evaluate the circumstances and discover the opportunities.
Weak links are critical.
You'd expect that Hoffman would talk at least a bit about networking. His view is that the weak links, people you don't know very well, are the most important parts of your network. They are the gateways to things you don't know about already.
You may have noticed that I gave you six items when I promised five, The final lesson in Hoffman's book is a time honored approach to building a career: under promise and over deliver. Always try to delight your customers and colleagues. Always.
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Learn :
Serial - MIDI Converter
The Serial - MIDI converter (SM = Serial MIDI Converter) is a software solution to get your computer's serial port (or virtual serial port over USB) talking with your MIDI software and hardware.
Normally, to use an Arduino or other micro-controller with your MIDI software you had to build a MIDI-in and MIDI-out circuit with a few parts and an opto-coupler. Easy enough, but then you would typically need a MIDI to USB adaptor to connect it to your computer.
With the SM and a board like you the Arduino with USB, you don't need any other hardware to get your Arduino to play music with software such as Apple's GarageBand or Ableton's Live !
Once the SM is configured it will;
1. Take "MIDI" incoming serial data and forward it to the desired MIDI port.
2. Take MIDI data coming from the chosen MIDI port and forward it out of the serial port.
1. Build a drum machine
2. Build a keyboard
3. Build a completely new type of musical instrument
4. Make a score that controls bells and tapping solenoids
5. Make a score that flashes lights and triggers special effects
6. Send data from your existing MIDI controller out to a serial device
7. etc ...
The MIDI-IN and MIDI-Out ports do not have to be same. For example, lets say you have an Arduino connected to sensors and visual effects, an external MIDI keyboard and Ableton Live software. You could send the Arduino's sensor data to Live to play sounds and at the same time you could have the keyboards MIDI input routed back to the Arduino to activate visual effects !
Illustration of how the data flows to and from the serial ports and MIDI.
MIDI (Musical Instrument Digital Interface) uses a form of serial to communicate at a data rate of 31250 bps with each byte made of 8 bits plus a stop and start bit. MIDI commands are most often three bytes in length but sometimes more or less. The Serial-MIDI converter currently only handles three byte MIDI commands.
The first byte is called the Status byte and contains both the type of MIDI command and the channel number. The high nibble of this byte tells the MIDI device what it is doing, such as Note Off, Note ON, Control change etc... The low nibble is the channel, it is used to differentiate between devices that are on the same MIDI bus and varies from 0 to 15.
The second byte is the Pitch byte and is simply the note being played, stopped, altered etc... This byte is in the range of zero to 127.
The third byte (when used with Note-On or Note-Off) is the velocity, which is a form of volume for the note being played. Imagine that you hit a drum softly, then the velocity would be a low number, but if you really whaled on it then the velocity would be higher. This byte is also in the range of zero to 127.
MIDI message are often three bytes long. Note: The first byte, the Status byte is different from the other bytes since the MSB (the 8th bit) is always set and it is never set in the other bytes. This is so the MIDI devices can tell whether it is receiving data or a command.
Important update for Mac OS X:
Apple has released a Java update the reintegrates native MIDI support into the Java. This means that as of Apple's Java 6 update, you will no longer require mmj.jar and libmmj.jnilib.
1. To use the Serial MIDI Converter version 2D or later, you have to have 10.5.x with the Java for Mac OS X Update 6. (To see if it is installed, you can go into the Software Update in system preferences and click on the Installed Updates tab or just keep doing software updates until there are no more.)
2. REMOVE: both mmj.jar and libmmj.jnilib from /Library/Java/Extensions. (These are no longer needed and cause a bug with the Java Update 6.)
3. Restart and follow the regular Serial MIDI instructions.
Using the SM on the Mac is easy, but the set-up takes a few steps. To use it you just double click the SM icon, then follow the instructions; choose a serial port, MIDI-in port and then a MIDI-Out port.
To set it up you will need two other pieces of software.
1. Apple's Audio MIDI Setup (comes with your OS, in your Applications folder / Utilities )
2. mmj - Mac OS X universal binary java MIDI subsystem. No longer available from humatic.de
mmj is needed since as of Mac OS 10.4.8 Apple no longer supports some java MIDI packages.
1. Download mmj and copy both mmj.jar and libmmj.jnilib into /Library/Java/Extensions.
2. Launch Audio MIDI Setup, then double click on the IAC Driver.
3. Now in the IAC driver, click the "More Information" triangle if it is not showing already.
4. In the lower left; double click the MIDI port name to edit it and click the + to add a new port. Your screen will not say "Output to Audio Software", this is just the name I gave it. You can give them any name you want. I also added a second MIDI port so as to not conflict with the first one. You can try this or different combinations.
5. Important, check the "Device is online" box or nothing will work!
6. Click "Apply", and now you are done. You may quit the Audio MIDI Setup software, it does not need to be running for the SM to work.
For the SM to work on a Windows machine you will also need other software to create a "virtual" MIDI port.
Download MIDI Yoke from the Downloads area below.
After installing MIDI Yoke, I recommend going into Control Panel and changing the default number of ports from 8 to 2. (With eight extra MIDI ports the SM interface gets too full (10 max). You will need to reboot after changing the number of ports.
The SM is basically a traffic cop, you know the type that would direct traffic in an intersection with white gloves ...
Launch the SM and follow along with these steps.
Step 1. Choose a serial port.
This is the serial port that will be used for both serial TX and RX. Your micro-controllers serial port must be set to 57600 bps 8N1. (Even though MIDI is transmitted at 31250 bps, the serial port is set at a faster baud rate to help minimize any lag time.)
Step 2. Choose a MIDI-in port.
This is the source of MIDI data that will be sent out of the serial port. This can be a little confusing, if you are using audio software this will be the MIDI-out of the software ! If you are using an external controller like a keyboard, this will be the MIDI-in port from that device.
Step 3. Choose a MIDI-out port.
When the SM receives serial data it will pass the data out of this MIDI port. You will most often choose the port that your audio software uses as input, but you could also choose another MIDI device.
Done. You are now ready for some fun.
The SM must be running to direct MIDI to and from serial ports. So, just let it run in the background.
NOTE: If you are using SM with an Arduino, you must quit SM before you can upload a new sketch to the Arduino. This is because, as long as the SM is running it will keep the serial port open and this will make it unavailable to other programs, like the Arduino IDE.
Screen shot of the Serial MIDI Converter. In this example the converter is set-up and running, with the summary of chosen ports displayed.
1. Updated compatibility with newer version of Java
Serial - MIDI Converter: v2d
SMv2D.linux.zip (Not tested)
(Depending on your computer's config - Sometimes an older version may work better.)
1. Selectable serial baud rate
2. Longer list for the serial and MIDI ports
Serial - MIDI Converter: v2c
SMv2c.linux.zip (Not tested)
Serial - MIDI Converter: (older version)
SM.linux.zip (Not tested)
Demo Arduino Sketch:
(Demo sketch to play notes from middle C in the 4th octave up to B in the 5th octave and then back down)
Download MIDI Yoke for Windows 95-98-ME: MIDI Yoke
Download MIDI Yoke for Windows NT-2000-XP: MIDI Yoke MSI and or MIDI Yoke Zip
MIDI-OX web sight: MIDI OX
The objective of this project is to allow everyone that has a micro-controller of some kind be it an Arduino, PIC, Basic Stamp etc... to have access to MIDI without the need to make a hardware MIDI interface and then buy a MIDI to USB interface.
It is intended to be used with simple projects for fun and is not a full substitute for a hardware solution.
1. MIDI messages coming from the MIDI-in port are limited to Note-ON, Note-OFF and Controller change commands.
2. The SM only supports MIDI messages which are three bytes in length.
3. Lag times may be too long for some uses approximately 26ms (see below).
Screen shot from oscilloscope, showing delay from sending serial MIDI formated message to start of audio playing. This test was done with an Arduino sending out a NOTE-ON at 57600bps via the SM to GarageBand (on MBP 2.2ghz Intel Core 2 Duo). The NOTE-ON was sent at the mid point of the blip on channel 1. (It is actually two 5ms pulses close together, one right before the message was sent and another as soon as it was sent.) Channel 1 was connected to one of the Arduino's digital pins and channel 2 was connected to an audio cable coming from the audio-out jack of the computer.
The Serial MIDI Converter was programmed in Processing 0135 Beta. It uses two key libraries to do what it does, the Processing Serial Library from the processing web site and themidibus by Severin Smith.
In case you want to see "under the hood", the un-compiled Processing sketch is included with downloads.
Copyright SpikenzieLabs 2019


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General Liability Adjusting Services in Casa Grande, Arizona
Do you need general liability adjusters in Casa Grande, Arizona? Our highly experienced adjusters are known for complete, accurate and always on-time investigations and reports.
Our mission is to provide examiners with a frustration-free claims investigation. We were founded in 2001 by seasoned adjusters who still oversee the operation to ensure claims investigations get done by unbiased, honest professionals who are fast, accurate and get it done right the first time.
What General Liability Claims can we handle?
Whether a slip and fall on your insured's premises, a product liability case or employee dishonesty, our team covers all general liability claims in Casa Grande.
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text: His Love Endures Clear Stamp Set - 11342SC Zoom His Love Endures Clear Stamp Set - 11342SC SKU: Shirley Ng-Benitez His Love Endures Clear Stamp Set 11342SC Shirley Ng-Benitez Clear Stamps: His Love EnduresDesigned with Bible journaling in mind, Artful Devotions stamps can enhance your personal Bible study time. Adorn your handwritten notes and add coordinating designs in the margins as you express your thoughts in a unique, visual way.These photopolymer stamps create clear, crisp images. Easy to use and accurate to place, they adhere to any clear acrylic block (sold separately).Fourteen stamps in this set. The dove measures approximately 7/8" x 1 1/8".Overall stamp sheet measures 3 3/4" x 4". Availability: In stock $8.95 Qty: Add to Cart Email to a Friend Add to Wishlist | Add to Compare Product Description Product Tags Product Description Details Made in USA. Product's Review Product Tags Add Your Tags: Add Tags Use spaces to separate tags. Use single quotes (') for phrases. CMS tab You may also be interested in the following product(s) Trust In The Lord Clear Stamp Set - 11344SC $8.95 All Through Him Clear Stamp Set - 11340SC $8.95 Sing Praise Clear Stamp Set - 11343SC $8.95


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The Canadian Amateur Radio Regulatory Advisory Board (CARAB), comprised of members of the RAC Executive and senior Industry Canada representatives, met in Ottawa on April 23rd.
In attendance for RAC was Geoff Bawden VE4BAW (President), Glenn MacDonell VE3XRA (Vice-President and Regulatory Affairs Officer), George Gorsline VE3YV (International affairs Officer) and Marcel D. Mongeon VA3DDD (Honourary Legal Counsel).
Industry Canada representation consisted of Lynne Fancy (Senior Director Spectrum Development and Operations), Caroline Kennedy (Manager) and Stephen Williams (Policy Analyst).
Some of the items that were raised and discussed included:
- Ongoing RAC and IC synergies on International files in World Radio Conference context, specifically work on a 60m amateur allocation proposal.
- Revamp of amateur exam question bank.
- Confirmation by IC that the consultation on the new antenna siting policy was seeking comments on the removal of the exemption for broadcasting undertakings and telecommunications carriers.
- Recent updates to RBR-4, still more work to be done; importance of this guidance document to hams was emphasized.
- Discussed outdated Morse code applicability to Canada-US reciprocity and CEPT operating permits; work in progress by IC.
- Two-letter amateur call sign shortage in certain provinces. Options discussed including current certificate data purging criteria.
- Process for non-amateur intrusion into amateur frequencies raised by RAC with examples over recent years. IC use of spectrum discussed.
The Canadian Amateur Radio Advisory Board (CARAB) is a consultative group consisting of members of the Radio Amateurs of Canada (RAC) and the Spectrum Operations Branch of Industry Canada (IC). Its function is to provide a forum between Canadian radio amateurs and the regulator. The first CARAB meeting took place in 1993. CARAB is co-chaired by the RAC President and a Senior IC Director.


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Physical Therapist - Inpatient Rehab
- Tuition Reimbursement - Up to $500 per month
- 1-on-1 Patient Care
- Medical, Dental & Life Insurance (3 plans to choose from)
- Paid Time Off (PTO) = 5 weeks +
- Mentorship - work with a DOR with over 20+ years experience
About the Hospital:
- 255+ Bed Nonprofit Hospital
- Level III Trauma Center
- Certified Stroke Center
- Part of the Largest Healthcare System in the Nation
About the Position:
Come work on a team of 3 PTs, 2 PTAs, 5 OTs, 2 COTAs and 2 SLPs that see an average of 4-6 patients a day from a variety of patient diagnoses. Patients have an average length of stay of around 22 days with a 75% return to home rate. We are seeking a therapist who truly cares about delivering the best patient care and they are looking for a rewarding career, not just their next job..
Qualifications & Requirements:
- Bachelor's, Masters or Doctorate of Physical Therapy from an accredited program
- Open to New Grads and Experienced Therapists
- Must be detail oriented but also able to see the big picture
- Excellent communication skills across all levels
- Serve as a liaison with internal and external customers
- Collaborative, team building personality style
- Servant leader mindset
For immediate and confidential consideration, please submit your resume via the link below.
Aaron Smart | Search Consultant
firstname.lastname@example.com | 469.249.9088
Nealy Pierce, LLC | Dallas, TX
www.NP-HC.com | Open Positions
Nealy Pierce is leading the way for Nursing Leadership opportunities. We take the time to understand your situation and what is most important to you before recommending any opportunity. If you are looking for another position, check out our Available Positions @ Jobs.NealyPierce.com. We are working on new positions all the time, so if you can't find what you're looking for email firstname.lastname@example.com and a Career Consultant will reach out to you to get a better understanding of what you're looking for and if we have something available.


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Jacket- GVGV Army Lace Up Coat
Skirt- H&M
Top- H&M
Earring (gold)- Jenny Bird Slant Ear Cuff
Necklace- Jenny Bird Lyons Choker
Pearl earring- CHANEL
Belt- Vintage chain and hoops belt
Bag- Moschino Fresh Backpack
Boots- Yeezy First Season 950's
The Look: Army + Pearls
Fun Fact: I seriously stalked this Army jacket! I tried it on at VFILES in NY and waited for the pre- Black Friday sale to start and got it....and it just arrived! I'm obsessed with GVGV, a Japanese brand that is soooo hard to find and they make the meanest Army jackets that are reversible. The lacing up the back with the velvet ribbon has such a 90's vibe. These Yeezy boots are from Kanye's first season, and they are the bessst winter boots of the season! The best thing is that they have a hidden platform (like the Isabel Marant sneakers), are comfy and are perfect for our Canadian winters. Our friend Jenny Bird from Toronto has the most incredible jewelry Collection. She is so super talented and we saw her the other night at a party rockin' this Ear Cuff and we screamed! We told her how we are all about ear cuffs and pearls and she told us that she just dreamed up this pearl choker, that I'm wearing. I couldn't be anymore obsessed with it cause it's grungy and girly all at the same time! Moschino Moschino Moschino....funky freshness at its bessssst. My new favorite backpack is this fresh bag that we can not stop wearing....so fresh and so clean clean.
Get the Look:


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If Evacuation Becomes Necessary
If You are Ordered to Evacuate
Because of the destructive power of a hurricane, you should never ignore an evacuation order. Authorities will most likely direct you to leave if you are in a low-lying area or within the greatest potential path of the storm. If a hurricane warning is issued for your area or you are directed by authorities to evacuate:
- Take only essential items with you.
- Make sure you have an emergency kit in your car.
- If you have time, turn off the gas, electricity, and water in your apartment or home.
- Unplug appliances to reduce the likelihood of electrical shock when power is restored.
- Follow the designated evacuation routes and expect heavy traffic.
If You are Ordered NOT to Evacuate
There are things you can do to get through the storm in the safest possible manner:
- Monitor the radio or TV for weather conditions.
- Stay indoors until the authorities declare it is safe to go out.
- Even if the weather appears to have calmed -- do not go outside. The calm "eye" of the storm can pass quickly, leaving you outside when strong winds resume.
- Stay away from all windows and exterior doors. Take shelter in an interior bathroom or in a basement that will provide protection from high winds and flying debris.
- Turn off power when there is standing water or fallen power lines.
- Prepare to evacuate to a shelter or to a neighbor's home if your home is damaged, or if you're instructed to do so by emergency personnel.
- Many hurricane-related injuries are cuts caused by flying glass and debris. Other injuries include bone fractures and puncture wounds from exposed nails, metal, or glass.


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My weekend blog post routine includes posting links to a handful of tools or great content I ran across during the week.
I don't go into depth about the finds, but encourage you check them out if they sound interesting. The photo in the post is a favorite for the week from Flickr or one that I took out there on the road.
Good stuff I found this week:
Exobrain – Very simple, but in a good way, mindmapping and brainstorming tool.
SocialPointer – real-time social media monitoring tool that does a nice job finding things that others don't.
Job Change Alerts – nifty little alert service that tracks your LinkedIn connections and updates you when job changes occur. Nice addition to the sales prospecting toolkit.


text:
Industry Analysis Case Studies
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These pictures came up on the photo agency with the caption:
"Pop star Miley Cyrus and "Twilight" star Kellan Lutz arrive together on a private jet in Miami, Florida on December 18, 2013. Are these two just friends, or has Miley moved on to another action film star?!"
I think the better question is this: Is Miley Cyrus Kellan Lutz's new book in a tree? Lutz has a movie coming out in January. You know. A January movie. January 10th, actually. Or, as we call it here, Golden Globe weekend. A trailer was released for it earlier this week. Did you see the first trailer? The first trailer was HILARIOUS. And it's still as funny this time. Especially when he jumps into the water wearing…a towel?
Lutz doesn't speak until over a minute and a half into the preview. When he does speak, hold on to yourself, because – he has an accent.
That's right.
Kellan Lutz is speaking with an accent.
Needless to say, someone needs help. Hi Miley. Do you know you're being used to help? She doesn't need this. She doesn't need to drag around a pile of muscles. Unless it's her version of charity.
Apparently they were together in the Bahamas?


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Like the silvery native fish that gives it its name, the exterior of Common Galaxia may blend into its surroundings, but step inside and you will see how fresh and unique it is.
This is the second venture for the owners of South Melbourne's Dead Man Espresso, one of Melbourne's most renowned coffee-centric cafes. Although I have heard there are also practical reasons behind the move to these premises, I do think the fact that an already iconic business from the other side of the river should choose Seddon as a viable site for its next venture is yet another signpost in the inner west's evolution.
Luscious latte love. Each table has a little caddy on the side for salt, pepper, cutlery and the menu, folded up like a love note.
The menu has cut the apron strings of build-your-own breakfasts and is completely awesome. Think pikelets with apple curd and dulce de leche, and baked eggs - yes, I know, but they're with chorizo made with Warialda Beef (think Beatrix's Rachael!) or four types of braised bitter greens. Their namesake even makes an appearance, I think as crispy whitebait-style fish, cosying up with shaved fennel and native lemon aspen berry mayo as one of their smorrebrod offerings (open Danish sandwiches on rye).
$14.50 (plus bacon, $18)
Choosing something was the sweetest form of torture but this dish of avocado, chevre, chickpeas and pomegranate "gems" on pumpkin bread was delicious. The bread was quite sweet, the seeds on its crust contrasting with the melt-in-your-mouth goats cheese, the tangy pop of pomegranate seeds and a side of rich, crisp streaky bacon.
Common Galaxia
Shop 3, 130 Victoria Street, Seddon
Phone: 9689 0309
Hours: Tues-Fri 7am-4pm, Sat & Sun 8am-4pm
View Footscrayfoodblog reviews in a larger map


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John Logan To Executive Produce Next Chapter Of Emmy® Nominated Series, Set In 1930s Los Angeles
LOS ANGELES – November 1, 2018 – SHOWTIME has announced the next chapter of the PENNY DREADFUL saga with PENNY DREADFUL: CITY OF ANGELS. John Logan, creator, writer and executive producer of the Emmy nominated series PENNY DREADFUL, will continue in those same roles. Joining him as an executive producer will be Michael Aguilar (KIDDING). Production is expected to begin in 2019. The announcement was made today by Gary Levine, President of Programming, Showtime Networks Inc.
A spiritual descendant of the PENNY DREADFUL story set in Victorian-era London, the next chapter opens in 1938 Los Angeles, a time and place deeply infused with Mexican-American folklore and social tension. Rooted in the conflict between characters connected to the deity Santa Muerte and others allied with the Devil, PENNY DREADFUL: CITY OF ANGELS will explore an exciting mix of the supernatural and the combustible reality of that period, creating new occult myths and moral dilemmas within a genuine historical backdrop. This chapter is a bold new vision that will employ all new characters and storylines.
"We were so thrilled when John Logan came to us with this wildly original take on the Penny Dreadful mythology that explores both the human spirit and the spirit world here in California," Levine said. "PENNY DREADFUL: CITY OF ANGELS promises to be an extraordinary saga of familial love set against the terrifying monsters that are around us and within us.
"PENNY DREADFUL: CITY OF ANGELS will have a social consciousness and historical awareness that we chose not to explore in the PENNY DREADFUL London storylines," Logan said. "We will now be grappling with specific historical and real world political, religious, social and racial issues. In 1938, Los Angeles was facing some hard questions about its future and its soul. Our characters must do the same. There are no easy answers. There are only powerful questions and arresting moral challenges. As always in the world of PENNY DREADFUL, there are no heroes or villains in this world, only protagonists and antagonists; complicated and conflicted characters living on the fulcrum of moral choice."
PENNY DREADFUL premiered in 2014 and had a jaw-dropping third-season finale in June 2016. The series has been honored with 13 Primetime Emmy® nominations, as well as a Golden Globe® nomination for lead actress Eva Green, and won three BAFTA® Awards. PENNY DREADFUL has developed an incredibly loyal fanbase, lovingly called "The Dreadfuls," that followed and rabidly commented on every twist and turn of the series.
PENNY DREADFUL is executive produced by John Logan and Michael Aguilar (KIDDING), along with Oscar winner Sam Mendes (American Beauty, Skyfall) and Pippa Harris (Revolutionary Road), both of Neal Street Productions. Logan's Desert Wolf Productions will produce, and James Bagley will serve as co-executive producer.


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The Integrated Gasification Combined Cycle (IGCC) application of gasification offers some water-saving advantages over other technologies for producing electricity from coal. Regions with limited water resources, typical of many parts of the western United States, could conserve resources by meeting increasing electricity demand with IGCC generation. Many of these areas have good coal resources and a need for new generating capacity.
Water use in a thermoelectric power plant is described by two separate terms: water withdrawal and water consumption. Water withdrawal is the amount of water taken into the plant from an outside source. Water consumption refers to the portion of the withdrawn water that is not returned directly to the outside source – for example, water lost to evaporative cooling.
The thermoelectric industry is already a huge water user on the national level and must compete with several other applications for water supply. The total quantity of water withdrawn for thermoelectric power in 2005 was estimated by the United States Geological Survey to be 201 billion gallons per day, which was 49% of total water withdrawal, 41% of total freshwater withdrawals for all categories, and 53% of fresh surface-water withdrawals.
With increasing energy demand, water consumption resulting from energy industry activities will only continue to grow. The Energy Information Administration (EIA) projects that total electric consumption will increase from 4,152 billion kilowatt-hours in 2010 to 5,004 billion kilowatt-hours in 2035. Coal fired power generation is expected to increase by 11 GW from 2010 to 2035 (see gasification markets).2 The result will be more pressure on the nation's water resources.
Water Use in Thermoelectric Power Plants
The main demand for water within a thermoelectric power plant is for condensing steam. Thermoelectric power generation typically converts the energy in a fuel source (fossil, nuclear, or biomass) to steam and then uses the steam to drive a turbine-generator. After the steam is exhausted from the turbine it is condensed and recycled for use in the production of steam again. Since the condensate must be cooled as much as possible to reduce backpressure on the turbine, this recycling of the steam is a critical process in the efficiency of the plant.
Generally three types of cooling system designs are used for this application: once-through, wet recirculating, and dry.
Once-through systems draw cooling water from a lake, river, or ocean to condense the steam exhausted from the turbine and then discharge the water back to the same body of water. This type of plant then has a relatively high water withdrawal, but not much of the water is actually consumed.
The wet recirculating cooling systems consist of two main technologies: wet cooling towers, and cooling ponds. The more common type, the cooling tower, dissipates heat by circulating the heated water through the tower where some of the water evaporates as most of it is cooled. In the cooling pond system natural conduction and convection transfer heat from the water discharged into the pond to the atmosphere. In both cases water withdrawal is relatively low, but due to the evaporation of water to the atmosphere and the need to remove blowdown from the system, water consumption is relatively high.
In dry cooling systems the steam exhausted from the turbine is cooled by forcing ambient air across a heat exchanger filled with the condensing steam. There is no loss of water to evaporation or blowdown in this configuration and therefore both water withdrawal and consumption are minimal; however use of this type of system is limited. Since air is not nearly as efficient for heat transfer as is water, the increased electrical cost makes dry cooling less economical.
Within the United States, each of these types of systems are used with 2010 estimates indicating that 42.7% of power plants use once-through, 41.9% use wet recirculating, 14.5% cooling ponds, and 0.9% dry cooling systems.3
Pulverized Coal vs. IGCC
In a pulverized coal (PC) combustion power plant, the coal is burned to produce steam via a pulverized coil boiler. The steam is then used to create electricity with a steam turbine connected to a generator. The steam exhausted from the turbine is then cooled in the condenser with cooling water usually supplied by a cooling tower which loses water through evaporation and blowdown. Most of the water consumption within the plant is for this purpose.
In addition, water is used in the PC plant configurations for emission control. Flue gas desulfurization (FGD) systems use water combined with limestone or other agents to create a slurry which is used in the treatment of the flue gas to remove sulfur and lower SO2 emissions to the required levels. Also, plant operators commonly add or leave 20–30% water in solid wastes generated, the bulk of which is fly ash, for dust control and optimum bulk density of those materials. If this water is part of the plant water effluents it may contain dissolved salts and minerals. Some plants practicing zero water discharge may add a small amount of solid salts and minerals (from water effluent evaporation) to these solid residues.
In an IGCC setting, water consumption is dramatically reduced compared with PC plants due to the reduced reliance on steam on a consistent electrical output basis. Since the syngas produced by the gasification process is combusted in a gas turbine, steam is not used as the primary means of transferring the energy from the coal to rotational energy. Steam is only used to recover the heat from the gas turbine exhaust in a heat recovery steam generator (HRSG). This reduces the steam system size required on an IGCC plant significantly, compared to a PC plant of similar electrical output.
This reduction can be offset by the fact that an IGCC plant uses water in process areas, including providing steam to the gasifier, in acid gas removal, carbonyl sulfate hydrolysis, particulate and mercury removal, humidification of syngas prior to the gas turbine, and in the water-gas shift reaction. Some gasifiers also use water for ash and slag handling processes.
The following chart, taken from the August 2005 Power Plant Water Usage and Loss Study published by NETL, shows the varying levels of water loss or consumption for several IGCC technology options (E-Gas™, Shell, and GE Energy), NGCC, and subcritical and supercritical PC, on a consistent megawatt-hour basis.
Water Use in a Carbon Capture Scenario
If future limitations on carbon emissions require generating plants with the ability to separate and capture carbon emissions, increased water usage will be required for all electrical generating technologies. However, since the IGCC process adapts more easily to CO2 removal, the increase in water use for carbon capture is marginal compared to plants of other types. In fact, in a carbon capture scenario, IGCC plants are nearly as conservative in water consumption as natural gas combined cycle (NGCC) plants. The chart below shows estimated water usage figures for the power plant technologies in both carbon capture and non-capture scenarios.
What can IGCC's reduced water requirements mean to the nation's energy and water resources in the future? Combining EIA demand projections and the information in the charts above, IGCC has the potential to save as much as 640,000 gallons per minute or 300 billion gallons per year of raw water by 2030. In the case of carbon capture requirements, 1.9 million gallons per minute or one trillion gallons per year of raw water could be saved.
So, in summary it can be said that gasification-based power offers efficiency benefits in the use of water. Raw water use in IGCC plants is lower than in pulverized coal plants. Without CCS, PC plants have a much higher steam turbine output, requiring more cooling water and condenser duties (typical raw water use ratio of 1.7:1.0). With carbon capture, the difference in water use is even more dramatic (2.5:1.0), as the chemical absorption process for CO2 capture in PC plants (amine) requires even more cooling water. In terms of raw water increase, CO2 capture increases raw water use by 37% for IGCC plants, versus a 95% increase for PC plants.


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Real Estate, Finances, Investing, Mortgages...
Jordan Lotoski, Realtor RE/MAX Realty Professionals - 403-542-0326
CALGARY HOME PRICES - Ask here!! (Want to know what your neighbors home sold for)
Tim Lacroix - Mortgage Broker - 403-648-1541
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|In stock (2)
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Gloss Glazes fire to a smooth, glossy finish at a witness Cone 05 (1911°F,1044°C). The Vibrant colors provide a durable, craze resistant surface that makes this series ideal for utilitarian projects for students or production potteries. The LG series is formulated for brushing application but can be adjusted to work in pouring, dipping, and sponging applications. Make sure it reaches a mature witness Cone 05 (1911°F,1044°C). Apply on mature Cone 04 bisque. Slow fire for best results.
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Issa Says Lifting District's Height Act Could Lure Pro Football Back to D.C.
Wooing Washington's National Football League franchise back to the city would be easier if D.C. would lift its building height limits, according to Rep. Darrell Issa, R-Calif.
The city's reluctance to alter the limits imposed more than 100 years ago under the 1910 Height of Buildings Act prevents it from planning the sort of world-class stadium and surrounding developments that could lure the team away from FedExField in Landover, Md., Issa claims.
"Go to many of the new stadiums that have been built," the House Oversight and Government Reform chairman said to Del. Eleanor Holmes Norton, D-D.C., during a March 12 hearing. "They're often built with buildings that are part of the plan."
Attracting the maximum amount of economic activity that can be generated by a pro sports stadium, the logic goes, requires more than just a field and seats.
Issa's home state provides one example. In California, construction of San Diego's Petco Park, home to Major League Baseball's Padres, led to more than $2 billion in new investment in the surrounding neighborhood, including the luxurious Omni Hotel connected to the stadium via a suspension sky bridge.
Up the road from D.C., the Baltimore Ravens play in the downtown M&T Bank Stadium within walking distance of the historic Inner Harbor, a neighborhood renowned for its post-industrial waterfront redevelopment.
As Issa phrased it during his colloquy in support of amending the Height Act: "a large and relatively high structure," like a stadium, "can, in fact, be surrounded and adorned with buildings that represent appropriate height for that area."
D.C. officials have expressed plenty of interest in luring the area football team back inside city limits with new development — but they seem to have no love for new vertical growth.
Three candidates for mayor have introduced a proposal in the D.C. Council requiring the mayor to conduct a study of the "economic feasibility, economic impact and costs" of new entertainment development in Southeast D.C., including a 100,000-seat superdome that they envision could one day host a Super Bowl (or mixed martial arts matches, national political conventions and maybe even the Olympics).
"The city of Indianapolis, which built a domed stadium, hosted Super Bowl XLVI in 2012 and gross expenditures reached $384 million," the bill notes. "That figure is indicative of the revenues that the District could generate with the development of a sports and entertainment complex."
Vincent Orange is sponsoring the bill, and fellow Democratic mayoral candidates Muriel Bowser and Jack Evans have signed on as co-sponsors. Paying homage to local music legends, the stadium complex would include an outdoor "Marvin Gaye Square" with live music and a designated "Chuck Brown Stage" for performances, in addition to restaurants, a food truck court, a beer garden and a nearby housing complex complete with a 24-hour diner, grocery store and movie theater.
The proposal also suggests the DC National Guard Armory could be turned into a soundstage, making Washington a more attractive destination for movie and TV producers. Nearby would be a film center with two state-of-the-art theaters and private screening rooms "capable of both 35mm and digital projection," along with a gallery, cafe and gift store.
Nearby Langston Golf Course could undergo a complete renovation, to be brought up to par for PGA Championship golf. The bill also envisions an indoor water park and more than 1,000 hotel rooms to accommodate all the new visitors.
Brian Flahaven, an advisory neighborhood commissioner in Hill East, thinks the study and the development it suggests would be a bad idea. He describes the arrangement as "a random grab bag of pet projects that will do little for the neighborhood and city."
As for Issa's concerns that height limits would be an obstacle to attracting the sort of development that could ultimately woo Washington's football team — the same councilmembers supporting the bill say they are opposed to any changes to the current Height Act.
Bowser, Evans and Orange all indicated that, if elected mayor, they would not support changes to existing height limits.
Issa said he sees opportunities and "economic challenges … but again, that's for the city fathers, that's for you as their elected representatives," he said, noting that his committee stands ready to assist "in any way we can to enhance the federal city."


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This week's blog post is going to be an 'on the fly' posting.
It could have been a rant on the NZ government screwing up the school terms for the benefit of the rugby world cup...meaning that all primary sport tournaments have changed...leaving us with conflicting schedules all over the place...
It could have been a thoughtful look at the impact of the reorganisation of chain bookstores and the rise of indie bookstores and authors selling direct in Australia and New Zealand.
It could have been a rant about the first released pics of the male lead characters in the Hunger Games film and how my teen has just found time to start reading the book after I warned her not to do so because her Nationals are this weekend and she needs her sleep. It is unputdownable and why do teen male leads have to look like beef cakes...this is not reality that I have seen...are we setting boys up to fail in the beauty stakes?
It could be about the wonderful Wellington Children's Book Association AGM tonight where we celebrate the year with a panel discussion on Is Storytelling Dead?
We hope not...
But on the Twitter feeds at the moment there is discussion about the LA Times dropping all their book reviewers...and how Forbes Magazine is highlighting their 'content creators.' (Sort of a formalising of the brave new world...)
Jane Friedman has gone out on her own, because she has the clout to do so after maximising her visibility through Writers Digest...(Something Forbes maybe trying to tie up, by giving their journo's permission to do likewise.) Jane has a great take on how to transition yourself...
Over on Craft
Jami Gold looks at Character Driven vs Plot and how we fall one way or the other...and Procrastinating Writer has one on Establishing Writing Rituals.
Over on Craicerplus ( My Amplify Page) I have links to articles on
Indie, Big 6 and Small Press Publishing (and how a writer can do all three)
The Hybrid Writer........(you have permission to be one)
To finish,
I would have talked about the huge stoush/debate/argument/angsting going on over at Bookends Literary blog over their decision to set up an epublishing arm. This has become the place where the whole agents becoming publishers debate is being held! At least they are trying to engage the writing community....tho some want to hang them out to dry...
And I was going to look at why book trailers could be the next big thing in your marketing arsenal following on from last week...
And this year's Bulwer Lytton winners are out...(for the worst opening sentence)
But I have to fly...AGM's... Tournaments...and National Dance events...are all steaming towards me....
pic is from Gizmodo...a new plane design


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A federal appeals court involving antiwar activists who were secretly infiltrated by US military spies has ruled in favor of the activists, marking the first time a court has endorsed the people's ability to sue the military for violating their First and Fourth Amendment rights.
"Declassified documents obtained by Students for a Democratic Society and Port Militarization Resistance," reports Democracy Now, "revealed a man everyone knew as 'John Jacob' was in fact John Towery," who was assigned by the government to spy on the Washington state-based antiwar groups.
Towery was dispatched from a "fusion center," or intelligence center, as part of the Department of Homeland Security's post-9/11 anti-terrorism surveillance powers.
In October, the Senate Homeland Security subcommittee reviewed more than 600 reports that had come out of these so-called fusion centers and found the giant bureaucracy surrounding the program produced almost nothing that had to do with countering terrorist threats.
Instead, the government spy networks snooped on political activists and infiltrated groups that were peacefully exercising their constitutional rights to free speech.
"The centers have made headlines for circulating information about Ron Paul supporters, the ACLU, activists on both sides of the abortion debate, war protesters and advocates of gun rights," according to the Associated Press.
The court ruling is potentially precedent-setting, although Towery's lawyers may appeal the decision.
"This has never been done before," said Larry Hildes, an attorney with National Lawyers Guild, who is handling the case. "The US government has spied on political dissidents throughout history and this particular plot lasted through two presidencies, but never before has a court said that we can challenge it the way we have."


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I got an interesting question in the comments of yesterday's stock report for corner infielders, and I felt it deserved an answer in a full post, because it's a very relevant question. Here's the question:
"Do you believe an injured player is a good opportunity to buy low? Over the last few drafts I found picks like Kyle Gibson and Tanner Scheppers to be really good for the teams involved. Should teams really [be scared] off when a player hurts themselves? Just to give you an example, Anthony Ranaudo this year, should teams really be scared off given his previous track record?"
Thanks to Jeffrey for the question, as it has become a more relevant question in recent years.
Not too long ago, an injury, especially one that would require lengthy rehab, could scare off the vast majority of teams. For pitchers, blowing out an elbow or a shoulder essentially tanked your draft stock, and you stood no chance of getting any sizable bonus.
That all started to change in the middle of this decade, with the ice really being thawed when the late Nick Adenhart received a $700,000 bonus despite a major elbow injury after being drafted in the 14th round of the 2004 draft. That signing represented a big shift in thinking about injuries, and more and more teams have started entering the risky waters of drafting injured players.
A quick run through the last three drafts shows that no less than 14 teams have invested a draft pick in the 11th round or higher on a player coming off an injury that could be seen as significant. That includes 3 first round draft picks, two of which went to the Yankees (Andrew Brackman and Slade Heathcott). You can argue that Heathcott shouldn't be included in that group, but recovery from ACL surgery is still significant, as is the shoulder injury he suffered in the spring. Any player having to DH due to injuries in their draft season represents significant risk, especially when speed is a part of their game.
Here is a quick list of those players coming off or about to receive Tommy John surgery that were either given a significant bonus or were drafted in a significant position with that knowledge:
-Luke Bailey, C, Tampa Bay, 4th Round in 2009
-Andrew Brackman, RHP, New York Yankees, 1st Round in 2007
-Cameron Coffey, LHP, Baltimore, 22nd Round in 2009
-John Gast, LHP, Texas, 5th Round in 2007 (DID NOT SIGN)
-Colby Shreve, RHP, Philadelphia, 6th Round in 2008
-Alex Wilson, RHP, Chicago Cubs, 10th Round in 2008 (DID NOT SIGN)
So with four players signing for significant bonuses, it's obvious that Tommy John surgery isn't seen as a disqualifier anymore.
What about shoulder issues? Here's another list:
-Ryan Berry, RHP, Baltimore, 9th Round in 2009
-Sam Dyson, RHP, Oakland, 10th Round in 2009 (DID NOT SIGN)
-Anthony Gose, OF/LHP, Philadelphia, 2nd Round in 2008
-Tanner Scheppers, RHP, Pittsburgh, 2nd Round in 2008/1st Supplemental in 2009
Two of the four signed on the first go-around, and Scheppers signed with more questions lingering last year. Shoulder issues aren't seen as a huge deal like they used to be, but scouts are generally more cautious around shoulder injuries than elbow injuries.
Ok, what about more minor elbow issues? I've got some of those, too:
-Kyle Gibson, RHP, Minnesota, 1st Round in 2009 (officially forearm stress fracture)
-Brett Hunter, RHP, Oakland, 7th Round in 2008 (Elbow Soreness)
-John Lamb, LHP, Kansas City, 5th Round in 2008 (Elbow Fracture from car accident)
-Adam Reifer, RHP, St. Louis, 11th Round in 2007 (Tendinitis and a stress reaction)
Each of those players signed. Gibson is lumped in here, because most consider forearm issues a precursor to elbow issues. Whether you believe that or not is irrelevant, because this is a discussion about how teams view injuries, and plenty of teams thought Gibson might be on his way to Tommy John surgery in the near future.
To answer the question, I think teams have made it clear that they generally don't shy away when the value is right. There's a lot of risk in signing players coming off injuries. However, it does provide some value, depending on how you view it.
Looking at the injured players of 2009, sure it has the potential to provide excellent value. At the top, Kyle Gibson was able to be taken by the Twins with the 22nd pick, which shouldn't have happened if he wasn't hurt, but they did have to pay slot money ten slots higher than their pick to sign him. They got good value for their draft slot, but it might not have saved them any money. The best possible value I can see of the injured players from 2009 is in Luke Bailey. The Rays were able to not only get a 1st round talent in the 4th round, but they also signed him for 2nd round money. They essentially won on both counts, and that's where the value lies.
I do think it is way too early to call this sort of strategy a sound one. What if Tanner Scheppers' shoulder needs surgery in July? What if Gibson does indeed fall victim to Tommy John surgery? You may not be able to tie that surgery with the pre-draft injury that crept up, but that's always going to be in the back of your mind. Since this is such a new strategy, I generally take a wait-and-see approach. The Bailey signing represents one of the best signings in the entire 2009 draft to me, as they got value for their slot in terms of both talent and money. Getting a 1st round talent in the 4th round for 2nd round money is great, and with the success rate of Tommy John surgery being approximately 90%, it's a sound investment.
It's all about your risk preference. Some teams feel they need to invest in more risky players to get value, while others are very risk-averse. It depends on what you can take. If you have a very limited budget, you don't want to wrap up too much of your budget in a player that's hurt. That's common sense, but it's something that a lot of fans don't think about. There's value to be had, but there's risk there, too. As medicine advances, we'll see more calculated gambles into the injured player market, but right now, it's going to proceed at a relatively slow and steady pace.
How does this affect 2010? I don't know yet. Anthony Ranaudo represents the most significant injury time of the top prospects, but he's come back pretty well so far in a couple of outings, with more to come tomorrow. He might not make this list if I were to make it 5 years from now if he's all the way back in June. However, if you start seeing players go down with injuries, remember that it's all about risk and return, and unless the price is right, investing in injured players just might be too risky to take.


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|Llewellyn's 2019 Daily Planetary Guide
|Yoga for the Creative Soul
|The Pure Heart of Yoga
The Witches Tarot deck began on a cold winter day almost three years ago when I was contacted by Barbara Moore, the tarot acquisitions editor at Llewellyn. She emailed to ask if I be interested in designing a new tarot deck for witches and then writing the accompanying book. Intrigued, I called Barbara for more information and she explained to me what would be involved in the process. She informed me that the project would be kept secret from the general public for a few years until close to its release date.
I thought about it for a few days and then decided to dive in. Then I spoke to Barbara about the specifics as to what exactly would be needed in a script. After that, I took a few weeks to research, consider, plot and plan… and then I started writing that script for what would become Witches Tarot.
This was both fun and challenging. The script is for the editor and the artist, so they can "see" what the author wants, and what exactly they are after—basically you are painting a picture with words for each individual card of the tarot deck. I also added my own notes in the script so that when the time came to write the accompanying book I would have these first notes to refer to—to remind me of the meaning, feeling and story of each card I had planned.
For clarification I added reference images or a photo to the script for the future unknown artist—especially of the specific herbs, flowers, and botanicals. Once the script was approved by the folks at Llewellyn, the hunt for an artist began. This took about six months. A few different artists sent in their version of a card for consideration, and unfortunately nothing felt right.
Barbara encouraged me to hang in there. She and I both wanted someone who could not only paint people, but an artist who could do backgrounds, flora and fauna, and natural landscapes. Nature was the main theme, and my mantra for the artist was, "Every card should tell a story…" That line was even at the top of the script.
Finally, a card painting was sent in for my consideration from fantasy artist Mark Evans. The card he sent in was the Queen of Cups. I had looked at his website while we waited for his art, and I was seriously impressed. Then when the art came in for me to consider, I was so nervous about seeing the card mock-up that I did not want to look at it alone. I had my son Kyle, a graphic designer, with me when I viewed the attachment. I nervously opened it and the image filled up my computer monitor screen; my jaw dropped. I sat there in silence, which for me is highly unusual.
Kyle leaned in over my shoulder, looking at the image and announced, "Mom, you have to get this guy!" I sat there at my desk in stunned silence, and got a little teary. This was it. This was our artist. When I looked at that card, suddenly I could "see" what the deck would be. I showed the image to my husband and two other adult children to see their reactions; I don't know who was more excited, me or my family.
Once Mark was contracted, he and I communicated through email for a while. I had the idea when I first scripted the deck to include my husband and our kids in a few of the court cards of the Witches Tarot. I asked Mark if he would be okay with that. I explained I was not looking for portraits, but that I thought it would be fun if the husband and the kids resembled a character in a tarot card. For myself, I had one particular card in mind… But more on that later. Mark agreed, and said he'd be happy to work in the family. He liked the idea. I also urged him to include himself in one card as well.
Several months later, as the card art actually began to trickle in, Mark and I stayed closer in contact, via email and sometimes by talking on the phone. Occasionally we would brainstorm, he would make a suggestion, or I would. As we went along I explained to Mark some of the history of the tarot and the meaning behind the images he was creating. We also had several conversations about the Craft, which he found helpful. Sometimes he would surprise me. When I suggested adding a raven to the Hanged Man card, Mark said, "Oh yeah, the raven on the ash tree… like Odin." Score! He knew his mythology.
The process of the card art began with Mark reading the script and then sketching up the cards for me to look over. Occasionally he sent me a couple of versions of a card, allowing me to choose. I approved the sketches or requested minor changes as quickly as possible. If I did have a correction it was typically very minor, such as when I once asked, "The King of Cups needs a crown; can we put a silver starfish in his crown?" I'd say about ninety-five percent of the time my reaction to the sketches was: "Love it—paint it." We would do so, and then he'd move on to the next one.
As more cards slowly came to life, it was both exciting and nerve-wracking. One day when Mark and I were talking, he explained that in particular the Five of Wands card was giving him fits. I suggested to him, "What if you did five dragons, each in a different color, and all holding a hawthorn wand?" He pounced on that new idea. I suggested the dragons be red, yellow, green, blue and purple, explaining to him that there would be colors for the four natural elements and for spirit. Mark is a fantasy artist after all, and he does some awesome dragons, so he was relieved and pleased with that new suggestion. He quickly took notes and I happily turned him loose. The result was pretty spectacular.
Occasionally I would take posed pictures with my digital camera of friends or relatives and send them to Mark so he could get a real "picture" of what I wanted. I did that for my husband and the kids' cards; those photo sessions could be challenging, or downright hysterical. Phrases like, "Here hold this goblet. Pretend these ginormous scissors are a sword. Hold this wooden spoon for a scepter…" were common. I have never laughed so hard in my life when my son looked at me and asked, "You're not actually going to make me get up on a horse…are you?" I lost count of the times the kids would deadpan, "I need my script! I can't work under these conditions!" Or, my personal favorite, "Excuse me, what's my motivation?" It's hard to hold a camera still when you are laughing. Where they got that sarcastic sense of humor from I'll never know…their father is a such a quiet man.
I also did that same routine for a few other cards, such as the Nine of Cups, and the Three of Cups. Those reference photos were taken on Beltane with some of the ladies from my coven, who were excited to pose for a card. The finished cards looks just like them. I dragooned a few other friends for various card poses, and I took reference photos of a few of my teenage nieces and nephews (who were the right age and personality for various Page cards). Bless Mark's heart he never once complained about me using whatever "props" I could find. I knew it was important to get the expression right and to have the position of their hands correct. I posed people with wine glasses for goblets; a long piece of PVC pipe or a broom handle for Wands; a tambourine for a Pentacle; and, in one memorable photo, fireplace tongs instead of a sword.
I still am thankful my sixteen-year-old nephew did not bean me while he was swinging those big metal fireplace tongs during our "Page of Swords/Page of Cups photo shoot," which took place in my mother's dining room on Christmas day. At least we stayed away from my mother's china cabinet!
In direct contrast, my twelve-year-old niece stood quietly with an over-sized painted goblet and kept laughing at me while I explained she should look "surprised" because in the script I sent the artist, I had described a blue fish coming out of the cup she held. So with my kids cheering her on, we got some great reference photos to help back up the script. Good times. And my niece's and nephew's cards turned out terrifically.
So what does a tarot deck script look like? Well, here are the script notes for the card Nine of Pentacles. You will see a mention of reference photos in the script as I had attached a picture of me in my garden, and a photo of climbing Brown-Eyed-Susan vine for Mark to refer to.
Script: Nine of Pentacles
Ellen's personal comments for 9 of Pentacles: This tarot card classically represents a person who is elegant, successful, and happiest surrounded by the beautiful things in nature. It also represents a Witch who taps into the earth to receive their powers. A magickal herbalist, a Garden Witch. An earthy practical person who enjoys nature, makes and keeps a beautiful home and garden. Sharing the magick and the secrets of the garden with others. Being called to connect to the earth.
And now, here is the Nine of Pentacles sketch, and then here is the finished card art.
So yes, I am the woman in the Nine of Pentacles. A witch portrayed in the garden—that was the tarot card I wanted. My husband and three grown kids all made it into the deck as well. How did I choose which cards they would be in? I matched their personalities to the specific court cards. My husband is the King of Cups. My son Kraig is the Knight of Cups, and my son Kyle is the Knight of Swords. My daughter Erin is portrayed as the Queen of Swords.
The kids actually ended up in the deck twice (once as adults and once as small children). For example, The Sun card hit a few bumps until I sent Mark a photo of my oldest son Kraig as a little boy. Mark took one look at that old photo, started to chuckle, and then he did a new version of The Sun card (on Midsummer day, actually); it turned out fabulously. To keep the peace, I figured I had better make sure the other two grown kids were also in the deck as youngsters. Mark obliged, and Kyle and Erin were portrayed as the little boy and girl in the Six of Cups. Mark made their hair pale blonde in the card, instead of light brown, but those faces looks just like their toddler photos.
So there is a little bit of the "behind the scenes" information about the card art, which you won't find in the 312-page companion book that I wrote. In the Witches Tarot Companion book what you will find is how to do a public or a private reading, along with the meaning behind, symbolism of, and magick for each of the seventy-eight cards. There are seven new tarot spreads and over ten new tarot spells and two handy appendixes (one for the Minor Arcana numbers and Court Card Meanings, and the other is an alphabetized list of the meanings of the symbols in the cards).
Every card tells a story, and with this Witches Tarot the narrative only makes the cards more magickal. I hope you will enjoy the book and the deck and create your own tales for the cards as you work with them. To learn more about the deck and the book, see all of the Major Arcana and a sample of the Minor Arcana cards, or to order art prints, please visit the Witches Tarot website at www.witchestarot.com. You can also find the Witches Tarot on Facebook and do a reading with the cards with Llewellyn's Free Tarot.
Ellen Dugan is the award-winning author of fifteen books, and is known as the "Garden Witch". A psychic-clairvoyant, she has been a practicing Witch for over thirty years. Well known for her candor and humor, she is a Master ...


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By admin
Thank you, thank you, thank you all for supporting my new book, THE WIFE. I've gotten so many incredible notes from you in response to this book, and I can't wait to continue hearing your reactions to Angela, Jason, and their layered, scandal-prone lives. Keep reading!
Breaking News: THE WIFE, the movie
THE WIFE will be adapted as a major motion picture by Amazon Studios. I'm thrilled to report that I'll be writing the screenplay!
Some great new reviews are in:
THE WIFE is an Enterntainment Weekly MUST-LIST pick and a Best New Thriller by Washington Post Books.
"The stress of a marriage under siege comes breathtakingly alive as Burke's twisty plot unspools… The Wife is a timely and triumphant thriller from a writer at the absolute top of her game." – Strand Magazine
"A truly superior plot…labyrinthine and subtly layered [and] timed to perfection." – Thriller Books Journal
"Fresh and timely. … The issue of sexual harassment and assault gets a new spin in Alafair Burke's gripping new novel, The Wife." – Associated Press
"[Burke is] one of the more subtle suspense writers around. This has all the makings of a standout novel." – LitHub
"[Burke] brings authenticity to the legal intricacies of the plot. And she's skilled at keeping the surprises accelerating, right to the last line." – Tampa Bay Times
"Alafair Burke has been one of our finest suspense novelists for some time now, but in The Wife she takes new risks, and the result is her best novel yet." – CT News
"Twisty and schemey…. Burke knows what she's doing." – Seattle Times
"Timely…Burke delivers an addictive and emotionally complex thriller that explores resonant contemporary issues like family life, social media, celebrity obsession and sex crime with her trademark forensic eye and powerful psychological insight. THE WIFE is domestic noir at its very best… this sizzling, simmering, serpentine thriller sees the former prosecutor turned acclaimed author on her very best form… the dénouement is a corker. A delicious treat for all crime fiction fans." – Lancashire Evening Post
"THE WIFE portrays in spellbinding suspense a story that peels away the layers of the complex characters involved in a sexual scandal, and keeps the pages turning to its shattering climax." – BookReporter
I also discussed #metoo and killer endings with Book Page, did an interview Crimespree Magazine, had a radio chat with Capital Radio in Sacramento, and wrote short pieces about THE WIFE for Bookanista and Crime Time.
And if you are already looking for your next read, Female First asked me to list some of my favorite domestic thrillers.
THE WIFE is out in the UK, where it has a very different cover. What do you think?
I've been across the country and back since pub-date, sharing and signing and talking all about THE WIFE. Here are some pics from the road:
Signing at Murder by the Book in Houston
NYC's Upper East Side Barnes & Noble event! I was in conversation with the intelligent and generous Megan Abbott (and joined by supportive author friends, Lee Child and Chris Pavone).
Capital Public Radio's Authors on Stage series in Sacramento!
Via: Alafair Burke