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|Oracle® Java Micro Edition Software Development Kit Developer's Guide
Release 3.4 for Eclipse on Windows
The Oracle Java ME SDK sample projects introduce you to the emulator's API features and the SDK features, tools, and utilities that support the various APIs. These features can help you customize the sample projects or create applications of your own. For instructions on creating new projects, see "Projects."
Before using the Oracle Java ME SDK demo applications, see "Installation and Runtime Security Guidelines" in Appendix A. Some demos use network access and open ports, and do not include protections against malicious intrusion. If you choose to run the sample projects, you should ensure your environment is secure.
For instructions on running projects, see the following topics:
Sample applications are installed in a separate Eclipse plugin. Do not run or edit these projects directly. You create a new project that is an instance of the sample project.
The default location for Oracle Java ME SDK projects is the default Eclipse project directory. Each project has a
src directory that contains Java programming language source code. For example, the default location of the source code for the SMS sender MIDlet (
example.sms.SMSSend) in
WMADemo resides in the following location:
Go to File > New > Project and in the Categories window.
Select Examples > Java ME SDK 3.4 and click on Java ME Sample Applications then Click Next.
In the next screen select one of the samples and click Finish.
If prompted, select an emulator platform and a device. Note, changing the device affects the possible device profiles, so you might need to explicitly select a profile. Click OK.
The project is added to the Package Explorer window.
If you cannot see the Package Explorer window select Window > Show View > Package Explorer. To see console output, select Window > Show View > Console.
Create your own project, or instantiate one of the sample projects provided with the SDK as described in "Creating a Sample Project."
Use one of these methods to run a project.
Select a project and click the Run button in the toolbar.
Right-click a project and select Run As > Emulated Java ME JAD from the context menu.
To run a project on a different device, or to change the execution mode, select the device in the Device Selector window (Window > Show View > Other > Java ME SDK Tools > Device Selector). Right-click on a device and select Run Project from the context menu. Pull right to see a listing of open projects.
Figure 4-1 Running a Project on the Device Selector
To run a project on an emulator, drag and drop the project's JAD or JAR file onto a running emulator. Click OK in the Run MIDlet (or IMlet) Suite dialog box.
The device emulator window opens with the demo application running. If the demo is a MIDlet suite you might have to select a MIDlet to launch.
As the sample project runs, soft keys might be enabled below the screen on the left or right side.
You use soft keys to install or launch an application, open a menu, exit, or perform some other action. Some demos include these instructions in the application.
For instructions on running samples, see Table 4-1.
When you are finished viewing an application, go to the emulator's Application menu and select Exit to close the emulator and stop the execution of the project's build script.
When the emulator is launched, it runs as an independent process. Stopping the application from Eclipse does not close the emulator instance.
Likewise, closing the Eclipse IDE does not affect the emulator instance. In the emulator, click the Application menu and select Exit or press the emulator's exit button (the X) on the upper right to ensure that both the emulator process and the project build process close.
Periodically, you might want to clear a device's database especially after you have run several projects. Right-click the device and select Clean RMS storage files. When you run the command, a completion notice is displayed in the IDE's status bar.
Sometimes even a "known good" application, such as a sample project, does not run successfully. The problem is usually your environment.
Some demonstrations require specific setup and instructions. For example, if a sample uses web services and you are behind a firewall, you must configure the emulator's proxy server settings or web access fails. See "Configuring the Web Browser and Proxy Settings."
If an application must run over the air (OTA), the SDK automatically installs it in the device instance. See "Emulator Command Line Options."
MIDlet Suites use
runMIDlet to perform the installation.
IMlet Suites also use
runMIDlet to perform the installation, but from the
impng directory:
Because these programs are launched remotely, virus checking software can prevent them from running. If this happens, the project compiles, but the emulator never opens. In the console you see warnings that the emulator cannot connect.
Consider configuring your antivirus software to exclude
runMidlet from checking.
The Oracle Java ME SDK includes demonstration applications that highlight some technologies and APIs that are supported by the emulator.
Most demonstration applications are simple to run. "Running a Project" contains instructions for running most demonstrations. Sample projects usually have some additional operation instructions.
Table 4-1 lists all the MIDP/CLDC demonstration applications that are included in this release.
Table 4-1 MIDP/CLDC Sample Projects
|Optional Package
Advanced Multimedia Supplements
Demonstrates 3D audio, reverberation, image processing, and camera control.
Chapter 17, "JSR 135: Mobile Media API Support"
Demonstrates audio capabilities, including mixing and playing audio with an animation.
Chapter 17, "JSR 135: Mobile Media API Support"
Demonstrates device discovery and data exchange using Bluetooth.
Chapter 16, "JSR 82: Bluetooth and OBEX Support"
A content viewer that also uses MediaHandler.
Chapter 22, "JSR 211: Content Handler API (CHAPI)"
A city map that displays landmarks based on the current location.
Chapter 19, "JSR 179: Location API Support"
Emulates detection of RFID tags.
Chapter 26, "JSR 257: Contactless Communication API"
Includes various examples: animation, color, networking, finance, and others.
"Running MIDP and CLDC Sample Projects"
Simple floating point calculator.
"Running MIDP and CLDC Sample Projects"
Includes TilePuzzle, WormGame, and PushPuzzle.
"Running MIDP and CLDC Sample Projects"
Demonstrates MMAPI features, including tone sequences, MIDI playback, sampled audio playback, and video.
Chapter 17, "JSR 135: Mobile Media API Support"
Demonstrates different video playback formats.
Chapter 17, "JSR 135: Mobile Media API Support"
Demonstrates how to use datagrams and serial connections.
Demonstrates device discovery and data exchange using Bluetooth.
Chapter 16, "JSR 82: Bluetooth and OBEX Support"
Demonstrates how to manipulate contacts, calendar items, and to-do items. Demonstrates accessing local files.
Chapter 15, "JSR 75: PDA Optional Packages"
Demonstrates a variety of image formats.
"Running MIDP and CLDC Sample Projects"
Demonstrates communication with a smart card and other features of SATSA.
Chapter 18, "JSR 177: Smart Card Security (SATSA)"
Shows how to use the SATSA-Java Card Remote Invocation method.
Chapter 18, "JSR 177: Smart Card Security (SATSA)"
The SensorBrowser and Marbles game demonstrate sensor input.
Uses SVG to create a contact list displayed with different skins.
Chapter 23, "JSR 226: Scalable 2D Vector Graphics"
Uses different SVG rendering techniques.
Chapter 23, "JSR 226: Scalable 2D Vector Graphics"
Showcases the breadth of MIDP 2.0's user interface capabilities.
"Running MIDP and CLDC Sample Projects"
Shows how to send and receive SMS, CBS, and MMS messages.
Chapter 20, "JSR 205: Wireless Messaging"
Uses DOM and STAX APIs to create an XML sample and SAX, DOM and StAX APIs to parse the sample.
Follow the instructions the application provides.
Table 4-2 IMP-NG Sample Projects
Changes the state of LEDs in an emulator or reference platform.
Writes data to a slave and then retrieves it.
Allows connection and communication between a server and a client instance.
"Running the NetworkDemoIMPNG"
Demonstrates management of a file system in the emulator.
Pulse Counter (Data Collection) Demo
Sends pulses to a counter and tracks them when they arrive using a timestamp.
"Running the Pulse Counter (Data Collection) Demo"
Controls LEDs on a reference platform.
"Running the Light Tracker Demo"
Demonstrates IMlet lifecycle on a reference platform.
"Running the System Controller Demo"
If you are behind a firewall you must configure the proxy server so that MIDP applications using web services can succeed.
The settings are typically the same as those you are using in your web browser. Select Window > Preferences > General > Network Connections and change the settings as appropriate.
This topic gathers MIDP and CLDC samples that are not discussed in separate chapters. This is the case when a sample uses many JSRs, or when a supported JSR does not have any special implementation details.
For other CLDC demos, see Table 4-1.
This MIDlet suite demonstrates the power of JSR 234 Advanced Multimedia Supplements (AMMS). It consists of the following MIDlets:
This MIDlet demonstrates standard image processing operations.
Launch the Image Effects MIDlet.
Select input and output image formats, and press Done. The input image and output images are displayed simultaneously.
Select an effect from the Menu and click the Done button to apply a transformation, effect or overlay. The source image is shown above and the processed image is shown below. Some items, Set Transforms, for example, can perform several operations in a single transaction.
The menu options are as follows:
Reset - Set transforms, effects, and overlays to the initial state.
Monochrome Effects - Activate grayscale rendering.
Negative Effect -Reverse dark and light areas.
Set Formats - Select an input object type and an output image format.
Set Effect Order - Specify the order in which transforms, effects and overlays are applied.
Set Transforms - Change width and height scale, border, and rotation options.
Set Overlays - Specify the color and orientation of a color block overlay.
Demonstrates the advanced audio capabilities of the Advanced Multimedia Supplements. As an audio file loops continuously, you can adjust the volume, and reverberation settings.
This MIDlet demonstrates how the Advanced Multimedia Supplements provide control of a device's camera. The screen shows the viewfinder of the camera (simulated with a movie). You can use commands in the menu to change the camera settings and take and manage snapshots.
Zoom settings - digital and optical zoom settings 100-300 in increments of 20. Make a selection and press Back.
View gallery - View a list of the snapshots stored in: username
\appdb\filesystem\root1. Select Display to see the snapshot. You have the option to delete the file from disk. If
\root1 is empty use the Snapshot option to save images for the gallery.
Set flash mode - Off, AUTO, AUTO_WITH_REDEYEREDUCE, FORCE, FORCE_WITH_REDEYEREDUCE, FILLIN.
Change F_Stop number - 0, 400, 560, 800, 1600.
Select exposure modes - Preset modes are auto, landscape, snow, beach, sunset, night, fireworks, portrait, backlight, spotlight, sports, text.
Disable/Enable shutter feedback.
Exit - Close this MIDlet and return to the initial window.
Snapshot setting - Set whether to display the snapshot on the screen or print it to a file. Snapshots are stored in:
Simulates a helicopter (red dot) flying around a stationary observer (blue dot). Use headphones for best results. You can control the parameters of the simulation with the soft menu options: Volume, Location settings, Spectator orientation, and Distance Attenuation settings. After viewing menu options, press the close button (the X on the right) to return to the helicopter scenario.
With the Location settings be aware that supplying large values for the screen width or flight altitude means the helicopter might be out of range - that is, it flies off the screen and you might not be able to hear it.
For spectator orientation stereo headphones or speakers help detect the difference in position, assuming your volume and location settings put the helicopter in audible range. The same is true for the Distance Attenuation settings, which enable you to control the doppler effect.
This demo contains several MIDlets that highlight different MIDP features. Click or use the navigation keys to highlight a MIDlet, then select the Launch soft key.
This application displays a large horizontal rectangle that runs the width of the screen. Below, ten small vertical rectangles span the screen. Finally, three horizontal color bars indicate values for blue, green, and red (RGB). Values are expressed as decimal (0-255) or hexadecimal (00-ff) based on the first menu selection.
To select a vertical bar to change, use the up navigation arrow to move to the color bars. Use the right navigation arrow to highlight a color bar. The large rectangle becomes the color of the selected bar.
Use the up or down selection arrows to select the value to change (red, green, or blue). Use the left or right arrow keys to increase or decrease the selected value. The second menu item enables you to jump in increments of 4 (Fine) or 32 (coarse).
You can change the color on any or all of the vertical bars.
This MIDlet displays your system property values. The output is similar to the following values:
Free Memory = 2333444 Total Memory = 4194304 microedition.configuration = "CLDC-1.1" microedition.profiles = "MIDP-2.1" microedition.platform = "generic" microedition.locale = "en-US" microedition.encoding = "IS08859_1"
This test application uses an HTTP connection to request a web page. The request is issued with HTTP protocol
GET or
POST methods. If the
HEAD method is used, the head properties are read from the request.
Preparing to Run the Demo
Before beginning, examine your settings as follows.
Select Demos.
Click the Run menu and select Run Configurations.
Click the Emulation tab.
Select Maximum in the Security Domain field.
Click Apply.
If you are using a proxy server, you must configure the emulator's proxy server settings as described in "Configuring the Web Browser and Proxy Settings." The HTTP version must be 1.1.
If you are running antivirus software it might be necessary to create a rule that allows your MIDlet to permit connections to and from a specific website. See "Troubleshooting."
Running the Demo
Launch the Http MIDlet. To test, select the Menu soft key and select Get, Post, or Head to test the selected URL.
Http Test returns the information it obtains. If the information fills the screen use the down arrow to scroll to the end. The amount of information depends on the type of request and on the amount of
META information the page provides. To provide body information or content, the page must declare
CONTENT-LENGTH as described in RFC 2616.
Using Menu Options
Use the Menu soft key to select an action. The Menu items vary depending on the screen you are viewing.
Qwerty to set the input type. This activates a submenu with the options Qwerty, 123, Abc, Virtual, and Symbols. This choice is present if you have the option to edit a URL (select Choose, then click the Add soft button).
GET or press the Get soft key to retrieve data from the selected URI.
POST to retrieve the post information from the server handling the selected page.
HEAD to retrieve only the META information from the headers for the selected URI.
Select Choose to bring up the current list of web pages. You can chose a different page or add your own page to the list. To specify a new URL, click the Add soft button. The screen displays
http://. Type in the rest of the URL. If necessary select Qwerty on the menu and select a different input method. Be sure to end with a slash (/). For example
http://www.internetnews.com/. Press the OK soft button. The Http Test screen shows your new URL and prompts for an action.
This MIDlet shows the various fonts available: Proportional, Regular, Regular Italic, Bold Plain, and Bold Italic. Select 1 or 2 from the menu to toggle between the system font (sans serif) and the monospace font.
Like the Http demonstration, this sample uses an HTTP connection to obtain information. Use the same preparation steps as "Http."
Run the Demos project and launch the Stock MIDlet.
By default, the screen displays an empty ticker bar at the bottom. The MIDlet home screen shows four applications: Stock Tracker, What If? Alerts, and Settings. You must add stock symbols before you can use the first three applications.
Add Stock Symbols to the Ticker
To add a stock symbol to the ticker, use the navigation arrows to select Settings.
Select Add Stock.
The display prompts you to enter a stock symbol. Type
ORCL and select the Done soft key. The stock you added and its current value is now displayed in the ticker. Add a few more stock symbols, such as IBM and HPQ.
Change the Update Interval
By default the update interval is 15 minutes. Select Settings > Updates to change the interval. Use the navigation arrows to select one of Continuous, 15 minutes, 30 minutes, one hour, or three hours. Select the Done soft key.
Remove a Stock
Select Remove a Stock. You see a list of the stocks you have added. Use the navigation keys to select one or more stocks to remove. Select the Done soft key.
Stock Tracker
Stock Tracker displays a list of the stocks you added and their current values. Click a stock to display additional information. For example, the last trade and the high and low values.
What If?
What If? is an application that asks for the original purchase price and the number of shares you own. It calculates your profit or loss based on the current price.
Select a stock symbol.
Enter the purchase price and the number of shares, then press Calc.
This application sends you a notification when the price changes to a value you specify.
From the Stock Menu application home screen, select Alerts.
Select Add.
Select a Stock. The screen prompts,
"Alert me when a stock reaches". Enter an integer.
When an alert is created it is placed on the Current Alerts list. To remove an alert, press Remove and select the alert. Select the Done soft key.
When the value is reached you hear a ring and receive a message. For example, Symbol has reached your price point of $value and is currently trading at $current_value. When the alert is triggered it disappears from the Current Alerts list.
This demonstrates how an online ticket auction application might behave. Click Done to continue to the Welcome To Tickets page. The Choose a Band field displays BootWare & Friends by default, and an auction ticker runs at the bottom of the screen.
Select a band from the dropdown menu. The available auction appears.
Select Make a Bid from the menu. Use the arrow keys to move from field to field. Fill out each field, then select the Next soft key. The application asks you to confirm your bid. Press the Submit button or use the arrow keys to highlight Submit then press the Submit soft key. You receive a Confirmation number. Click Bands to return to the Bands page.
Select Set an Alert from the soft Menu. In the bid field type in a value higher than the current bid and continue bidding as before. You can trigger the alert by making a bid that exceeds your alert value. Your settings determine how often the application checks for changes, so the alert may not sound for a few minutes.
To add a band to the Choose a Band dropdown list, click the Menu soft key and select Add Bands. Type in a band name or a comma-delimited list of names and select Save from the soft menu. After a confirmation message, select Done and you are returned to the Welcome To Tickets page. The added band(s) are displayed at the end of the Choose a Band drop-down menu. If you do not see your bands, use the down arrow key to move to the bottom of the list.
Note, this is only a demonstration. To fully describe the band you must edit the following file:
To remove a band, click the Menu soft key and select Remove Bands. Check a box for one or more bands. Click the Save soft key.
To display the current settings for ticker display, updates, alert volume, and date, select the Menu soft key and select Show More Info. If desired, use the arrow keys and the select key to change these values. Select the Save soft key.
This MIDlet starts with one ball traveling the screen. Use the up and down arrows to accelerate or decelerate the ball speed (fps). Use the right or left arrows to increase or decrease the number of balls.
This MIDlet sets an RGB value. Use navigation keys to change color values.
Keyboard controls work as you would expect. First cursor up or down to highlight a color, and then use left and right keys to lower and raise the value of the selected color.
The Chooser application uses a variety of controls to change text color, background color, and fonts.
Click the Menu soft key and select Text Color. Change the color as described in the "MiniColor" and select the OK soft button.
Click the Menu soft key Background Color. Change the color as described in the "MiniColor" and select the OK soft button.
Click the Menu soft key and select Fonts. Change the font face, style, and size using the navigation and selection buttons to move through the font options.
Cursor up and down to highlight a property item by item. The left and right keys jump between lists. Click Select to choose the highlighted option. The chosen option's circle or square is filled with white.
Click OK to display a sample formatted with your settings.
Click Exit to return to the home screen.
This sample makes an HTTP communication. A popup confirms the transaction was successful.
This application displays three predefined URLs.
Select a URL, and press the soft buttons to cycle through Head, Headers, Requests, and Errors.
Alternatively, use the menu options.
This application simulates a feed. As soon as you connect, you receive and display a graphic. Select Done to continue.
FPDemo is a simple floating point calculator.
Enter a number in the first field.
To select an operator, highlight the drop-down list and click to select. Cursor down to highlight an operator, then click to make a selection.
Enter a second value.
From the Menu, select Calc to calculate the result.
This application features three games: TilePuzzle, WormGame, and PushPuzzle.
TilePuzzle. The desired result, "Rate your mind pal" is shown first. From the soft Menu, select Start. The scrambled puzzle is displayed. The arrow keys move the empty space, displacing tiles accordingly. To change the arrow behavior, select Options from the soft menu, and select reverse arrows, then click OK. From the menu you can Reset, or change options.
WormGame. From the soft Menu, select 1, Launch. Use the arrow keys to move the worm to the green box without touching the edge of the window. When the game is launched, use the soft menu to change game options.
PushPuzzle. Use the blue ball to push the orange boxes into the red squares in the fewest number of moves.
This demo has two MIDlets: Socket Demo and Datagram Demo. Each demo requires you to run two emulator instances so that you can emulate the server and client relationship. For example, run the demo on JavaMEPhone1 and JavaMEPhone2.
In this application one emulator acts as the socket server, and the other as the socket client.
In the first emulator, launch the application, then select the Server peer. Select Start. The Socket Server displays a status message that it is waiting on port 5000.
In the second emulator, launch the application, select the Client peer, then select Start. Select Start to launch the client. The Socket Client displays a status message that indicates it is connected to the server on port 5000. Use the down navigation arrow to highlight the Send box. Type a message in the Send box, then select the Send soft key.
For example, in the client, type
Hello Server in the Send box. Select Send from the menu. The server emulator activates a blue light when the message is received.
On the emulator running the Socket Server, the status reads:
Message received - Hello Server. You can use the down arrow to move to the Send box and type a reply. For example,
Hello Client, I heard you. From the menu, select Send.
Back in the Socket Client, the status is:
Message received - Hello Client, I heard you. Until you send a new message, the Send box contains the previous message you sent.
This demo is similar to Socket Demo. Run two instances of the emulator. One acts as the datagram server, and the other as the datagram client.
In the first emulator, launch Datagram Demo, then select the Server peer. Select Start. Initially, the Datagram Server status is
Waiting for connection on port 5555, and the Send box is empty.
In the second emulator, launch Datagram Demo, select the Client peer, ensure the port number is 5555 and select Start. The Datagram Client status is:
Connected to server on port 5555. Use the down navigation arrow to highlight the Send box. Type a message in the Send box, then select the Send from the menu. For example, type
Hello datagram server. From the menu, select Send.
On the emulator running the Datagram Server, the status displays:
Message received - Hello datagram server. You can use the down arrow to move to the Send box and type a reply to the client.
In the Datagram Client, the status field displays the message received from the server. The Send box contains the last message you sent. Overwrite it to send another message.
The PhotoAlbum demo displays both static and animated images. When you are displaying an image, you can use the Options soft menu to change the borders. If the image is animated, you can change the speed of the playback.
UIDemo showcases a variety of MIDP user interface element implementations. Most elements have some interactive capability (navigate and select) and some allow keypad or keyboard input.
Input interaction is similar across demos. You can select items from lists or type in data.
This demo implements three list selection methods:
Exclusive (radio buttons)
Multiple (check boxes)
Pop-Up (a drop list).
When entering data, you can use the soft menu to apply one of the following input types to text boxes and fields (note, some elements do not use all input types). When a field is selected, the soft Menu label displays Qwerty. Open the menu and you see the input types numbered 1 through 5.
Qwerty. Any character on the keyboard
123. Any numeral
ABC. Any letter
Predict. Predicts next character based on prior input
Symbols. Opens a list of symbols; click to make a selection.
Virtual. Click keys on a virtual keyboard to enter data.
The Qwerty, 123, and ABC categories act as filters. For example, if you assign 123 to a field and you type "abc", nothing is entered in the field.
When you finish a demo, select the home button to return to the UIDemo launch page:
Figure 4-2 The Home Button
CustomItem. This demo features text fields, and text fields in table form. To type in the table, select a cell, then click to open a text entry panel and type your input. From the menu, select OK.
StringItem. Displays labels, a hyperlink, and a button. The soft menu action varies depending on the selected element.
Gauge. Interactive, non-interactive, indefinite and incremental gauges.
Alert. Uses pop-ups to display alerts. Set the alarm type and the length of the timeout from drop lists. Select the alert type and select the Show soft button.
ChoiceGroup. Radio buttons, check boxes, and pop-ups on one screen.
List. Select exclusive, implicit, or multiple to display the list type on a subsequent screen.
TextBox. Use text fields, radio buttons, check boxes, and pop-ups. Select a text box type and press the Show button.
TextField. Text fields with the six input types.
DateField. Set date and time using drop lists.
Ticker. A scrolling ticker.
This section describes how to use demos created specifically for the IMP-NG platform (see "IMP-NG"). Because IMP-NG is headless the only user interface is to observe application status in the emulator's external events generator, or in the Output window (or the console if you execute the demo from the command line).
With the exception of I2CDemo, the sample projects in this section can be run on the emulator or on an external device.
See the Oracle® Java ME Embedded Getting Started Guide for the Windows Platform These documents are available on the Java ME documentation site at:
Expand the Oracle Java ME Embedded Version node and then the Getting Started and Release Notes node.
This demo can be run on an emulator or an external device. The implementations are different, as the emulator uses the external events generator, and the external device supports direct interaction.
Run GPIO demo on an IMP-NG emulator.
Click the GPIO Pins tab. This view approximates the device actions.
Click the Tools menu and select External Events Generator to open the external events generator, and click the GPIO tab. A single click on a button turns on LEDs indicating the button pushed and the pin affected. This information is also written to the Output window.
Beneath each pin you can click the blue wave button to open the wave generator. The wave generator simulates the frequency and duration of the signal to the LED.
Pressing pin BUTTON 2 in the external events generator changes the state of the pin named LED 5. The button value "Low" corresponds to the LED value "High" and vice versa.
Pressing pin BUTTON 3 changes the state of the port named "LEDS." Consequently pins bound to this port (LED 1, LED 2, LED 3, LED 4) in the following way:
If the BUTTON 3 state is "High" the port value is set to 0 and all bound pins are set to "Low."
If the BUTTON 3 state "is Low' and the BUTTON 2 state is "Low," the port value is set to 2 and the pins are set to the following state:
LED 1 - Low, LED 2 - High, LED 3 - Low, LED 4 - Low
If the BUTTON 3 state "Low" and the "BUTTON 2" state is "High," the port value is set to 3 and the pins are set to the following states:
LED 1 - High, LED 2 - High, LED 3 - Low, LED 4 - Low
The buttons are wired by GPIO. Assuming that you are looking at the board and the Reset button is on the bottom left:
Reading from left to right, the LEDS are labeled: PH.3, PH.6, PH.7, PI.10, PG.6, PG.6, PG.8, and PH.2
The buttons, from left to right, are Reset, Wakeup, Tamper, and User.
The Wakeup button corresponds to PH.3 (Listener 1 Pin 5)
The Tamper button corresponds to PG.6 (Listener 2 Pin 6).
The User button corresponds to PH.3 and PI.10 (Listener 3 Pin 7)
Pressing Tamper turns on the light (PG.6), and releasing turns off the light
Pressing the User button when the Tamper button is released turns on lights on for LEDs PH.3 and PH.6.
Pressing the User button when the Tamper button is pressed (and as a result the light on LED PG.6 is on) turns on light on LED PH.3 only.
Releasing the User button turns the lights off on LEDs PH.3 and PH.6.
This demo is designed to work with the IMP-NG runtime for Windows 32. It has no user interaction.
Launch the I2C demo.
In the emulator, click the I2C tab.
The demo acquires a slave named I2C_Echo, writes data to the slave, and retrieves it. The demo is successful if the Sent Data and Received Data matches.
This demo is a headless version of "Socket Demo."
You can configure this demo as a server or as a client by editing the application descriptor. You launch two instances of this demo, the first one acts as a server and the second one acts as a client. The client instance attempts to connect to the server instance and if the connection is successful they exchange a message.
Create two instance projects of the NetworkDemoIMPNG sample project.
Right click the first project and select Properties.
In the Platform category select the device
IMPNGDevice1. In the Application Description category set the value of the following property:
Click OK.
Launch the first project. It opens on the emulator IMPNGDevice1 and waits for a connection. You should see messages like the following:
Right click the second project and select Properties.
In the Platform category select the device
IMPNGDevice2. In the Application Description category set the value of the following property:
Click OK.
Launch the second project. It opens on the emulator IMPNGDevice2.
The client attempts to connect to the server. If successful, you see the following in the output tab of the first project (the server):
Waiting for connection on port 500 [AMS-TRACE] MIDlet:NetworkDemoIMPNG status=2 [AMS-TRACE] MIDlet:NetworkDemoIMPNG status=1 Connection accepted Message received - Client messages
The output of the second project (the client) shows the following:
[AMS-TRACE] MIDlet:NetworkDemoIMPNG status=2 [AMS-TRACE] MIDlet:NetworkDemoIMPNG status=1 Connected to server localhost on port 500 Message received - Server string
You can run one of the instance projects on the board and the other in one of the emulators. Follow these steps to run the client on the board and the server in one of the emulators:
Right click on the first project (the server) and select Properties. In the Platform category select the device IMPNGDevice1 (the emulator) and click OK. In the Application Description category set the value of the property Oracle-Demo-Network-Mode to Server and click OK.
Launch the first project (the server). It runs on the emulator and waits for a connection.
Right click on the second project (the client) and select Properties. In the Platform category select the device IMPNGExternalDevice1 (the board). In the Application Description category set the value of the property Oracle-Demo-Network-Mode to Client and click OK.
In the Application Descriptor category set the value of the property Oracle-Demo-Network-Address to the IP address of the computer where Eclipse is running and click OK.
Launch the second project (the client). It runs on the board and attempts to connect to the server. If successful, you see the following in the output tab of the first project (the server):
Connection accepted Message received - Client messages
The TCP log of the board (the client) shows the following:
Connected to server 10.0.0.10 on port 65002 Message received - Server String
This demo is a headless version of the PDAPDemo file browser in "Browsing Files."
Follow these steps to run the demo on the emulator:
Create test files and directories inside the emulator's file system:
Load the project in the Package window.
In the Platform category, select the device IMPNGDevice1 and click OK.
In the Device Selector window, right-click an IMPNGDevice1 emulator.
Select Run Project > PDAPDemoIMPNG from the context menu.
Launch the project.
On the emulator, click the Tools menu and select Manage File System to see a list of mounted file systems.
Open a terminal emulator and create a Telnet connection to localhost on port 65002.
The Telnet negotiation mode must be set to Passive. The negotiation mode can be set inside a Telnet client application (for example, PuTTY), by choosing Category --> Connection --> Telnet --> Passive.
A command line opens where you can browse the emulator's file system. You can use the following commands:
cd - change directory
ls - list information about the FILEs for the current directory
new - create new file or directory
prop - show properties of a file
rm - remove the file
view -View a file's content
Follow these steps to run the demo on the reference board:
Right-click the project and select Properties. In the Platform category, select the device IMPNGExternalDevice1 and click OK.
Launch the project. It runs on the reference board.
Open a terminal emulator and create a raw connection to the IP address of the board on port 65002.
The command line that opens is the same as the one you use when you run the demo on the emulator.
The file system of the demo is stored in the directory
java/IMletID inside the SD card, where IMletID is a number that the AMS assigns to an IMlet during its installation.
Pulse counting is the process of sending an electronic pulse to a counter, and then tracking them (via a timestamp) when they arrive. To observe this process, run the following demo on your IMPNG device, using the External Events Generator and the Pulse Counters tab:
Launch the Data Collection Demo.
In the Device Selector, right-click the IMPNGDevice1 emulator and select Run JAR or JAD.
In the file browser, navigate to and select the Data Collection demo JAD file. For example:
When the emulator opens with DataCollectionDemo installed, select DataProcessorIMlet and PulseCounterImlet and click Run.
Click OK twice (once for each IMlet) in the Run IMlet dialog box.
You do not have to select the debugger, profiler, or memory monitor tool.
Open the External Events Generator by clicking the Tools menu and selecting External Events Generator or clicking the External Events Generator icon.
Click the Pulse Counters tab.
Observe Output Console in the IDE as you click Send Pulse for the first counter, COUNTER_PA0.
Alternatively, you can select View > Output Console in the emulator menu to open the Output Console window.
Figure 4-3 Pulse Counter Output
A pulse timestamp is output for each click of Send Pulse.
You can configure a pulse counter for an IMPNG device. You can also create a custom IMPNG device with pulse counter capabilities. To do this, follow these steps:
Go to Tools > Java ME > Custom Device Editor.
For Eclipse users, go to Run > Custom Device Editor.
Select IMP-NG in the Custom Device Editor window and click New... .
In the New IMP-NG Device dialog box, specify a name for the custom device, for example, IMPNGCustomDevice1.
(Optional) you can provide a brief description such as emulator with pulse counter.
Click the Pulse Counters tab.
Click Add for the number of pulse counters you want. For example, click Add four times to create pulse counters with IDs of 0, 1, 2, and 3.
IDs are automatically assigned to each pulse counter. To unassign an ID, select the row of the desired pulse counter and uncheck the Assign ID option. The unassigned pulse counter is moved to the top of the list.
For each pulse counter, click in the Type column and select the signal trigger type: Falling Pulse Edge, Negative Edge Pulse, Rising Pulse Edge, or Positive Edge Pulse.
Click OK.
You also have the option to bind a pulse counter to an existing GPIO input pin by selecting the specific pin from the dropdown list in the Input Pin column.
The pulse counter type should conform to the trigger value of the binding input GPIO pin. This means that:
Pulse counters of the type Falling Pulse Edge can only be bound to input pins with the Falling Edge trigger.
Pulse counters of the type Rising Pulse Edge can only be bound to input pins with the Rising Edge trigger.
Pulse counters of the type Negative Pulse Edge or Positive Pulse Edge can only be bound to input pins with the Both Edges trigger.
The Light Tracker demo is specifically aimed at showing off funtionality on a embedded device, such as the Keil MCBSTM32F200 reference platform.
In this demo, a certain number of LEDs are turned on and turned off on the board, in a sequence that you can control. It makes use of the Device Access API and the GPIO Port to demonstrate its functionality. It requires connection of an ADC channel to an on-board potentiometer.
For more information on the setup of the Light Tracker demo, see the LightTrackDemo
readme.txt file, in the location where you have installed the Oracle Java ME SDK sample applications. For example:
C:\Documents and Settings\username
For more information on the Keil MCBSTM32F200 platform, see the Oracle Java ME Embedded Getting Started Guide for the Reference Platform (Keil).
The System Controller demo is specifically aimed at showing off funtionality on a embedded device, such as the Keil MCBSTM32F200 reference platform.
The purpose of this demo is to control the lifecycle of IMlets on the reference platform. It makes use of the following functionalities:
Multitasking Virtual Machine (MVM)
IMlet auto-start
Application Management System (AMS) API
Logging API
Device Access API
General Purpose Input/Output (GPIO)
Watchdog timer
For more information on the setup of the System Controller demo, see the SystemControllerDemo
readme.txt file, in the location where you have installed the Oracle Java ME SDK sample applications. For example:
C:\Documents and Settings\username
For more information on the Keil MCBSTM32F200 platform, see the Oracle Java ME Embedded Getting Started Guide for the Reference Platform (Keil).


text:
Comfort Inns Princeton hotels are provided below. Search for cheap and discount Comfort Inns hotel rooms in Princeton, NJ for your group or personal travels. We list the best Comfort Inns Princeton hotels/properties so you can review the Princeton Comfort Inns hotel list below to find the perfect place.
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How should we direct your call?

subset: commoncrawl


text:
Hartsville, S.C. – The Lady Cobras battled back from a 26 point halftime deficit, to come with six points with just minutes remaining in the game, but Pfeiffer used nine straight free throws down the stretch to take home a 97-87 win in the first round of the 2009 Conference Carolinas Women's Basketball Tournament.
The win advances Pfeiffer (9-19, 8-14) to the conference quarterfinal match-up on Wednesday, while Coker (11-16, 9-11) ends their season with the best record in Coach Carol Meegan's four year tenure at Coker.
The Lady Falcons dominated the Lady Cobras in the first half, 54-28, while Coker battled their way back in the final 20 minutes, out scoring Pfeiffer, 59-43. Coker's strong second half, helped even the statistics as well, as the Pfeiffer only held slight advantages in rebounding; 46-41 and shooting; 45.7 percent to 41.3 percent .
Henna Koponen (Vantaa, Finland) led all scorers with 29 points and five rebounds, while senior Jessica Hayes (Beaufort, SC) finished her career with a double-double of 15 points and 11 rebounds. Lotta Aaltonen (Rauma, Finland) netted 19 points and had seven rebounds, with Alexis Blow getting a career high 14 points and four rebounds for the Lady Cobras.
Leading Pfeiffer was Devona Knight with a 16 point, 16 rebound double-double, with Dominique China pouring in 20 points and grabbing seven rebounds. Allegra Shanee Purnell had 18 points and four rebounds, with Nicole Maready quietly chipping in 14 points and pulling down seven rebounds from the post, with Curly Booth also getting into double figures with 12 points.
Pfeiffer will make a quick turn around and play the 1 seed Barton tomorrow night in the quarterfinals of the tournament, while Coker ends their season with their highest win total since 2003.


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A number of years ago, there was an Industrial project around called Self Contained Unit which was full of all the heavy beats, distorted vocals and loud, fast noise one would expect. This Industrial endeavor went on for about a year or two until it was time to morph into yet another sound. If you look hard enough, you may still find a cassette that was put out. Self Contained Unit was a one man powerhouse by the Austin native, Stephen Thurman.
As time progressed and interests changed, Stephen realized that his heart just wasn't into such hyped up hard edged music anymore. There just wasn't enough anger deep with inside of him and he found himself playing music that was softer instrumental and more Electronic based. Keeping the same name, Self Contained Unit, Stephen started playing a few live shows and released a couple CD-Rs.
Progressing along, one day Stephen decided to pick up that guitar he kept off on the side and discovered that he had a dearth of new music flowing from within. These songs were slower and spacier and seemed to take on a life of their own. The Telewire all started with the birth of a song called "Quiet Satellite". Yet another side took hold to take Stephen into new musical dimensions of sound.
As with his previous projects, The Telewire is a one man, full bodied, band of sorts completely performed by Stephen Thurman. All parts, from guitar to drums to vocals and bass, are performed by Stephen.
Unfortunately, due to the one man does it all approach, we are unlikely to ever see The Telewire play live. Then again, maybe, just maybe, one day Stephen will figure out an acceptable way of using DATs to enhance his singing and guitar playing as a one man live act. Or, possibly, find another musician or so to help fill out his live sound. It can happen though no plans of such at the moment.
With all the talk of The Telewire being a solo project, you would never know it to listen to the album. It sounds quite full as though there was a roomful of musicians pumping out the sounds.
Stephen is a graphic artist by trade so expect more visual pairings down the line. There are plans to produce some music videos for The Telewire and Stephen has already printed up a few t-shirts for the band. Expect they will be available on the forthcoming website which is in the works.
Oh, while the wires are hot, so to speak, Stephen is already writing new music for the next release by The Telewire. The newer music, again, will be a solo project, and may be even more Electronic. Stephen aptly describes The Telewire's current music as being Indie, Space Rock and Shoegaze; all of which I can agree with. Keep your eyes and ears open for The Telewire because there's a lot of good stuff for you to enjoy.
You can grab The Telewire debut album for free at the following link:
The Telewire – The Telewire
Of course, you can also hear various cuts from The Telewire on Air Atlantic Underground Radio.


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Not only did the LA Galaxy advance to their third MLS Cup in four years by defeating Seattle Sounders FC in the Western Conference Championship, but LA also qualified 2013/2014 CONCACAF Champions League on Sunday.
The 2013/2014 edition of the tournament will be LA's fourth straight appearance in the continental competition. LA are currently in the Quarterfinals of the 2012/2013 tournament where they will face Costa Rican side Herediano.
Below is a list of MLS' American entrants for the 2013/2014 CCL and how they qualified...
LA Galaxy (MLS Cup Finalists)
Houston Dynamo (MLS Cup Finalsts)
San Jose Earthquakes (Supporters' Shield winners)
Sporting Kansas City (US Open Cup winners)


text:
WeLoveaTrance news [24-01-2012]
Black holidays for FileHosting services!! Megaupload closed by F.B.I.!! Other Filehost banned accounts!!
There are no words to express all the indignation… Megaupload has been shut down for violating piracy laws by US federal prosecutors that have accused it of costing copyright holders more than $500m in lost revenue. The firm says it was diligent in responding to complaints about pirated material.
In response, the hackers group Anonymous has targeted the FBI and US Department of Justice websites.
After that all of biggest file hostings services started to block access to accounts and closed access for U.S. users… Of those who don't block access where only Russian file sharing such as Depositfiles, Turbobit, Letitbit and Uploaded but it no works for U.S. Try to work with it…
Tags: download, file hosting, file hostings, fileserve, filesonic, free download, megaupload, PIPA, site news, SOPA


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Leo Nocentelli is a truly unique figure in the history of guitar playing. This forefather of funk is perhaps the greatest rhythm guitarist to ever walk the planet. His sound has deeply influenced a range of historic artists from Paul Simon to Earth, Wind & Fire to the Red Hot Chili Peppers. During the 1960s Nocentelli created a deeply personal vocabulary of scratches, stutters, stops, syncopations, muting — amazing muting — stabs and bends plus picking effects that made his guitar sound like a horn or a chicken.
As a member of the Meters — a band he co-founded with keyboardist Art Neville, bassist George Porter, Jr. and drummer Zigaboo Modeliste in 1965 and that grew and developed as the primary session players for songwriter Allen Toussaint's Crescent City productions — he played on hundreds of singles and albums that helped lay the groundwork for modern rock, blues and R&B. These range from Lee Dorsey's rollicking New Orleans groovers "Ride Your Pony" (1965) and "Working in the Coal Mine" (1966) to Dr. John's early '70s masterpieces In the Right Place and Desitively Bonnaroo to Labelle's pre-disco smash "Lady Marmalade."
Then there's the raft of largely instrumental albums and hit singles under the Meters' own name. Meters numbers like the Nocentelli penned 1969 hit "Cissy Strut" and 1975's "Fire on the Bayou" helped bring the unfiltered grooves of New Orleans' music to the world and played a vital role in that city's explosion of cultural tourism.
Never content to rest on his foundation of timeless work, Nocentelli has ceaselessly pushed himself to be a versatile player. Today his "trick bag," to use a term borrowed from the great New Orleans songwriter Earl King, includes a, supremely deep well of licks that extend to fusion and textural music.
In recent decades Nocentelli has been dividing his time between New Orleans, Los Angeles and the stages and studios of the world. His session credits also embrace recordings by Peter Gabriel, Bonnie Raitt, Sarah McLaghlan, Boz Scaggs, Robert Palmer, Etta James, Kip Hanrahan, Stevie Wonder, Albert King, Sting and Robbie Robertson — an incredibly diverse roster.
Now, at age 67, Nocentelli has been nominated for the Rock 'n' Roll Hall of Fame as a member of the Meters — for the second time.
"I'm as elated about this as any artist would be," Nocentelli says when we connect by phone one mid-October morning. "You're not eligible until you've been a contributor for over 25 years. I have been a contributor for over 50 years."
Nonetheless, this is the second year in a row the Hall of Fame's committee has nominated the Meters, and Nocentelli expresses dismay in the weight he feels the Hall of Fame's on-line polling of fans carries in the final decision.
"When voting is on the Internet, you can have fans who are eight, nine, 10, 11, 16 voting. That's not a bad thing, but they have no idea who the Meters are."
Which explains why groups like 2012 inductees the Red Hot Chili Peppers — whose tune "Hollywood" seems built directly on the framework of the Meters' "Africa" — get in with one nomination, while innovative, historic artists like the Meters and the Paul Butterfield Blues Band, who are also getting their second nod this year, do not. For the record, the Meters' have also been a favorite source of samples for hip-hop artists, including the Beastie Boys, Big Daddy Kane, Run D-M-C, Ice Cube, Cypress Hill, Public Enemy, LL Cool J, N.W.A., Queen Latifah and Heavy D.
"If we don't get it this year, it's almost embarrassing," Nocentelli observes. "There's a committee that inducts NFL hall of famers, a committee that inducts baseball hall of famers and so on. It's a group of peers and experts. I think the Rock 'n' Roll Hall of Fame should operate the same way."
Point taken. And you can help Nocentelli and his fellow Meters be part of next year's induction ceremony by voting via the Rock 'n' Roll Hall of Fame's Online Fan Poll.
But that's not all we spoke about. Nocentelli, a lifelong Gibson artist who started on anES-175 in the '60s, was eager to discuss the "Bourbon Street" ES-335 made especially for him by the Gibson Custom Shop in Nashville.
Q: What's special about the ES-335 "Bourbon Street" model?
A: The only thing that's different is cosmetic. It's got a standard ES-335 neck and electronics. But here's the story. I'm from New Orleans, Louisiana — the home of Mardi Gras. So the guitar is the colors of Mardi Gras: purple, gold and green. The body is purple, the binding is gold and the pick guard is green. The guitar has my name on the truss rod. And It is great sounding. They made two prototypes for me. I love them and play them exclusively. I feel it's an honor for me and I'd like to see more people be able to get them and maybe continue my legacy with this instrument. I'd be honored to have a production model come out before I die.
Q: Your guitar style is so personal. How did the method of playing you displayed during the '60s and '70s, before you started branching out into fusion and beyond, get into your head and your hands?
A: It came from growing up in New Orleans. New Orleans is special. It has its own sound; it's own beat. Plus, when I started I didn't want to sound like anybody else. I started learning on an ES-175 and my view of what I wanted to be was a Charlie Christian, a Wes Montgomery, a George Benson… I wanted to be a jazz guitarist. But I started playing around town — playing funk, R&B or whatever — and writing started to infiltrate my style. I wrote "Cissy Strut" two years before we recorded it. It was a melody in my head. It has a jazz kind of feel to it, because it involves a lick that incorporates the bass playing in synch with the guitar, which was almost unheard of then in R&B. So I started applying the songs I wrote to how I performed live.
Q: I think of you as a link between Jimmy Nolen, who developed the James Brown band's signature guitar style, and later jazz players.
A: There you go! I don't think there's a person walking on two legs that can play rhythm better than me. I've always had a knack, with the Meters and any other recordings I've been involved in, to know what a track deserves when I hear it. I know how to compliment it rhythmically. And that's what I do best.
I've been playing guitar since I was eight years old. Whatever you do — play the guitar or be a truck driver – things change, your body changes, and you evolve. My entire history of playing has been a natural process of evolution. I listen to some of the old Meters recordings and other sessions from those days, and I think that if I still played that way now, I would quit. I had to progress.
Q: Your muting technique is such an important and unique part of your sound. How do you mute?
A: The emphasis is really on the right hand. I'm palming the strings, pressing them down just right to dictate how much tone and how much of the note I want to come out.
Q: What amp do you use today?
A: When I'm in the studio I don't use an amp. I go straight into the board. They only way I like to play rhythm is without distortion — it has to be crystal clear. And you can't do that with an amp. They start to distort.
But live I've been using Mesa Boogies for the past 10 years. I use two Mesa Boogie Lone Stars wired up so one amp is a slave to the other, but with a chorus pedal I get a beautiful stereo effect.
Q: Tell me about your new project with Peter Gabriel?
A: Well, it started because I was writing a lot of hip-hop tracks, because the Meters have been sampled so often, and I was giving them to a lot of major hip-hop artists. I did an album of those tracks in 2008 called Rhythm & Rhymes, Part 1, and I had Dr. John, Stanton Moore, George Duke and other artists I'm friends with play on it. I was the vocalist. It didn't do anything commercially, but there was a lot of good music on there and I wanted to so more with it. So I sent the track "Roll On," that I did with Dr. John, to Peter Gabriel. I said, "Peter, man, I want you to sing on this thing." And Peter flipped out over the track and put his vocals on there, along with mine, so it's a vocal duet with me playing guitar. I did the same thing for some of the other tracks — with me and George Duke, and I had Kirk Whalum put some sax on another one.
But Peter loved the song so much that he's thinking about putting a single out with him and me doing the duet together. If that happens it would be one of the slickest things that's happened to me in my career. Peter is such a nice person and a unique vocalist. You know, I played on "Digging in the Dirt," "Steam," "Kiss That Frog" and other songs on his album Us. We developed a very high mutual admiration for how both of us approach music.
Q: You've worked with an amazing array of artists, both with the Meters and as a studio and touring musician. Is there one track you cut that you feel really defined your sound?
A: "Lady Marmalade" with Patti LaBelle and "Sneaking Sally Through the Alley" with Robert Palmer. Those songs incorporated the future of my playing, because they incorporated single-note rhythms and chord rhythms, too. Especially "Sneaking Sally Through the Alley." That's one of my favorites.
A lot of people don't know all the stuff I've played on, not to mention the samples. There have been more than 400 samples with giant rap artists. Eminem just sampled the Meters for his song "Berzerk." It's unreal.
And that brings me back to the people voting for the Rock 'n' Roll Hall of Fame inductees. They don't know that the hip-hop song they love has a sample of the Meters music.
Q: Are the Meters touring now?
A: Art plays with us when he can, but he's been back and forth in the hospital, so the emphasis on dates now is on me, George and Zigaboo. We've developed a group called the Meter Men. We hired a keyboardist and we've been using Page McConnell from Phish lately. But there are plans of doing some touring JoJo Hermann from Widespread Panic and maybe John Medeski. Herbie Hancock might even come do a gig with us as a special keyboardist. All of that is in the future for the Meter Men, but we want Art back whenever he can make it. Nothing beats the original!


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James, Matt, Paul, and our friend Dammit Liz head to Calgary for CCEE 2013.
Editing: Alex Steacy
Shooting: "Dammit" Liz Smith
Ever wondered how we make all the videos we make? No? Well, Loading Time is here regardless, to take you behind the scenes of our weekly goings on. From shooting our sketches, to convention appearances and road trips, Loading Time is there! So you may as well watch it.
Loading Time - SHUX 2018
Beej, Ian and Kathleen head to Vancouver for the 2018 Shut Up, Sit Down Expo, but will they get[…]
Loading Time - LoadingReadyLAN 3.0
Behind the scenes of the deceptively complicated technical setup for a LAN party.
Loading Time Digest - Summer 2018
Behind the scenes during June & July 2018... but not August. August knows what it did.
Loading Time Digest - May 2018
We did a whole heckuva a lot of stuff in May. Here is some of it!
Loading Time - DESERT BUS - November 2017
Behind the hugely involved setup and production of Desert Bus 2017.
Loading Time Digest – April 2018
In a month interrupted by PAX, we still found time to film behind the scenes of LoadingReadyLive.


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The US military has been using Britain's atomic weapons factory to carry out research into its own nuclear warhead programme, according to evidence seen by the Guardian.
US defence officials said that "very valuable" warhead research has taken place at the Atomic Weapons Establishment at Aldermaston in Berkshire as part of an ongoing and secretive deal between the British and American governments.
Last night, opposition MPs called for a full parliamentary inquiry into the extent of the collaboration at Aldermaston and campaign groups warned any such deal was in breach of international law. They added that it also undermined Britain's claim to have an independent nuclear weapons programme and meant British taxpayers were effectively subsidising America's nuclear programme.


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Difference between revisions of "Ilgaz National Park"
Revision as of 23:42, 10 March 2012
Ilgaz National Park (Turkish: Ilgaz Milli Parkı) is in Western Karadeniz of Turkey. Ilgaz is a ski resort, perfect for day trips from Ankara.
The national park is centred around the Ilgaz Mountain, which sits right on the geographical and ecological border between the gently rolling Black Sea Region to north and the windswept hills of Central Anatolia to south. Its immensely verdant spruce forests are immediately recognizable no matter which direction you are approaching from, but it's in an especially stark contrast with the dusty plains and hills to south—if you were just passing through, you could swear you saw that solid line which divides what is called as "the sea of trees" in Turkish (ağaç denizi) above from the eternal steppes below.
Flora and fauna
Due to the elevation, the temperature on Ilgaz can be (and usually is) considerably lower than its surroundings. Snow should be expected between October and April.
Get in
Ilgaz lies on the highway D765, which connects Kastamonu in the north (about 20 min driving) with Çankırı (about 45 min driving) and Ankara (2.5 hrs of driving; also the site of nearest airport, Esenboğa) in the south (see the "get in" section of Kastamonu article for more details on driving in from Ankara). The main entrance to the national park (easily recognizable by its large wooden sign over the road) is right by this highway, near the 1850-metre mountain pass, which is the highest elevation D765 gets. Unique in the Turkish highway system, the road surface around the pass is covered by cobblestones rather than the usual asphalt to assist the vehicles in icy conditions—which can endure well into April, by the way.
Do note that there is also an unremarkable town named Ilgaz on the southern foothills of the mountain, a few kilometres off the highway, but it is almost entirely unrelated to the park apart from being close-by and sharing the same name, so don't get confused and head there (as elsewhere in Turkey, the road signs showing the road for Ilgaz the mountain and the park should be brown, while those pointing to Ilgaz the town should be blue).
Get around
Postcard perfect vistas of deep valleys dressed with emerald forests are the main sight around here. In winter, the scenery is almost Nordic—black silhouettes of spruces towering against snow white ground.
A restaurant offering Turkish pizza (pide) on the menu does exist within the park.
There are a number of hotels in the park, as well as rustic resorts offering bungalows.
Stay safe
Get out


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Today, I am pleased to present Joshua Kemble and his new online graphic novel Two Stories.
I stumbled across the website Quarterly Stories whilst on my search for autobiographical/non-fiction webcomics. I'm not sure how I came across this amazing work, but I sure am glad I did.
Two Stories is an autobiographical graphic novel that deals with themes of "…life, love, loss, and depression." As far as I can tell, the novel will consist of a series of short stories that are all autobiographical, but will be presented in various styles, tones, and genres ("serious to silly").
Not only are Josh's illustrations absolutely stunning, full of texture and movement, but his storytelling is powerful and compelling. For this first chapter, it is not just a story of attempted suicide, but more astonishingly a step-by-step examination of the protagonist/author's thought process — a complex mind that makes connections (from Shakespeare to It's A Wonderful Life and back to reality) and plays tricks on itself ("The Suicide Game" on page 4).
Josh is a Xeric Award-winning cartoonist who works as a freelance illustrator as well as an adjunct professor at Laguna College of Art and Design. With such an impressive background and body of work, I'm expecting Two Stories to be quickly snatched up by publishers. 🙂
The following images belong to Joshua Kemble.
For more Quarterly Stories and Joshua Kemble, please check out the following websites…
Store: joshuakemble.com/?page_id=241
Numb: www.amazon.com/Numb-Lost-Love-Broken-Memories/dp/B002O746WA
For more updates, don't forget to follow me on tumblr and/or twitter.
Copyright 2013 by G. E. Gallas


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Steamboat Ski Area
Whether you're stepping foot into a local pub, one of our charming boutiques, or stepping off the gondola, the reception is the same – warm. But the down home genuine friendliness is only half the reason people choose to vacation in Steamboat. Nestled 7,000 feet up in the Colorado Rockies, Steamboat is one of North America's largest ski mountains.
With 142 trails, 3600 vertical feet, and nearly 3,000 skiable acres, its six peaks are filled with world-class groomed cruisers, bumps, steeps, open meadows, and legendary tree skiing.
Visit steamboat.com for more details.
2017-2018 Winter Season Dates
- Full Season: November 22, 2017 – April 15, 2018*
- Hours of operation: 8:30am – 3:30pm
Mountain Numbers
- Base Elevation: 6,900 feet/2103 meters
- Christie Peak Elevation: 6,900 feet/2103 meters
- Mid-Mountain Elevation: 9,080 feet/2768 meters
- Summit/Mt. Werner Elevation: 10,568 feet/3224 meters
- Vertical Rise: 3,668 feet/1118 meters
Trail System
- Permitted Acres: 2,965 acres/1,200 hectares
- Trails: 165 named trails
- Trail Classification: 14% Beginner 42% Intermediate 44% Advanced
- Longest Run: Why Not – over 3 miles/4.8km
- Uphill Capacity: 33,619 per hour
- Snowmaking: 375 acres/152 hectares
- Annual Snowfall: 331″/859cm – annually
*Wednesday, November 22, 2017 is Scholarship Day. Lift ticket sales benefit the Steamboat Springs Winter Sports Club. Season Passes and Super Value Passes will not be valid on this day.


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Masking and Ritual Theater of the Baining and Gimi Peoples of Papua New Guinea
Art of the Chachet, Kairak,
and Uramot Baining of New Britain, Papua New Guinea
Ceremonies of the Gimi: Photographs
Gimi perform short theatre sketches at night during celebrations for marriages and initiations. (See "Living Theatre in New Guinea's Highlands," National Geographic Magazine, August 1983.) The rites last for weeks, and the Theatre provides night-time relief from the day's exhausting ceremonials and distraction from the e heat and smoke of low, crowded huts.
A sketch rarely lasts more than 15 or 20 minutes and is performed by either men or women. When the scenario includes male and female parts, one sex im personates the other. Transvestism and sexual license are conventions of Gimi ritual and inversions of daily life, whereas in actuality the sexes are often openly antagonistic and traditionally live in separate houses and work apart. The "macho" athlete of our society who dresses as a woman during a charity burles que show would be readily understandable to the Gimi.
Subject matter for the playlets and farces runs the entire gamut of Gimi life and experience: tales of warfare feuding, adultery and courtship; domestic bat tles between the sexes; visitations by ghosts and forest spirits; depictions of birds and marsupials in the forest or the movement of tall trees in the wind; and Gimi versions of Miss Manner's Guide to Correct Behavior. Costumes and props are made from feathers, marsupial furs, leaves, flowers, berries, mosses, barks, and colored clays. Though these materials are discarded or dismantled after use, leaving no collectible artifacts, Gimi theatre is, to us, an art form as complex and full of interest as the fabulous lowland sculptures now housed in the world's museums.
Gimi say their theatre has several purposes: to instruct newlyweds and initiates, to entertain and enliven weary guests; and to create reputations for the best players so they may increase the prestige of the whole village. Theatre also gives an actor the opportunity to "catch the eye" of a man or woman in the audience and to begin a seduction. In Gimi parlance, the highest praise of a performer is to say that he or she has "killed" the audience who, in response, are "compelled" to thrust money or small gifts into the performer's hands or under his waistband. Tradition requires that the actor "return" what he has received the next day in double the amount. This exchange of money or goods symbolizes another, invisible one in which the actor "steals" some part of his audience's spirit or life-forcehe steals their hearts, as we would sayand then gives back twice what he or she has taken.
Groups of players rehearse and assemble costumes in the forest during the day and circulate among the men's and women's houses at night, hoping to be chosen from the crowd of performers that waits outside. When men who sponsor the initiation of young boys invite a group of unmarried women to perform in the men's house, it is one of the few times that women are allowed inside a men's house. But men of all ages routinely perform in women's houses. During the weeks of ritual celebration there is a general atmosphere of sexual license and many men put into action their thoughts of "winning" a woman and of beginning liaisons. In the crowded women's houses, looks are exchanged and assignations furtively arranged. It is not uncommon for a mother of several children to set up a tryst with a young boy and for the lovers afterwards to go their separate ways as if no intimacy had occurred. One old man remarked that life in Unavi is hard and that these occasional peccadillos help men and women endure their lot.
When Australian Patrol Officers first entered the Eastern Highlands of New Guinea in the late 1940s and early 1950s, ritual theatre was widespread. Today it is restricted to remote parts of Unavi and neighboring areas. In the Gimi ritual cycle, the renewal of all forms of life is closely tied to human fertility and sexuality. This aspect of Gimi cosmology has been strongly opposed by Fundamentalist missionaries who are now ensconced almost everywhere in the province. According to many missions, it, is a "sin" for villagers to take part in ritual theatre, even as spectators. Papua New Guinea has been an independent country since 1976. Nationalism and the desire for modernization seem to have accelerated the disappearance of this unique ritual art.
David A. Gillison, Department of Art Lehman College,
Above: In this senario, an old man meets a young boy who asks where he is going. "I'm going to find pure water," he says. from this interchange the audience knows that this performance is drawn from a myth that describes the origin of birds of paradise and, by extension, of life itself. This myth, like origin myths in many cultures, graphically retells the cycle of life. Here, in the opening stages of the story, the old man prepares to follow the boy's mother into the forest. Later in the myth, not enacted here, he will kill the mother and the boy and later, in turn, be killed by the boy's sister. The sister will then set off on a long journey that will lead to her brother's rebirth as a bird of paradise.
Before pacification in the highlands, when a war broke out between villages and one side was routed, the survivors fled to the forest. Here, covered in white to represent that they are already spirits, a group of boys play eternally lost orphan children. In this re-enactment the boys are spirits living with Kuedtho, the pheasant pigeon. Kuedtho, large ground birds, make haunting calls that carry far through the forest. The humanlike overtones of the calls so reminded a Bigman from Ubaigubi of a long lost brother that he banned the killing of all Kuedtho on his clan land. The Bigman said that when he heard the birds he thought of all the orphans from the past wars, telling the silent forests that they were lost, alone, and hungry.
Meanings behind the stories told in Gimi playlets are sometimes unknown even to the actor's fellow villagers. Here, a group of girls rub sections of bamboo between their palms to make a high-pitched rustling sound, while singing a song. After their performance, several of the girls told me that they were echoing the sounds that cicadas make as evening falls when good weather sets in after a period of rain. A little later some older women said that the piece was really a story of a mother who accidentally put her baby down on an ant's nest and then had to jump up and rub the ants off her crying child. Several men in the audience shrugged and laughed,"Oh it's nice, but it has no story."
Clan elders garbed as spirits of the forest signal their arrival with the sounds of their bamboo flutes. The Krai (call) of these most sacred flutes, known as the "mothers of the flutes," a deep, cavernous sound, resembles the distant rumble of a rushing mountain stream.


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Oh Look, Another Completely Ridiculous Wireless Broadband Bill
from the ripping-off-retirees-is-our-business-model dept
"Kevin Brannelly, an official at the state Department of Public Utilities, tried to help the St. Germain family fight the bill because it did not seem right. "Never in my 25 years here have I seen such stubborn and senseless resistance to what is obviously a mistake," he wrote in an e-mail to St. Germain."
As with all these stories, Verizon justifies this absolutely insane markup over cost on their data service by insisting they at least made their ridiculously-constrictive pricing clear to consumers. Apparently not, given we've been watching a steady parade of these stories for years now. What has been made clear is that the cap and overage billing model isn't working for many customers. It also continues to be clear that carriers are doing a miserable job educating their users, and an even worse job implementing effective systems that alert a user before their bill goes utterly apocalyptic. While carriers often do reduce these charges after they're exposed in the press (though in this case half-off is still obnoxious) -- you have to wonder how many of these over-billing stories aren't being told.
Some carriers appear to be realizing that the millions to be made from ripping off retirees and the kilobyte confused isn't worth the endless bad press, and that helping your customers understand their bills might just help you differentiate your services. T-Mobile for instance is moving away from this cap and overage model, and last week announced they'd simply start throttling users back to slower (usually around 128 kbps) speeds should they cross their monthly cap. It seems like wireless carriers can either continue to rip people off until regulators get involved (or customers flee to more user-friendly carriers) -- or they can provide users with the tools necessary to help them adequately understand and control their monthly bill -- before it requires loan shark intervention.


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Last-gasp Atkinson sinks U's
Oxford had the first word but Chesterfield had the last as Chris Atkinson's stoppage-time goal gave the home side a 2-1 victory after going behind in the opening minute.
John Mullins headed Oxford ahead but Liam Cooper equalised on the stroke of half-time and Atkinson settled it right at the end.
Tommy Lee returned to the side after two months out through injury but as beaten in the first minute when a corner to the back post was headed just under the bar by Mullins.
Lee kept Chesterfield in it with a flying save to parry a Jake Forster-Caskey header six minutes later, but Oxford should have scored again in the 33rd minute when a cross fell invitingly to James Constable 10 yards out and he lashed a shot high over the bar.
Chesterfield had created few chances but they equalised in first-half stoppage time when a corner broke to Cooper, who fired into the roof of the net from 12 yards.
It needed a brave block by Andy Whing to stop Brennan Dickenson putting the home side ahead in the 66th minute but Chesterfield won it in added time when Marc Richards put Atkinson in to slide a low shot across Ryan Clarke and inside the far post.
Source: PA
Source: PA


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Last night I woke up at 2 am with a very painful breast (left). A small area on the side of the breast is very painful, but not red, and the area is not hard as I've experienced with previous plugs--most of mine are in the right breast, not the left. Also, with most of my plugs I will find a little white spot on the tip of the nipple that I can work out, then the milk releases and I get relief. Not so with this time. I've tried everything: manual expression, then waking LO to nurse, then manual expression, to bed with a hot water bottle, then nursing followed by manual expression and hot water bottle. It still hurt when I woke up, so I massaged, then manually expressed, then pumped. Nothing. The milk seems to flow out the various nipple pores efficiently, so I'm thinking this plug is deeper within the breast.
Now I'm stuck at work with no access to LO who might nurse it out (will try that immediately upon returning home). I was able to manually express into a sink, but it did not help. I have my pump with me today, but I don't think it will help right now. I have to teach 3 hrs of class here in a bit, then drive to day care, then finally home later today around 5. Meanwhile, I've been taken ibuprofen and lecithin capsules.
I'm very frustrated and worried that this could turn into mastitis if I can't get it resolved today. I've had plugged ducts last up to 24 hrs, but can usually unplug them by manual expression or nursing within about 6-8 hrs. I just started back to work full time 2.5 weeks ago. LO is 14.5 months, nurses at bedtime and once overnight. I had been nursing him down for his 2 naps, then switched to 1 in the afternoon in preparation for work, and now I just pump or nurse when I get home to relief a little pressure (if pumping, I get about 1/2 to 1 oz from each breast). I had hoped that by this week I could eliminate the after work pumping session, but if I'm getting plugged ducts again I really need to pump or nurse more. UGH!
Any suggestions?


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Less mass. More appeal.
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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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1.All Fired up, No Place to Go2.Amneris Letter3.Any Man of Mine4.Black Eyes, Blue Tears5.Come On Over6.Crime of the Century7.Dance with the One Who Brought You8.Dont!9.Dont Be Stupid (You Know I Love You)10.(Dont Gimme That) Once Over11.Forever and for Always12.From This Moment On13.God Bless the Child14.Home Aint Where His Heart Is (Anymore)15.Honey Im Home16.I Aint No Quitter17.If It Dont Take Two18.(If Youre Not In It For Love) Im Outta Here!19.Im Gonna Getcha Good!20.Im Holdin On to Love (To Save My Life)21.Im Jealous22.It Only Hurts When Im Breathing23.Its Alright (Club Mix)24.Ka-Ching!25.Lost My Heart26.Love Gets Me Every Time27.Man! I Feel Like a Woman28.Nah!29.No One Needs to Know30.Party for Two31.Rock this Country!32.Shes Not Just a Pretty Face33.Shoes34.Thank you Baby! (For Makin Someday Come So Soon35.That Dont Impress Me Much36.There Goes the Neighborhood37.Up!38.What Made You Say That39.When You Kiss Me (Green)40.Whose Bed Have Your Boots Been Under?41.You Lay a Whole Lot of Love on Me42.You Win My Love43.Youre Still the One44.Youve Got a Way45.Waiter! Bring Me Water!46.Whatever You Do! Dont!47.When48.When You Kiss Me49.Wild & Wicked50.The Woman in Me (Needs the Man in You)
Looks like we all are thinking Big Mike for sure in the bottom 3. It's OK with me because he's had enough exposure and will do well no matter what now, Casey and Siobhan, wouldn't care if they left either. Lee, Crystal? NO! Not yet.
hi rudy!! no they only showed them doing one song but did give them 2 numbers to call y i don't no i here the call's have been realy low?? i have not voted this yr but i might try this week just to c if i get a busy signal, caus i don't think i will..
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Boston, Massachussetts Passenger Lists Index Available
Volunteers are in the process of creating an online index of passengers who arrived in Boston between 1848 and 1891 held by the Commonwealth of Massachusetts Archives. Why is this important for Canadian Researchers? Many immigrants arrived in the US, and then crossed the border into Canada. Names of those who had already immigrated to Canada were also included if they used Boston when they returned to Atlantic Canada. Such was the case of one S. Oaksmith who travelled back to Nova Scotia via Boston.
To learn more about the index, please click here.


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Welcome to our WrestlingINC.com Live WWE SmackDown Viewing Party. We will be providing live ongoing coverage of tonight's SmackDown, while you all can chime in with your thoughts throughout the show.
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Keep hitting REFRESH on your browser to get the most up-to-date results.
- SmackDown begins with a video hyping The Rock's return as he returns home for the first time in 10 years, then a package for Big Show and Del Rio.
- We go to the ring and Lilian Garcia introduces Booker T and we hear from the announcers that he has a big announcement. Booker comes to the ring and says we're going to kick the year off with a bang. Booker says RAW was epic but SmackDown can do it better and they won't take a back seat. He says RAW had Ziggler vs. Cena but tonight Antonio Cesaro will face Randy Orton. RAW delivered The Great One but after 10 years The Rock will be in this ring. We see a graphic as Booker says that the match between Del Rio and Big Show tonight will be Last Man Standing for the Title.
An angry Big Show comes down and gets in Booker's face and asks him if it's personal and yells at him off mic. Show gets a mic and says Booker has a personal vendetta against him. He says Booker wants the Latino fans in Miami to embrace Del Rio. Show says there are no Latino heroes and no Irish or Viper heroes will stop him. Show gets back in the ring and circles Booker and says it's a bad idea to gives these people a hero and he needs to change his mind. Show grabs Booker by the neck and backs him into the corner.
Del Rio's music hits and he runs down to the ring and hits Show with kicks to the leg and a dropkick. Del Rio hits an Enzuigiri and another dropkick to send Show out of the ring. Show lands on his feet and starts to go crazy and says he will destroy Del Rio. We get a 'Del Rio' chant fro the crowd. Del Rio backs up the ramp and his music plays as Show tells Booker this is all his fault. Ricardo Rodriguez comes out on the ramp to join Del Rio.
- We go to highlights of The Rock on SmackDown and they show a clip from September 13, 2001 with Shawn Stasiak.
- We will hear from CM Punk tonight as we see a graphic of him and Rock face to face with the words: PIPE BOMB!
- We go to the ring as Randy Orton's music hits and he is introduced to the ring. Antonio Cesaro makes his way down the ramp waving an American flag. We see and inset promo from Cesaro announcing his entry and victory in the Royal Rumble.
Randy Orton vs. Antonio Cesaro
They lock up and trade go-behinds. Orton hits a shoulderblock and Cesaro adjusts his neck. Cesaro hits European Uppercuts but Orton tosses him out of the ring and follows to the floor for a huge clothesline. We go to commercial.
Back to action as Cesaro has Orton in a headlock in the ring. Orton fights up but gets taken back down with a clothesline and Cesaro gets 2. Cesaro picks Orton up in a gut-wrench and slams Orton for another 2. Cesaro hits shots in the corner but the ref pulls him off. Orton moves in the corner and rolls Cesaro up for 2. Cesaro quickly hits a sit-down slam for 2. Orton starts a flurry and hits a powerslam. Orton comes at Cesaro but Cesaro throws him up in the air for his Mortal Kombat Fatality-like uppercut. Orton takes back control and hits his DDT in the ropes and coils-up. The Shield enters the ring and attacks Orton as the bell rings. Ambrose and Rollins lift Orton onto Reigns shoulders for a powerbomb. They stand over Orton as we go to break.
- A promo runs for the 20th Anniversary of RAW with another "Rock Concert" this Monday.
- We see a replay of The Shield's attack on Orton and Josh Mathews and JBL bicker against each other about the trio.
- Matt Striker is standing-by with 3MB where they talk about being in the Royal Rumble. They say they will "beat Sheamus like an Irish drum bay-bay."
- A graphic is shown of The Rock vs. CM Punk at the Rumble and we go to CM Punk and Paul Heyman on the field at Sun Life Stadium. Punk says he is huge fan of The Rock especially his college football career. Punk puts on Rock's jersey from college and talks about the Orange Bowl being torn down. He says the place where Rock lived his college glory years is gone just like his wrestling days because it is now the CM Punk era. Punk says Rock can come back to Miami but he can never go home.
- We go to the ring as Dolph Ziggler comes down with AJ and Big E Langston. We see a replay of Big E dropping Cena on Monday and Cena's subsequent victory against Ziggler. We go to break.
- Matt Striker interrupts Del Rio and Ricardo in the dressing room and asks their thoughts. Del Rio calls Show the most insecure person in the world for attacking Ricardo and running down the Latino people. He says the last man standing tonight will be Latino.
- Khali and Natalya have entered the ring.
Dolph Ziggler & AJ vs. The Great Khali & Natalya
Khali hits chops on Ziggler in the corners. He waits for Ziggler to get up who runs and tags AJ who skips around and jumps on Khali's back. Natalya comes in and pulls her off and repeatedly slams AJ's head on the mat. Natalya goes for the Sharpshooter but AJ bites her hand and Natalya has to release. AJ bites Natalya's ear in the corner and runs up the ropes for a reverse DDT for the win.
Winners by pin: Dolph Ziggler & AJ
Big E Langston enters the ring and charges at Khali and takes him down with a clothesline and Ziggler hits him with the Zig Zag. Hornswoggle comes in and is cornered as he tries to run. Big E picks him up and hits the Big Ending.
- We go to more footage of Punk and Heyman at Sun Life Stadium. Punk says Rock thinks he can beat him as if he's a superhero. Punk says they people don't deserve to be saved and they deserve to rot in hell. Heyman says Rock is not as talented as Punk but not to worry because nobody is. They walk the length of the field toward the camera as they speak as the camera backs up the field. Punk takes off the Rock jersey and throws it on the field and he and Heyman walk away.
- We go to clips from 1999 of The Rock & Sock Connection. The Rock is out NEXT.
- The Rock's music hits and the crowd pops as we return. Rocky walks the stage and makes his way to the ring. Rock pauses for cheers and shows us his goose bumps. He gives the camera the People's Eyebrow as he does his " FINALLY" thing. Rock gives a shout out to Flo Rida in the audience. He says he is disappointed that Punk decided not to show up and the crowd starts a "Cookie Puss" chant. Rock says this is where it all started for him and talks about his football days with Warren Sapp. He says home is the Royal Rumble where he will kick Punk's Cookie Puss a** and become WWE Champion. He asks Miami if they want to have fun tonight and The Rhodes Scholars' music hits and they come to the ring.
Damien Sandow begs our indulgence and introduces himself as the intellectual savior of the unwashed masses. He introduces his best friend and tag team partner, "The Essence of Mustachioed Magnificence," Cody Rhodes. They say they are here to correct The Rock because they are to become champion, not Rock. Cody says Rock doesn't deserve this time and tells him to get out of the ring before he doesn't have any choice. Rock cuts a promo on them complete with pauses for "WHAT" chants from the crowd a la Stone Cold and says Cody has a dead caterpillar on his lip. He says, "Sweet tap-dancing Jesus! What is on your face?" Cody says he is an adult and if he wants to grow a mustache, he will.
Sandow interjects and asks The Rock to answer 3 questions correctly and he gets to stay. The Rock says to Just Bring It. Sandow asks who the 19th president of the United States is. Rock answers, "Rutherford B. Hayes, bi*ch!" Rock says Sandow looks like what would happen if Abe Lincoln got busy with a gremlin and says to not feed him after midnight. Cody asks what movie won Best Picture in 1993. Someone in the crowd yells, The Tooth Fairy, and The Rock acknowledges and says no. Rock answers, Schindler's List. Rock wants to ask his own question and if they get it right they will get an amazing prize from The Rock and Miami. He asks, "What happens when you combine a geological aggregate of minerals with its lowest form?" Sandow says, "You get rock bottom." Rock says exactly and Rock Bottoms Sandow. Rocky looks over at Cody who takes off his coat and charges at Rock. Rock hits a spinebuster and delivers the People's Elbow. He finishes with, " If you smell what The Rock is cookin'!"
- We return from a commercial as 3MB rocks out in the ring as Sheamus makes his entrance.
Handicap Match: Sheamus vs. 3MB
Slater ducks out of the ring and the trio start to go back up the ramp. They then charge the ring and Slater gets in first and gets hit with the Brogue Kick. The other two members stop in their tracks. Sheamus makes the cover for the win.
Winner by pin: Sheamus
The band pulls Slater out of the ring and McIntyre puts him on his shoulder to take him to the back as we take a commercial break.
- The Prime Time Players dance in the ring as Kane's pyro explodes and Team Hell No comes out to Kane's music.
Team Hell No vs. The Prime Time Players
We see footage from Monday on RAW of Team Hell No losing to Team Rhodes Scholars. Darren Young starts off with Daniel Bryan and backs him in the corner. Bryan tries to fight back but Young keeps the pressure on and tags Titus O'Neil for more punishment. Titus gets boots to the face in the corner by Bryan and both men tag out. Kane sends Young in and hits a side slam for 2. Young comes off the top but Kane catches him in the mouth and goes for a chokeslam but Titus comes in and Kane grabs his neck as well. They kick Kane and send him in but Bryan comes off the top with a double knee on PTP. Kane hits a chokeslam on Young for the win.
Winners by pin: Team Hell No
Kane sets-off his pyro in the ring and Bryan holds his ears as we see a replay. Bryan yells 'No!' at the crowd.
- Big Show vs. Del Rio in a Last Man Standing Match for the World Title is NEXT.
- Another promo runs for The 20th Anniversary of RAW this Monday.
- We see a graphic for Eve vs. Kaitlyn for the Divas Title this Monday on RAW.
- Footage is shown of Del Rio and Big Show from earlier tonight.
- We go to the ring as Lilian Garcia tells us the rules for this match. Big Show's music hits and he comes to the ring. We take another commercial break.
- A promo runs for The Rock at Royal Rumble.
- Alberto Del Rio comes out in a Lamborghini Aventador worth $500,000. Ricardo Rodriguez makes the formal introduction after Del Rio gets in the ring. Lilian does the same for Show.
Last Man Standing World Title Match: The Big Show (c) vs. Alberto Del Rio
The bell rings and they go right at it. Del Rio goes for the legs but Show overpowers him and hits a chop to the chest in the corner. Show hits clubbing blows to Del Rio's back and bodyslams him. Del Rio gets up and fights back but Show hits him with a headbutt and another chop to the chest in the ropes. Show goes out and pulls a table out from under the ring and sets up at ringside. Show slams Del Rio through the table and the ref begins to count. Del Rio makes it up by the count of 7 and Show goes right back to work. Show grabs a chair and sends Del Rio back into the ring. Del Rio hits a kick to Show's gut and takes the chair and hits Show across the back. Del Rio continues with two more shots. Show only goes to one knee and Del Rio dishes out more punishment with the chair.
Del Rio goes for the Cross Arm-Breaker but Show lifts him in the air and goes to throw him out of the ring but Del Rio hangs on with all his weight on Show's arm and Show screams out in agony. Show finally slams Del Rio off and the ref counts a laid-out Del Rio on the floor. Show is on his feet on the other side of the ring and goes to the outside as Del Rio makes it to his feet. Show starts to approach Del Rio as we go to break.
Show and Del Rio continue to mix it up at ringside as we return to action. Show sends Del Rio in the ring and pulls another table out from under the ring and slides it into the ring. Show enters the ring and sets the table up in the corner but Del Rio attacks him from behind and dropkicks him though it. The ref counts and Show makes it up by 6. Del Rio jumps on Show's back with a sleeper hold Show starts to fade but throws Del Rio off of him. Del Rio unloads with shots and clotheslines but Show won't go down. Del Rio comes off the 2nd rope but Show catches him with a chokeslam. Del Rio pulls himself up by the ropes and makes it up by 9. Show headbutts Del Rio out of the ring. Show gives chase and stares as Del Rio tries to use the security wall to help himself up. Show spears Del Rio through the wall but Del Rio gets up at 9.
Show sends Del Rio in the ring and hits the KO Punch. Del Rio slides to the floor and his feet hit the floor in a standing position at the count of 8. The ref breaks his count and Del Rio falls to the floor. Ricardo tries to wake Del Rio as Show pulls the steel steps apart and charges at Del Rio with it but Del Rio side-steps and Show runs into the steel post. Del Rio makes it up and hits Show with the steps in the shoulder but Show doesn't go down. Del Rio does it two more times and Show finally falls down at Josh and JBL's feet. Del Rio turns over the announce table onto Big Show and falls back down. Del Rio makes it back up at 8 as the ref keeps counting and makes it to 10.
Winner AND NEW WWE World Champion: Alberto Del Rio
Del Rio and Ricardo celebrate in the ring as we see a replay. Del Rio celebrates in the crowd with the Title as we go off the air.
What are your thoughts on tonight's show? Sound off below.