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Star Trek: The Next Generation: Season One (US - BD RA)
Gabe stumbles through the growing pains of Next Gen in glourious HD...
Despite a long and forgiving relationship with the Star Wars series, a screener supplied from the generous folks at Paramount have led me to write a whole lot more about the other popular, seemingly unending sci-fi series with a stellar title – Star Trek. I assume we as nerds/geeks have arrived at a point where we are no longer preoccupied with the false assumption that there's somehow a competition between George Lucas' and Gene Roddenberry's fan bases and do not want to imply that my occasionally blind affection for Star Wars is in conflict with my more passing fondness for Star Trek. Trekkies/Trekkers/Star Trek Fans should take my growing respect for their favourite property as a testament to its enduring quality. All this said, I'm really not a fan of the series' second television incarnation, Star Trek: The Next Generation, and parts of the series section of this review will probably come across as confrontational.
My experience with Start Trek mostly comes out of the theatrical releases, which were kind of an accidental Christmas ritual when I was a child. These films, even the bad ones ( The Final Frontier), hold a pretty big part in my heart and those tender feelings moved me to watch Next Generation with the rest of nerd-America when it premiered in 1987. The behind the scenes story and eventual success of Next Gen is a genuinely inspirational tale of what a passionate fanbase can achieve. It's rare that interest in a genre property can find a new audience just over two decades after its original incarnation was canceled for a sizable lack of interest. It's even more rare that said initially (relatively) unpopular series can be reintroduced to enough popularity to spawn seven seasons, three spin-off series (two of them popular), and four feature films (the closest similar example I can recall is Firefly, which achieved only a single unpopular film spin-off). It's a remarkable achievement.
But looking back on the series that rebooted Star Trek into a full-blown phenomenon, I'm kind of surprised by how, well, dull it is. In a way, this isn't exactly a negative criticism, as Next Gen ended up largely achieving exactly what Roddenberry intended. Roddenberry approached science fiction with an early '60s idealist's eyes, which leaves the original show and this follow-up with a distinct lack of conflict. The original show was best when exploring abstract and philosophical concepts that had never been touched upon by television or film sci-fi, but the most memorable episodes were usually built around strong villains, which led to strong conflict and even, on occasion, violence. That or some concept so kooky it's impossible not to giggle along (note: not at). The first time Star Trek was reintroduced to audiences, it was in the form of the overlong, crushingly dull, but beautifully filmed Star Trek: The Motion Picture, which fulfilled all of Roddenberry's initial goals for his property. Later the keepers of the kingdom largely removed Roddenberry from the equation and made Star Trek II: The Wrath of Khan and a classic, continuously beloved film was born. Roddenberry didn't exactly embrace the rest of the films in the original crew canon (he hated my personal favourite, Star Trek VI: The Undiscovered Country, for all its political intrigue), but was an integral part of Next Gen (despite initially avoiding involvement).
From what I understand, even fans tend to agree that the first season was comparatively weak aside from a handful of episodes, and that the joy of watching the series evolve remains the best reason to revisit it. I don't think it's any coincidence that Next Gen began to pick up when Roddenberry's involvement decreased due to poor health. Eventually this led into a more fully-formed Star Trek universe and mythology that was largely unhampered by, well, Roddenberry himself, and into the property's strongest television series – Deep Space Nine. Deep Space Nine (which also took a few seasons to hit its stride) utilized all of Next Gen's greatest strengths and married them with less elegant and idealistic concepts, like modern politics, prolonged warfare, and serialized story structures. Still, there's no mistaking the strength of most of these characters right off the bat. None of them would go on to be Kirk or Spock-sized pop-culture touchstones, but many are recognizable outside the Star Trek fanbase, and most of the actors involved have come to find themselves defined by these roles.
In this case the season's overall weakness doesn't equate an utter lack of gem episodes even non-fans will likely appreciate. These start with the pilot episode, Encounter at Farpoint, which eloquently sets up the basics of the new series without wasting too much time on the usual 'origin episode' shenanigans (save some dopey expositional dialogue). It's also a solid introduction to one of the best Next Gen 'villains', Q, the Star Trek equivalent to Mr. Mxyzptlk and other Jungian archetype tricksters. The Naked Now helps set the series' tone, and puts a straight, or at least 'adult' face on a very silly subject previously explored by the original series (though DS9 did basically the same thing better without Wesley Crusher). Where No One Has Gone Before explores intriguing surrealist moments and features very pretty, remastered special effects. Justice is another amusing throwback to the original series and H.G. Wells' Time Machine, appropriating the tropes with a Next Gen slant. The Big Goodbye introduces the genre-jumping options made available by the Holodeck and features cameo appearances from Lawrence Tierney and the ageless Dick Miller. Datalore is the first of many Data-centric episodes, which would become a large part of the basis for the Next Gen feature films and introduces Data's twin Lore, another recurring antagonist. Though I find the Klingons the most boring diversion on DS9, their continued mythology is important, and Heart of Glory kicks off Worf's complex relationship with his people (which lasts through both Next Gen and DS9).
There are three episodes here that might be considered in league with the series' best. These begin with Skin of Evil which, goopy monster effects and occasionally hilarious 'horror' aside, manages to take itself just seriously enough. Conspiracy is my personal favourite. This horror show episode takes inspiration from Invasion of the Body Snatchers and John Carpenter's The Thing, anticipates the espionage that flows throughout Deep Space Nine, and features a cameo from the incomparable Michael Berryman (it's also the first episode I ever saw during the show's original run). The last of these 'classics' is The Neutral Zone, which is both an impressive standalone, 'man out of time' science fiction story (cryogenically frozen people awaken in Star Trek time) and a mythology-building, Romulan re-introduction episode.
When Paramount released the original Star Trek on Blu-ray, they proved beyond a shadow of a doubt that, assuming it was well maintained, old television could look just as great as old movies in 1080p HD. Even those of us that knew what the format was capable of were taken aback by how vibrant and clean the decades-old footage was. I was again skeptical of what Next Gen would look like on Blu-ray because I wrongly assumed that it was shot on video, which cannot be presented in 1080p (or even 720p) without 'upconverting,' a process that never yields satisfying results. It turns out I'm mostly ignorant to exactly how common it was for '80s and '90s era live-action television (outside of studio audience sit coms) to be shot using 16mm or (better yet) 35mm film. Next Gen was shot on 35mm, which, aside from something unrealistically expensive like 65mm or 70mm, is the ideal format for the pre-digital era. And looking at the original DVD release I can now see Next Gen had plenty of room for improvement.
When I heard the series was coming to Blu-ray I was afraid that the collection's producers would see fit to re-frame the 1.33:1 episodes in a widescreen friendly 1.78:1. Paramount knew better than to reframe the original series, and I'm relieved to see they knew better than to reframe this one as well. Looking at the episodes again, I now see that the analogue TV-friendly framing is more or less nonnegotiable. Character close-ups tend to feature plenty of head space, but wider shots involving multiple characters would be bereft of valuable visual information. By directly comparing the DVDs to the Blu-rays I also noticed that the SD transfers were ever so slightly stretched, which means the 1080p remaster has a more natural structure and a teeny bit more information on the right and left sides of the screen. My second biggest fear was that the remastering process would include a lot of digital noise reduction. There are obvious signs of DNR, including some occasionally waxy skin textures and flattened highlights. These are most apparent in facial close-ups, many of which I'm guessing were originally shot somewhat softly to disguise facial blemishes. Overall, however, DNR is minimal, made apparent by natural (glorious) grain levels that change, based on lighting and colour quality. Some viewers will likely complain about the grain (others may claim it's closer to CRT scanning noise, which may be correct in some cases), but they have unrealistic expectations of the 35mm format and unfortunate aesthetic tastes.
Details are definitely sharper than any television or DVD version and are really only hampered by the original footage (there are so many erect nipples). Comparing the DVD transfer I notice the biggest improvement in clothing, prop textures, and the separation of background elements. The DVDs (and, I should note, the Netflix streaming episodes) are handicapped by a series of digital compression artefacts, including edge haloes, blocking effects, and at worst, interlacing effects, all of which deaden details even further than an average 480p transfer. These are all but entirely eradicated on this release, save a couple of minor blocking effects on a handful of shots. The colour quality changes are not as vast as those seen on the original series' Blu-rays, but there's no mistaking the vast improvement. Not only are colours sizably more rich and vibrant, there are big advancements made in terms of colour separation. The repeating hues, such as uniform and lighting effects, are far more consistent, and colours of similar hues are more clearly differentiated. The SD transfers are also left wanting for yellows and oranges. Here, the warmer elements, specifically skin tones, are given the yellow boost they need to appear more natural (it is verified in the behind the scenes footage that the original notes on colour correction were utilized during the restoration process). There are still some minor bleeding effects (especially those red suits), but the only measurable shortcoming here is some over-crushed blacks. The sharp edges and deep nature of the blacks is quite attractive, I'll admit, but shadows are often deepened to a point that detail is lost, especially on the darker costume pieces. The black and dark blue/green pieces of the uniforms are flattened quite a bit and some detail (zippers, pleats) go missing altogether.
The original broadcasts of Next Gen featured analogue Dolby SR/LTRT stereo-surround sound, which means the original DVD producers had something to work with while remixing the series into a 5.1 Dolby Digital format. I don't recall the sound of the DVDs all that well, but have watched the same sound design crew's Deep Space Nine discs semi-recently and have fond memories of a solid and natural remix. According to the supplemental footage this newly minted DTS-HD Master Audio 7.1 mix was made from scratch using the original source material, not the Dolby Digital tapes. Some viewers and fans will likely be disappointed that these DTS-HD presentations aren't particularly impressive when compared to modern, big budget television releases. The truth is that Next Gen isn't aurally comparable to Lost or Battlestar Galactica, and it never will be without sizable editions to the existing soundtrack, which I am usually not a fan of on principle. There are only a few examples here of the production crew gleefully over-doing it in terms of stereo and surround spread.
Some of the more impressive sequences (those that do not entirely betray the series' humble beginnings) include a booming trip past Warp 10 on the episode Where No One Has Gone Before, a giant, omnipotent voice on the episode Justice, the crystal entity zipping about the channels throughout Datalore, and some excessive, explosive laser effects towards the climax of Conspiracy. More subtle directional and immersive effects include Holodeck and planetary 'natural' ambience, and the constant hums and beeps of the ship sets. These mixes are generally quite clear but there are cases of inconsistent dialogue track volume and a couple dozen crackles and pops at high volume levels. The music is given a sizable 're-spreading' along the stereo and surround channels, creating a powerful dual wall of sound. I might've preferred just a bit more of a central musical element (it's present in the center channel, but rarely in the center of the room), and occasionally the score sounds a bit tinny, but those opening titles are downright breathtaking.
*Edit, 8/2/12: Paramount has verified an audio error on some episodes. The quote from the studio reads: "There are some episodes that inadvertently had their front channel designations incorrectly mapped, resulting in an undesired playback experience when listening to them in a 7.1 or 5.1 Surround Sound environment." I apologize for missing this while reviewing the set, and will try not to let my guard down while watching hours and hours of content next time I get a TV season.
The extras begin on disc one with Energized! Taking the Next Generation to the Next Level (23:50, HD), a look at the restoration of the original 35mm source material. This includes plenty of valuable before and after comparisons (including attempts at 16x9 composition) along with interviews from scenic art supervisor Michael Okuda, scenic artist Denise Okuda, visual effect director Craig Weiss, producer Rick Berman, film transfer tech Wade Felker, compositor Eric Bruno, and a collection of techs and artists that recaptured the series special effects. Part of the remastering process included restoring the special effects from the original source negative. Originally, the producers tried 'upconverting' the special effects footage, which was composited and edited using SD video, but the effect was deemed unacceptable compared to the rescanned 35mm film. The increased image quality of the effects here is so dramatic I had assumed it was achieved largely through Lucasfilm-style digital reboots, but it turns out this is only part of the story. Digital enhancements are mostly delegated to meticulously recreating lost electronic and laser effects, detail tightening on some of the background planets, and rebuilding some of the effects that were already digitally created. The bulk of the restoration process was more focused on scanning the original 35mm miniature effects and re-compositing them under the watchful eye of the Okudas. The only additions fans might be unhappy with are the digital set extensions, which do smell an awful lot like Star Wars: Special Edition stuff. For the most part the alterations are subtle. The more valuable among these improvements, which works beyond the 'cool' factor, are the improved differentiations between characters and solid set pieces, and the occasionally blue screen enhanced background screens. That fuzz around the edges is no longer an issue. Disc one also includes vintage promotional material, including an EPK (2:40, SD), three promo pieces/trailers, and a season one recap (4:50, SD).
Disc six extras start with the three-part Stardate Revisited: The Origin of Star Trek: The Next Generation documentary. Part one, Inception (28:30, HD), covers the long journey of bringing a new Star Trek to television, including the process of constructing characters and stories, casting Stewart, and designing the sets and costumes. Part two, Launch (32:10, HD), continues with the casting process and make-up designs. Part three, The Continuing Mission (32:40, HD), covers more production design, fan reactions, going over-budget, special effects, Denise Crosby ditching the show, and Roddenberry's ongoing issues with the series. These all include behind the scenes footage, camera tests, and interviews with Roddenberry, executive producers Rick Berman, David Livingston and Bob Justman, consultant David Gerrold, associate producer D.C. Fontana, illustrators Andrew Probert and Rick Sternbach, set decorator John Dwyer, The Okudas, make-up designers Michael Westmore and Doug Drexler, production designer Michael Zimmerman, effects coordinators Gary Hutzel and Dan Curry, and actors Stephen Macht, Patrick Stewart, Jonathan Frakes, LeVar Burton, Brent Spiner, Gates McFadden, Wil Wheaton, Michael Dorn, Denise Crosby and Marina Sirtis. The final disc also features an old, fan-made gag reel (8:10, SD), and archival features, including The Mission (18:00, SD), Selected Crew Analysis (15:20, SD), The Making of a Legend (15:30, SD) and Memorable Missions (17:00, SD).
I still don't love Star Trek: The Next Generation, but it is nice to revisit these often sloppy, occasionally great early episodes and there's no mistaking the huge leap in quality on these Blu-ray discs. The care put into these 1080p transfers approaches monumental, and it's incredibly easy to overlook a handful of remastering errors. The sound quality is also much richer than the DVD releases and well balanced throughout the 5.1 channels. The extras aren't quite extensive, but I quite enjoyed the documentaries as a knowledgeable outsider. Now if only we could fast forward to a time where they'll be doing this kind of extensive makeover to Deep Space Nine…
* Note: The images on this page are not representative of the Blu-ray image quality. They were taken from a series of stills Paramount released to advertise this release.
Review by Gabriel Powers
Existing Posts
As much as I'd love to see this in HD (the sampler looked great) the show is on TV/Netflix 24/7 and I've seen every episode multiple times. The show didn't really find its feet until the third season either, one or two great episodes excepted. Just can't justify the expenditure...
Don't be silly, JackJack, you know Matt doesn't bother with an informed opinion. He just likes to complain.
Paramount has verified that there is an audio problem, and will be offering free replacement discs. I've updated the review with this information and an apology.
Paramount has verified that there is an audio problem, and will be offering free replacement discs. I've updated the review with this information and an apology.
Matt Stilwell wrote: Their uniforms weren't made of denim. Don't know where you got that from.
We are getting it from the S1 Blu ray set!, Maybe if you owned the set and watched it, you would know it was made denim.
Counselor Deanna Troi's uniform in the first season was made of denim. After the first episode, they got rid of the skirt uniform and the got the jumper with the belt. She says in the S1 Blu ray extras that it was denim and very hot and she hated it.
We are getting it from the S1 Blu ray set!, Maybe if you owned the set and watched it, you would know it was made denim.
Counselor Deanna Troi's uniform in the first season was made of denim. After the first episode, they got rid of the skirt uniform and the got the jumper with the belt. She says in the S1 Blu ray extras that it was denim and very hot and she hated it.
Their uniforms weren't made of denim. Don't know where you got that from.
It might have less to do with the image quality and more to do with the fact that you aren't a kid anymore.
And yes, denim.
And yes, denim.
The work they did to fix up the episodes looks great, but I just don't get the same feeling watching it as I did when I was a kid. It doesn't have that same warm, comfortable feeling as it used to. It's too crisp and perfect.
Denim ?
Denim ?
I just finished watching the episode "Justice" and at 9 minutes 15Secs into the episode I did notice that one of the voices did echo around several speakers at the front only lasted a few seconds, but it was there.
Curious as its not one of the episodes listed.
I might add that I am watching the UK release.
Curious as its not one of the episodes listed.
I might add that I am watching the UK release.
I definitely didn't notice any sync issues, but I may have missed some stereo spread in some of those episodes.
According to the digitalbits
" There is a confirmed audio issue that affects 7 episodes in the set - Encounter at Farpoint, Hide and Q, The Big Goodbye, Datalore, 11001001 and Too Short a Season. The impact is that in the DTS 7.1 mixes for these episodes, character dialogue that should normally be in the center channel is also mixed into the front left and right channels. The other episodes are unaffected. However, there's a secondary audio issue being reported as well in which the PCM audio for some of the extra features on Disc One and Disc Six plays out of sync on at least some models of Blu-ray player. CBS has begun investigating both issues."
" There is a confirmed audio issue that affects 7 episodes in the set - Encounter at Farpoint, Hide and Q, The Big Goodbye, Datalore, 11001001 and Too Short a Season. The impact is that in the DTS 7.1 mixes for these episodes, character dialogue that should normally be in the center channel is also mixed into the front left and right channels. The other episodes are unaffected. However, there's a secondary audio issue being reported as well in which the PCM audio for some of the extra features on Disc One and Disc Six plays out of sync on at least some models of Blu-ray player. CBS has begun investigating both issues."
I didn't notice any myself, but I got the set late enough that I ended up skipping some episodes. I'm also not familiar enough with the source material to compare. Were things missing? Changed?
Hi I have started seeing reports abouts faults on the audio for quite a few episodes, can anyone confirm this?
A few reviewers on amazon have also commented.
A few reviewers on amazon have also commented.
I just bought this yesterday (as well as every Voyager season on DVD) and wow I feel like I am back into the Star Trek universe for the first time in a decade. Even though I have only been a passing fan except for Voyager which was one of my favourite shows in high school I decide to give this a try.
I have enjoyed every episode so far and a few I haven't seen since I was "forced" to watch it as a kid during it's original airing.
When The Next Generation started I was 5 and I used to think Wharf's head was the way it was because he got too close to the sun. Ah being a kid. :p
I have enjoyed every episode so far and a few I haven't seen since I was "forced" to watch it as a kid during it's original airing.
When The Next Generation started I was 5 and I used to think Wharf's head was the way it was because he got too close to the sun. Ah being a kid. :p
Gabe Powers wrote: Actually, both. Though Brent Spiner is the biggest culprit. Marina Sirtis' denim outfit doesn't allow such things.
damn you counsellor troi and your fashion sense.
i guess Data had a lot of "backing up" before the Tasha experience. lol
but on to the actual topic, i havent seen this yet but just the stills alone on all the sites show the dramatic improvement, very impressive. i'm not one to double dip on a complete series but if this treatment was ever given to the X-Files, i'd so be in.
damn you counsellor troi and your fashion sense.
i guess Data had a lot of "backing up" before the Tasha experience. lol
but on to the actual topic, i havent seen this yet but just the stills alone on all the sites show the dramatic improvement, very impressive. i'm not one to double dip on a complete series but if this treatment was ever given to the X-Files, i'd so be in.
Actually, both. Though Brent Spiner is the biggest culprit. Marina Sirtis' denim outfit doesn't allow such things.
i'm guessing that nipple comment is directed at the male actors more than the female ones? lol
This is truly an awesome release of a 25 year old TV show. The packaging is pretty naff here in the UK. I was under the impression we would get a nice plastic clamshell type box, but it's just like a regular BD box and the discs don't even have labels. They look very cheap. Thank God the content is stellar!
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Disc Details
Release Date: 24th July 2012
Discs: 6
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.33:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 7.1 English, Dolby Digital 2.0 English, German and Spanish
Subtitles: English, French, Spanish, Japanese, German, Italian, Danish, Dutch, Finnish, Norwegian, Swedish
Extras: Energized: Taking Next Generation to the Next Level, Stardate Revisited: The Origin of Star Trek the Next Generation, Episode Promos, Archival Launch Footage, Original DVD Features
Easter Egg: No
Feature Details
Director: Various
Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Brent Spiner, Denise Crosby, Michael Dorn, Gates McFadden, Marina Sirtis, Wil Wheaton
Genre: Action, Adventure, Comedy, Drama and Sci-Fi
Length: 0 minutes
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Star Trac, Irvine, CA, formed its first-ever dealer advisory council in an effort to build communication between the company and its domestic commercial dealers, the company announced.
Tom Dawson, Star Trac's U.S. commercial dealer manager, led the 10-member council's first meeting in July.
"We are fortunate to have this highly respected group to lend us their opinions to drive our growing dealer business," Dawson said in a statement. "The council will provide a strong voice for the Star Trac dealer network."
The council was formed to provide Star Trac's commercial dealers in the United States with a vehicle to voice opinions, provide feedback and help guide the direction of Star Trac on a wide range of subjects, including dealer programs and incentives, product development, long-range business planning and ideas for best practices across Star Trac organizations.
The dealer advisory council consists of Donnie Floren, owner of Fitness Equipment Sales Inc.; Jay Huey, president of Fitness Systems; Jim Ross, vice president of MSI; Martin Weinbaum, commercial sales manager at Gym Source; Scott Mabey, product manager of Dynatronics; Bob Burgess, president of Heartline Fitness Systems; Gordon Stirling, regional director of Pacific West-Advantage Fitness Products; Tom Johnston, vice president of sales at Orthotech; Kelly Naylor, owner of designFitness; and Ryan S. Freeman, president and founder of Fit Supply LLC.
Kevin Farley, Star Trac's director of vertical markets and dealer sales, oversees the council.
"In choosing who would be on the council, we tried to be as varied as possible," Farley said in a statement. "There are people who have sold Star Trac (equipment) for six months or 20 years."

subset: commoncrawl


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Was back on the Sunshine Coast for the Noosa triathlon three-peat a few weeks back. Training was a little subdued due to new baby and general laziness. Maybe an average of 4 sessions per week. One thing I did do was check into a squad for a few swim sessions in the weeks leading up to the race. It was quite helpful and confidence building.
Also got some accommodation in Noosa close to the transition point, which made things really easy (advance racking, registration, post-race sitting on the beach). Probably more than anything else this made me want to go back for another year, next year, inspite of having to pay hefty registration a year in advance.
Race splits: approximately 33min swim, 79min bike and transitions, 48.5min run, for a total of 2hr 40min and 30sec. This is a new PB, which I guess is nice.
Had an early wave start, which in combination with early rain meant a much wetter and cooler race than later wave starts.
Managed to latch onto the heels of some swimmers who were travelling at about my pace, so I just kept hold of them for as long as possible, and was out of the water in a very slow but PB time of 33min. Definitely worth going to squad to learn how to follow a bubble trail, especially given that I have trouble sighting in open water.
Sloooooow T1, something of a recurring theme: always feel a little green out of the water, and end up faffing about for ages. Cost me a minute or two I guess. Out on the bike things were a bit wet and slippery. I wasn't absolutely confident on my new slick tyres and lightweight racing wheels, so took it slow on the bends and downhills, and just pressed as hard as I could on the flats and uphill (which wasn't all that hard, due to lack of conditioning). Nevertheless, my aero bars and new wheels seemed to make a bit of a difference, and I think I PBed this leg too (by a small amount).
T2 was much easier. Had some elasticised laces on my running shoes and was in and out fairly easily. Then had to hang tough on the flat streets of Noosa for 10k, which seemed to go ok. I managed to get home in about my usual time, even though I'm carrying a bit of extra weight with respect to previous years (next year at a lower weight I'll be much faster!).
So I've registered for next year and secured an entry, and will be looking forward to doing it all again next year.
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One Take Documentary Series
One Take Documentary Series
One Take: Stories through the Lens is a monthly Tuesday night documentary series held at the Little, hosted by Linda Moroney. The series presents a unique mix of documentaries—ranging from film festival favorites to unheralded gems—followed by talkback discussions.
The films are held at 7pm one Tuesday a month, unless otherwise noted. Tickets are $9
About the series programmer, Linda Moroney:
Linda Moroney has been active in the independent film community for over 15 years. Films she's produced have shown theatrically, been broadcast nationally, and screened at numerous film festivals worldwide. She is the Greentopia | FILM Director, the Founder of the Rochester Documentary Group, and programmer for "One Take: Stories Through the Lens," a monthly documentary series at the historic Little Theatre. Currently, she is producing and directing the feature-length documentary, THE STORYBOOK PROJECT (working title), with Crystal Pix. She was the Managing Director/Programmer for the 360 | 365 Film Festival (2010 and 2011 editions). In 2007, Linda was the curator for Animated Jazz Shorts from The Hubley Studio, which was a co-presentation by the Rochester International Jazz Festival, Rochester/High Falls Film Festival, and George Eastman House. Linda cut her filmmaking teeth working with Academy Award winner, Faith Hubley, on six of her animated films. In addition, Linda was the Associate Producer on the independent feature-length documentary, RAM DASS FIERCE GRACE named by Newsweek magazine as one of the five best non-fiction films of 2002, and broadcast nationally on PBS (Independent Lens) in 2004. She has produced several other short films including Emily Hubley's award-winning SET SET SPIKE (2001), which was an official selection in the 2002 Sundance Film Festival. She is the Co-Founder of the Rochester Teen Film Festival and the Rochester Teen Film Camp.
Upcoming films for this Series
Past films from this Series
- 1 of 10
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Last season the Tennessee State men's basketball team had its first winning record since the 1995-96 season. The team finished second in the OVC and upset nationally ranked Murray State during the regular season.
A substantial part of the team's success was the strong post presence provided by senior Kenny Moore. Last year, Moore averaged seven points and three rebounds per game in leading the Tigers to a 20-13 record.
Moore left TSU following last season and graduated in May. However, his playing career was not over. The Cheshire Jets of the British Basketball League called Moore's agent and the two sides just worked out a deal that allows Moore to play for the club this season.
"It still hasn't sunk in yet that I am a professional basketball player, and I have no clue if it will ever sink in," Moore said.
The signing is a dream come true for Moore, but he quickly found out that playing for the Jets is far different than playing for the TSU Tigers.
"The experience has been great so far, but it is like a whole new world over here," Moore said. "The game is different here because there are more isolations, and it has a more open-floor style."
After college, most people get a job and learn to succeed in the working world. The same is true for Moore, but with a twist. He has now had to adjust to living and working in a completely different time zone where his friends and family are thousands of miles away.
"Right now, I am just trying to get adjusted to the time difference. I am still going to bed at seven a.m.," Moore laughed. "People are nice over here, so it's just a good experience so far."
Through the hectic transition, Moore already realizes how well-prepared he was for the next level by attending Tennessee State.
"I went to a couple of other colleges before coming to TSU, but I have to say that the TSU coaching staff prepared me for making the jump. [Coach Travis Williams] made sure I had my head on straight and pointed me in the right direction," Moore said.
Moore also said that attending Tennessee State taught him invaluable lessons that didn't just apply to basketball:
"Coach Williams taught me how to speak professionally and how to act when you are away from home. I always say that attending TSU was the best experience of my life because the school taught me how to be a man."
Clearly, the experience of playing professional basketball is a milestone for Moore, but it also speaks to program that Tennessee State has built the last few years.
"Our top priority will always be to make sure that our players graduate, but we also develop them into players that will have the opportunity to play professionally once they get out," Williams said.
TSU and the coaches taught Moore a lot during his time as a Tiger, and his hard work and dedication have paid off. In his first game as a member of the Jets on Sept. 29, Moore had 14 points and a team-high 10 rebounds. It was his first double-double in his professional career, and more are sure to follow.
Follow TSU Athletics on Facebook.com/TSUTigers and Twitter @TSU_Tigers.


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KENNESAW, Ga. (Dec. 23, 2008) - In a coming out party for the redshirt freshman forward, ETSU's Isiah Brown (Miami, Fla.) posted a career high 18 points and grabbed a team high six rebounds to lift the ETSU men's basketball team to a Christmas victory over Atlantic Sun Conference foe Kennesaw State 76-62 Tuesday inside the KSU Convocation Center.
Along with Brown's personal best offensively - which included six dunks on the night - the Buccaneers got double-digit scoring from three other players, including a game-high 19 points from both junior guard Mike Smith (Vandalia, Mo.) and senior forward Kevin Tiggs (Flint, Mich.), and 15 from senior guard Courtney Pigram (Memphis).
"We've had a great start to the season and going to 2-0 in conference play is big," said ETSU head coach Murry Bartow, whose team improved to 8-3 overall, 2-0 in A-Sun action. "I can't say enough about the way Isiah played tonight. He really gave us a lift inside, and adding him to the offensive mix along with the Big Three of Kevin, Mike and Courtney is something we like to see."
Early on in the game, ETSU shot well over 50 percent and spent much of the first half building a nine-point lead at 23-14 with just over four minutes left in the half. The Owls then pulled to within three thanks to back-to-back 3-pointers by freshman guard Spencer Dixon, but a bucket by senior forward Greg Hamlin (Flint, Mich.) later led to a technical foul on Kennesaw State head coach Tony Ingle and the Bucs blitzed back out to a 28-20 advantage.
KSU battled back to cut the lead to four points on a couple of occasions late in the half, but a three-point play and a 3-point basket by Smith with six seconds left in the half made it 34-26 at the break. The Bucs shot a strong 57 percent from the floor in the first half with Smith leading all scorers by posting 12 points.
In the second half, the Owls hit a pair of 3-pointers to start the final 20 minutes and ultimately hit three straight 3s in the opening minutes to make it 39-35 with 15:54 left in the game. KSU got to within two at 39-37, but from there the Bucs used an 18-8 run to pull ahead by 12 at 57-45 with 7:59 left in regulation.
From there, Brown dunked on three straight possessions and scored eight consecutive points, pushing the advantage to 63-45. The Owls managed an 8-0 run in the final minutes to make it 69-60 with 1:12 left, but the Bucs held on from the foul line and never looked back.
For the game, the Bucs shot 53 percent from the field and forced 19 KSU turnovers on 10 steals. However, the Owls did enjoy a definitive advantage on the glass, out-rebounding ETSU 37-25 and grabbing 20 offensive rebounds to just nine for the Bucs.
For the Owls, Kevin McConnell scored a team-high 18, while Jon-Michael Nickerson and J.D. Pollock pitched in 13 and 12, respectively. KSU also got a game-high 11 rebounds from Zadrian Gibson.
ETSU will return to action over the Christmas break, playing its final non-conference game of the regular season when the Bucs host former Ohio Valley Conference foe Morehead State on Tuesday, Dec. 30 inside the Memorial Center. Tip in Johnson City is set for 7 p.m.


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The tone of Paul's moral exhortation changes from negative to positive as he shifts his attention from pagan vice to Christian virtue. This shift of emphasis reflects the natural movement of conversion out of darkness into light. In the previous passage Paul addresses the community as a "new self" because with Christ they have put to death the "old self" and have risen to newness of life. In this passage Paul defines Christian character rather than prescribes rules to obey. For him, morality is a matter of what sort of person one becomes in Christ, where one "puts on" the capacity for doing the good that God has willed. Therefore, believers are transformed by the working of divine grace into people who have the character to do God's will. This new character results in and is clearly demonstrated by transformed relationships within the church (3:12-17) and the home (3:18--4:1).
Significantly, Paul calls the community God's chosen people, holy and dearly loved. In doing so, he identifies this largely Gentile congregation with God's Israel and Messiah, who were both chosen by God's gracious initiative for salvation. Because the terms for God's salvation had taken on an ethnic and nationalistic hue within Paul's world, his statement is religiously and politically controversial. In fact, according to the Old Testament (Deut 4:37; 7:7), God called Israel out from among the Gentiles for salvation and chose them to be a "holy" people (compare 1:2), the object of God's extra special love. But the mystery ciphered for Paul and central to his gospel for the Gentiles (compare 1:24-26) is that God has chosen them as well.
Paul's doctrine of election carries implicit moral content, since some Jewish believers within the earliest church argued that Gentile converts to Christianity should behave like Jewish proselytes (the Gentiles who had converted to Judaism). As I suggested earlier in the commentary, perhaps the ascetic and liturgical codes imposed by the spiritual umpire express this Jewish concern for Paul's Gentile mission (see 2:16-23). If so, this allusion to a biblical people, inclusive of Gentiles, recalls an ingredient of his argument against false teaching. The point is this: not only are Gentiles chosen by God for salvation, but they have also been included by God in a new creation and empowered by God's Spirit to bear witness to the Lord in their daily lives (compare Acts 10:45).
The moral result of salvation in the life of God's people is holiness. The catalog of traditional virtues illustrates the character of holiness that grace creates in us: compassion, kindness, humility, gentleness and patience. I am not convinced that a careful study of each word can tell us much more about this list (however, see O'Brien 1982:198-201). Paul's point seems to me more general and impressionistic: he fashions a list of five virtues to illustrate his conviction that the five vices of the previous two lists (3:5-8) have been overturned in Christ. According to his gospel, such a moral reversal is the "fruit" of conversion (1:9-11). Appropriately, then, each virtue is cited elsewhere by Paul, who typically alludes to the Old Testament's description of God's saving activity now completed through Christ. Moreover, O'Brien concludes that "each of the five graces with which God's elect are to be clothed shows how Christians should behave in their dealing with others, particularly with fellow-believers" (1982:201).
In addition, reconciled relationships within the faith community bear witness to God's triumph over society's corrupting influence. In this sense, changes within us and between us serve an evangelical purpose: people become convinced that the gospel is true when they see its fruit in the lives of believers. Thus in Galatians, Paul writes that the Spirit produces a compassionate community capable of complying with the "law of Christ" which bids believers to bear each other's burdens (Gal 5:22-23; 6:3-5). The mark of true Christianity for Paul is how well believers care for others, even those outside the "household of faith" (Gal 6:10).
The virtues listed in Colossians include words that carry a profound emotional content referring to how one feels when responding to another in need. Luke uses the word compassion (splanchna) to characterize the good Samaritan's sympathetic response to his needy neighbor (Lk 10:33) and again for the forgiving father's happy reaction to his prodigal son's return home (Lk 15:20). Holiness is not exclusively defined by acts of private devotion; rather, it pertains to public occasions when the community can express its status as God's chosen people through concrete responses to those who are last, least, lost and lame among us. For Paul, our personal salvation is always embodied in our public relationships (see Eph 2:11-22).
Paul himself seems to have specific situations in mind for practical application. First, how does a congregation of believers, made holy by God's grace, respond to a troubled relationship in which each tends to revert to "vice," maintaining grudges and fueling old rivalries? To bear with each other means to "put up with" persons who rub us the wrong way. This does not suggest that we are simply cordial towards difficult neighbors in a detached way; rather, Paul calls us to be vulnerable to grace in order to achieve newfound intimacy where hostility once existed. Indeed, the measure of divine grace is what Wesley called "social holiness." Compassion, kindness, humility, gentleness and patience are the very characteristics of the congregation's life.
The second occasion is dealing with abusive people who need our forgiveness when our emotional tendency is to "pay evil for evil" (see Rom 12:17-21). The holy response, prompted by grace, is to forgive. As beneficiaries of the Lord's forgiveness, we know from our own experience how and whom to forgive. Wright suggests that Paul's exhortation forgive whatever grievances you may have against one another echoes the teaching of Jesus (see Mt 18:21-35; Wright 1987:142). Actually, Paul's emphasis is different though complementary. In Matthew the disciple is exhorted to forgive in order to be forgiven; we secure God's forgiveness by forgiving others (Mt 6:12, 14-15; 18:35; compare Lk 11:4). Paul gives the same exhortation but roots it in the community's experience of already being forgiven. Rather than a condition of God's forgiveness as in Matthew, forgiveness for Paul is a response to God: we forgive because we are already forgiven. Rather than a requirement for entering into God's salvation as in Matthew (Mt 5:20; 7:21-24), forgiveness is in Paul's teaching a result of Christ's death. Paul emphasizes the believer's liberation from evil forces and factors that prevent our reconciliation with God and with other people.
Just as Paul earlier gave special emphasis to the evil of telling lies (3:9), he now singles out love for special emphasis. Love for others is the reverse of dishonesty toward others, and such a reversal of character marks one's entrance into Christ and the new age of God's salvation. I remain convinced that though vice and virtue lists were a common literary convention of Paul's day, he always composed his lists with a specific congregation in mind. So his exhortation to love others has particular meaning for the Colossian situation, especially since here Paul expresses such a familiar concern in a unique way. Elsewhere he writes that love is the all-encompassing moral principle (Rom 13:8-10; 1 Cor 13; Gal 5:14). On this occasion, however, he writes that love . . . binds [all these virtues] together in perfect unity.
Lohse interprets this summary phrase to mean that love produces a moral perfection that distinguishes those who endure to the end and receive salvation at Christ's return (1971:148-49). Yet Paul's idea of perfection is not ethical (as it is perhaps for Matthew--see Mt 5:48) but eschatological. That is, perfection is not so much the goal of moral formation, so that the church's unity with God is the result of moral maturity. Rather, perfect unity is a property of God's grace, which perfectly unites the church "with Christ in God" (3:3) and prepares it for Christ's return (1:22, 28). Of course, Paul's Jewish opponents at Colosse challenge this definition; they see Christianity, like Judaism, as an ethical monotheism, and they believe that moral perfection is required by God. Against them, then, Paul's exhortation to put on love presumes a different moral calculus: love is the fruit of faith in Christ (3:1-4) rather than compliance with codes constructed by human tradition (2:20-23; compare 2:8).
As love between people must reign in the faith community, so also must the peace of Christ rule in your hearts. According to Jewish psychology, the heart is the location of volition; one's entire life is guided by what takes place in the heart. If the peace of Christ rules the heart, then every decision made and every action taken will have the quality of peace. Yet Paul expresses this prayer for peace as a corporate prospect: as members of one body you were called to peace. So love characterizes the community's public life, and peace characterizes its internal life. This being so, every collective decision and action that comes from the community will have the character of peace.
But what does Paul mean by peace? First, peace comes from the Lord Christ and conforms to the results of his death and resurrection. Paul uses the same root verb for rule (brabeuo) that he earlier used of the spiritual umpire who has threatened to "disqualify" (katabrabeuo) any convert who fails to observe ascetic religious practices (2:18). The result in this case is moral and spiritual frustration (2:22-23). In sharp contrast to Paul's opponent, Christ's spiritual umpiring promotes peace within the community. Second, the meaning of peace comes from its Old Testament use. While Paul elsewhere speaks of the spiritual and interior dimensions of shalom (Rom 5:1-11), the biblical prophets used it as a comprehensive word for God's full transformation of the covenant community's situation. God chooses Israel for salvation (v. 12) and calls Israel to peace. Thus, when Jeremiah, with whom Paul closely identified, denounced the false prophets of Israel, he claimed that their teaching could not produce peace and should be viewed as "deceptive words" or "lies" (Jer 7:4-8; 23:14). Truth produces peace, while lies produce spiritual and moral frustration.
Further, if Christ rules over the community as Lord of all things, the peace he gives no doubt extends beyond the inward experience of reconciliation. Addressing the Colossian setting, Paul perhaps feels it necessary to extend the meaning of peace to include the material: the Lord Christ's rule ends any need for asceticism, which not only denies the physical but, in the case of the Colossian "philosophy," abuses it as well (see 2:23).
The final characteristic of the community's life is its worship of God. The worshiping community expresses its devotion to God in two ways: instruction and celebration. Paul's exhortation to teach and admonish one another echoes the earlier description of his own ministry (1:28). Paul's ministry aims to produce congregations that will continue his ministry of the gospel elsewhere (compare 2 Tim 2:2). Here, however, he is careful to ground the community's teaching in the word of Christ. This phrase has many possible meanings. It could refer to a body of Christ's teachings that circulated within the earliest church. The idea that the word should dwell in the community may suggest that Paul has in mind the Spirit of the Risen Christ rather than a written collection of Jesus' sayings. In fact, the close correspondence between the ideas of "wisdom" and "Spirit" in Paul's writing (compare 1:9-10) may justify this conclusion. Especially given that the "wisdom" of false teachers (2:23) has been contrasted with wisdom found in Christ (2:3), the wisdom motif may be used here with polemical bite: only when Christian teaching is led by the Spirit of Christ, which is mediated by the gospel of Paul (1:9) and not the errant philosophy of his opponents (2:4-8), will truth be made known.
Just how Christ's Spirit conveys this word to his people, whether by prophetic utterance or by intellectual illumination, is unclear. In my opinion, however, the phrase the word of Christ compares favorably with Paul's earlier phrase "the word of truth" (1:5), which refers to the gospel of grace (1:6). In this sense, then, what is taught to the worshiping community by the Spirit conforms to the gospel learned from Epaphras, preached by Paul and envisioned in this letter's arguments and advice.
The second expression of the community's devotion to God is the celebration of salvation by the singing of spiritual songs with gratitude in your hearts to God. Paul's set of words for congregational singing, psalms, hymns and spiritual songs, "describe the full range of singing which the Spirit prompts" (Lohse 1971:151). Yet lists in Paul's writings tend to be illustrative rather than technical; his purpose is to impress his readers with an important point rather than with precise prescription. Thus we do not gain much by trying to differentiate among psalms, hymns and spiritual songs (for this see O'Brien 1982:209).
Paul's point is that songs complement teaching in worship. In the Christian liturgy, hymns often clarify the great themes of biblical exposition and prepare parishioners for proclamation and sacrament. In early Methodism, for instance, Charles Wesley's hymns provided the context for understanding the theological contribution of his brother, John Wesley. And what interpretation of the magisterial Reformation is better or more convincing than Luther's "A Mighty Fortress Is Our God"?
The second reference to hearts in this context no doubt is intended to couple the community's experience of shalom (3:15) with its worship of God. Worship is a natural response that springs from a community filled to the brim with its actual experience of God's peacemaking love. Thus, the effective purpose of worship is not experiential but rather the interpretation of and response to our heartfelt experience of divine love. In this sense, the phrase that the NIV translates with gratitude (en chariti) reflects the community's only response to the grace (charis) of God, which is proclaimed in their teaching and admonishment (compare 1:6) and celebrated in their singing.
I have noticed a disturbing trend among my students, many of whom come from devout families and growing churches: they are biblically illiterate and therefore spiritually fragile. In many congregations worship has become a spectator sport, geared to a generation fashioned by the slick tricks of the media. The "feel good" experience has replaced the hard discipline of knowing God in spirit and truth. The church's vocation in the world is to be of and for God, and this is a difficult and often costly calling. Christians today must have minds as tough as nails, able to cut through the vapid secularism and materialism of our world with the "word of truth."
Every believer today is under siege; the church's witness--even its faith in God--is threatened by the norms and values of a pervasively anti-God world. To support and direct God's people for their daily battles, preaching must be informed by a rigorous study of biblical texts. The church's teaching ministry must help its members understand all of life through a scriptural filter. If we are to know the truth and the demands of God's reign and to better understand the deceits of our anti-God world, so that we are prepared to worship and bear witness to the Lord, our congregations need to gather closely around the Scriptures.
Paul's summary of his discussion of virtue is similar to his summary of vice (3:11) in two ways. First, both affirm that the whole of Christian life, whether . . . word or deed, derives from the Lord Jesus. By minding the "things above," the community finds that it has good reason for giving thanks to God the Father through him. Second, both continue Paul's polemic against false religion. Lohse suggests that the phrase in the name of the Lord Jesus was formulated to encourage the conviction that "the Christian's entire life is placed under obedience to the Lord" (Lohse 1971:152-53). Any rule of faith that disregards the centrality of the Lord Christ for Christianity's self-understanding cannot result in proper worship of and witness to God. Further, our active worship to God comes through him [Christ] alone--not through our congregational leaders or religious rituals and rules. This closing formula, which places the community in relationship to God through Christ, reminds us of what Paul said earlier in 3:3: the community's hope for salvation is viable only if its "life is hidden with Christ in God."
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The Community's Conversion from Vice
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Virtue Illustrated by the Christian Family
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The Irish Pound (IEP) is obsolete. It was replaced with the Euro (EUR) on January 1, 1999.
One EUR is equivalent to 0.787564 IEP.
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The Cape Verde Escudo is the currency in Cape Verde (CV, CPV). The Irish Pound is the currency in Ireland (IE, IRL). The symbol for CVE can be written C V Esc. The Cape Verde Escudo is divided into 100 centavos. The exchange rate for the Cape Verde Escudo was last updated on December 18, 2018 from Yahoo Finance. The exchange rate for the Irish Pound was last updated on December 18, 2018 from The International Monetary Fund. The CVE conversion factor has 3 significant digits. The IEP conversion factor has 6 significant digits.
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Eclipse/API Central/Deprecation Policy
This page contains DRAFT Eclipse Project guidelines on API deprecation.
What is Deprecation?
Despite our best efforts, we don't always craft API that remains perfect forever. Often new and better approaches come along that supersede old ways of doing things. API deprecation is used to inform API clients that a particular API element is no longer recommended. The deprecation comment should describe the reason for the deprecation, and directions for how to replace their usage with the new recommended way of doing things. Valid reasons for deprecating API may include:
- The old API contract requires the implementation to be buggy, inefficient, or unable to handle all possible use cases
- The old API has been, or will be, deleted in a later release
- The old API is redundant, duplicating functionality available elsewhere
Identifying Deprecated API
This section describes how clients can identify what API is deprecated. To identify API from non-API, see [1]
Java API
Java API is deprecated through use of the @deprecated javadoc tag on types, methods, and fields. The javadoc paragraph following the @deprecated tag defines the rationale for the deprecation and instructions on moving to equivalent new API
Extension Points
Elements and attributes in extension points are deprecated by setting the "Deprecated" property to true in the PDE extension point schema editor. The entire extension point can be deprecated by deprecating the "extension" element, which is the top level element at the root of any contribution to the extension point.
Removal of Deprecated API
Often there is no sufficiently compelling reason to ever remove deprecated API, so the API may remain in place indefinitely after the release in which it was deprecated. However, there are situations where continuing to maintain the deprecated API creates too high a burden for both API developers and clients: the code bloat of keeping old implementations, the added complexity of multiple redundant APIs, etc.
Retention Policy
The Eclipse Project policy is to maintain deprecated API:
- In all future service releases after the release in which the deprecation occurred. For example if an API is deprecated in the 3.x release, it will be continue to exist in 3.x.1, 3.x.2, 3.x.3, etc, for as long as service releases of that minor release continue.
- In at least two subsequent minor (annual) releases after the release in which the intent to remove the deprecated API is announced. For example if an API is deprecated in release 2.0, and the intent to remove the API is announced in release 2.1, it will continue to exist in 2.2 and 2.3, but may be deleted in 2.4 and beyond.
- API may be deleted in a subsequent major release, regardless of the elapsed time between the deprecation and the arrival of the next major release. For example if an API is deprecated in release 3.9, one month later release 4.0 can occur in which the deprecated API is removed.
In addition, the Eclipse Project will not delete deprecated API as part of an Eclipse Foundation simultaneous release if any other projects in that release are still using the deprecated API and are unable to cease using it.
Announcing API Removal
API removal must be widely announced to adopters to give them sufficient time to react to the impending change. API removals will be announced via the following channels:
- In the deprecation comment of the API to be removed
- In the porting guide of each release up to and including the release in which the API is removed
- On all relevant mailing lists for the component, in addition to cross-project-issues-dev.
Objections raised to the announced removal will be considered, and options such as delaying removal, abandoning removal, or supplying compatibility support for affected clients will be considered based on community feedback.
Removal of any Eclipse Project API requires approval from the Eclipse Project PMC.


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Chalking is a great way to color stamped images. Chalks are easy to use and you get to feel a little like an artist!
About chalks
Chalks are not expensive, and a set will last you ages. Even if the chalks get broken, theyre still good. There are tons of different colors out there but a Basic Chalk Set is the best for starting. These Metallic Cream Chalks are great for a sultry shimmer look.
Applying chalk
Most chalk sets include sponge applicators or come with a handled gripper tool and tiny pom poms for application. Inexpensive cotton swabs are great because you can use a new applicator for every color. Opt for the store brandthe cheapest cotton swabs work the best! Of course, you can also apply the chalk with your fingerprobably the easiest method around!
Chalk, by nature, has a very soft lookeven the darkest colors in your palette will turn delicate on your paper. You can apply it by sweeping it onto your paper, or using a circular motion. It works best on porous papers, like patterned paper or cardstock, you can use it on glossy paper but the color will be very, very faint.
Blending colors
You can blend chalk colors on your paper or on the applicator itself. To blend color on the paper, apply one chalk color to the paper, then another color over the top of the first.
To blend colors on the applicator, dip the applicator in one chalk color, then in a second; rub the applicator on the paper, creating a new color. For example, first apply brown to the applicator, then red; as theyre applied to paper, the two colors mix to create burgundy.
Subtle and multiple colors can be achieved, using two or three colors together, such as red and orange, orange and yellow, or red, orange, and yellow.
Use an applicator to rub the chalk around the edges of a stamped image and any areas that would normally be in shadow. For a different look, shade the center instead, leaving the outer edges without chalk.
You can create highlights two ways: One method is to apply a light chalk to dark paper. Another technique is to shade an area with a darker color, then highlight the area next to that with a lighter color.
If you happen to make a mistake, an artists white plastic eraser will remove any excess chalk without leaving any marks, and will also clean up any stray chalk marks or mistakes. A Chalk Eraser also works. Chalk may also be added again after erasing. Pencil erasers will not give the same resultsand they might leave a dark smudge and also contain some oil.


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From a hauntingly beautiful introductory section to the crisp, bright sounds of a baroque ensemble that evoke the imagery of Christmas bells, angels singing and freshly fallen snow, this Celtic song will bring a refreshing change of pace to your winter programs!New product for the week of March 12, 2012.Return Policy Exception: This product can not be returned if opened but it can be exchanged if defective, for the exact same title.
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Watch What Happens When Two Chatbots Chat With Each Other [VIDEO]
The folks at Cornell Creative Machines Lab wanted to see what happened if two chatbots, which had been programmed to carry on coherent conversations with people, were instead introduced to each other.
The results are pretty funny and more awkward than any human-on-human first date we can imagine. Check out the banter, which quickly takes an odd philosophical turn, below.
[via Geekosystem]


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The Red Violin
|Francois Girard
|Don McKellar and Francois Girard
|Lions Gate Films; 130 minutes;unrated
|Carlo Cecchi, Jason Flemyng, Samuel L. Jackson
From the director of 32 Short Films About Glenn Gould comes The Red Violin, another unfocused meditation on the role of art in society and individual motivations for artistic fervor and brilliance. Seventeenth-century violin-maker Nicolo Bussoti (Carlo Cecchi) pours his soul into the creation of a red violin after the death of his wife and child (whose birth the instrument was supposed to celebrate). This movie traces the wandering path of the fated violin throughout the next three centuries-the French Revolution, Chairman Mao's China, 18th century Oxford, and modern-day Montreal all form historical backdrops to various vignettes about the violin's possession.
Awkward casting and an over-ambitious narrative construction prove fatal to the movie. By playing out with a strained haste, The Red Violin's notes stumble over one another in staccato freefall and fail to achieve a unifying thematic grace.


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Christopher Brandner, 28
Christopher Brandner, 28, of Glen Campbell, Pa., died Friday, Feb. 8, 2013, in Glen Campbell.
He was born May 29, 1984, in North Tonawanda, N.Y., a son of Jerold W. and Eileen Joy (Williamson) Brandner.
He was a welder by trade.
He is survived by his father, Jerold W. Brandner, Jr.; two sisters, Catherine Byers of Mahaffey, Pa., and Rachel Morgan of Wylie, Texas; two nieces, Ava Mattis and Audrey Byers, both of Mahaffey, Pa.; his grandparents, Stanley and Rose Smith of Glen Campbell, Pa.; and by one aunt, Althea Galiowski, of North Tonawanda, N.Y.
He was preceded in death by his mother, Eileen Brandner; his grandparents; and two brothers, Steven Cook and Jerold Brandner.
At the family's request, there will be no visitation.
A memorial service will be held at 7 p.m. Tuesday, Feb. 12, 2013, at the Wesleyan Methodist Church in Smithport, Pa., with Pastor Kriebal officiating.
Interment will be private at the convenience of the family.
Arrangements are under the direction of the Richard L. Fait Funeral Home, Punxsutawney.
The family requests that donations in memory of Christopher be sent to Jerold W. Brandner, Jr., 572 Glenwood Ave., Glen Campbell, PA 15742.
Online condolences can be made at www.faitfuneralhome.com.


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SmarterLifestyles.com Review
Smarter Lifestyles of SmarterLifestyles.com is an advertorial website that provides articles on categories like health, money, shopping, education, travel, and men and women's topics. It also has a section for featured and miscellaneous articles.
The website is free to use and subscription or membership is not required. Smarter Lifestyles is being paid by its partner companies and not by the people who are reading it.
More about Smarter Lifestyles
As an advertorial website, Smarter Lifestyles presents articles in a way that may seem to be objective or non-biased where in fact, its articles are designed to advertise the products and services of certain companies. Some of the companies being promoted by the website include LendingTree.com, AwesomePennyStocks.com, Fisher Investments, and Davison.
Unlike other advertorial websites, Smarter Lifestyles admitted that it is an advertorial website. In fact, it advises users to conduct further research about a company before investing in any of its products or services.
Final thoughts on SmarterLifestyles.com
Websites classified to be advertorial ones do not necessarily mean they are scamming people. These websites are simply designed to promote certain companies without using the typical marketing pitch.
SmarterLifestyles.com earns an extra credit for admitting that is an advertorial website. It's also a good thing that it does remind users to conduct more research before settling for any of the product or service that they are promoting.
Please leave your comments or your experience with SmarterLifestyles.com below; it helps others.
If you're interested in learning how regular everyday people are making money from YouTube, please visit the Work From Home page. It's easy and it's completely free!


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Pontiac Bonneville Owners: Meet the Members
jayout Posts: 1willie from houston, just got a used 97bville sse , even with 390 gas prices, i am enjoying the car. if somebody has a minute or two i do have a couple of questons.0
Is it the coolant smell you're talking about? Is there any chance the drip is because the drain for the AC water drip is clogged?
Taking the hose connections into the heater off under the hood requires the sideways plier like tool to get at the snap wires easily. Then the rubber is usually melded to the tubes of the heater core. I suspect most people replace the whole heater hose pair when doing a repair because they damage the rubber getting them off.
I'll take disagreement about the core being terrible to get out on these cars. If it's the same as the 95-99 models, the cover comes off the end of the heater box with two screws and then break loose the caulk sealer and remove the cover which has to prongs hold it into the other end. The unit is very nicely engineered for do it yourself--if you have a medium level of expertise with cars and time and enough body flexibility you can lie on your side and back to work under there.
I'll try to get a picture for you.
Edit: I put two in my carspace picture album. http://www.carspace.com/imidazol97/Albums/imidazol97%27s%20Album
Go there and you'll see apicture of the heater box with the programmer removed off the end. Then you'll see the box with the end cover opened to show the heater core. The entire dash has been removed by the person taking the photos--you do NOT need to remove the dash. It can be done by removing the hush panel above the passenger's feet and removing the glovebox which is 7 screws along the bottom hinge.
2015 Cruze 2LT, 2014 Malibu 2LT, 2008 Cobalt 2LT0
docdetroit Posts: 4Wow! Thanks for the help! I never expected pics and all that good stuff; very helpful. Thanks to some pretty hairy experiences in the past, I always like to know what the heck I am getting myself into. She'll really be one heck of a nice 'beater' car if we can get this ironed out.
There are other issues, too... 'Check engine' light (Big surprise there...) and airbag warning light, but let's just see if we can keep it from burning up first, right?
As far as bypassing the core for the time being, you wouldn't know of any potential dangers of doing so, do you? Except maybe in the event of a sudden ice age or something, of course.0
ballstatefan05 Posts: 3Hi guys, been looking to connect with other Bonneville owners to share pics, tips and tricks..:) I have driven a Bonneville for the last 11 yrs. I had a 1998 SE I drove for 8 yrs and when I got rid of her she had 230,000 miles. I traded the 98 in for an 05 SE. I love my Bonneville. I just put custom rims on it and had the windows tinted. Lookin good!! I do have a few things I need help with though. The headlight lenses are HORRIBLE. I tried cleaning them with some toothpaste last night..no luck. Also, there is a rattle in my dash on the passenger side, when I'm sitting at stop lights or its idling in park it drives me nuts. Is there a place to post pictures?
Thanks all!
Is that Ball State as in BSU? I'm an alumnus from many years back.
There are several individual Bonneville topics in the group that shows if you click "Bonneville" in the blue position links at the top of the page. You can subscribe to the whole group by "watching" the group so you'll see any new posts. Most posts now are about problems with the H-body Pontiacs.
http://townhall-talk.edmunds.com/direct/view/.ef14c39!make=Pontiac&model=Bonnevi- lle
2015 Cruze 2LT, 2014 Malibu 2LT, 2008 Cobalt 2LT0


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Continuous Positive Airway Pressure Versus Noninvasive Ventilation in Patients With Overlap Syndrome (OS)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01427673
Recruitment Status : Unknown
Verified August 2011 by Patrick F. Allan, United States Air Force.
Recruitment status was: Not yet recruiting
First Posted : September 1, 2011
Last Update Posted : September 1, 2011
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
|Condition or disease
|Chronic Obstructive Pulmonary Disease Obstructive Sleep Apnea Overlap Syndrome
|Procedure: Bipap procedure
|Phase 3
Chronic obstructive pulmonary disease (COPD) is a leading cause of disability and death worldwide. Acute exacerbations of COPD (AECOPD), in particular, serve as marker of an accelerated disease course and thus herald an increased risk of not only repetitive AECOPD episodes but also deteriorating pulmonary function and death (2). Obstructive sleep apnea (OSA), when it occurs in combination with COPD, is an increasingly recognized contributor to AECOPD episodes. OSA consists of repetitive sleep-related partial loss of airway caliber arising from increased transmural pressures which favor luminal collapse. OSA is estimated to afflict 4 to 9% of the populations, a prevalence which is anticipated to climb hand-in-hand with the rising incidence of obesity.
The combination of the two disorders, which has been arbitrarily labeled as Overlap Syndrome (OS), has been linked with greater elevations in arterial carbon dioxide tensions and pulmonary vascular resistance and lower arterial oxygen tensions than is seen with either of its component disorders in isolation. Elevated pulmonary artery pressures may progress to cause cor pulmonale, a process whereby compensatory right ventricle remodeling, hypertrophy, and eventually, florid heart failure. In the setting of OSA, the therapeutic gold standard is nightly continuous positive airway pressure (CPAP). Essentially, CPAP machines function by administering a single continuous positive pressure airflow to the person's airway via an appropriately fitted nasal mask. The applied pressure stents open partially occluded airway segments during sleep. Though effective in OSA and OS, it is increasingly realized that for OS patients there may exist a reduction not only in airway patency but also in ventilatory drive when sleeping such that means to augment per breath volumes may attain incremental benefits to the use of CPAP alone. Although CPAP is ineffective in COPD, Bipap has shown benefit suggesting that patient with OSA and COPD may derive an improvement in health-related outcomes by using a ventilation modality which addresses both of the underlying conditions.
Bipap functions by combining the single flow in CPAP with a second inspiratory pressure assist which not only overcomes sleep-related airway resistance but also increases the magnitude of each breath resulting in lower diurnal carbon dioxide tensions and pulmonary artery pressures. Bipap may harbor a mortality benefit in COPD; but the study results are conflicting. It is unclear if Bipap is more effective at treating OSA than usual CPAP. However, it is in the setting of OS that Bipap may assume a prominent role through its ability to address both disorders; CPAP for the OSA portion and an inspiratory pressure assist to ameliorate the COPD piece. Thus far no study has been conducted to address whether OS may derive a particular benefit from Bipap or, more specifically, examine whether Bipap may diminish the risk of AECOPD, or heart failure-related hospitalizations.
|Study Type :
|Interventional (Clinical Trial)
|Estimated Enrollment :
|150 participants
|Intervention Model:
|Parallel Assignment
|Single (Investigator)
|Primary Purpose:
|Official Title:
|Phase III Single-blind Randomized Controlled Trial of Bipap Versus CPAP in Overlap Syndrome
|Study Start Date :
|December 2011
|Estimated Primary Completion Date :
|December 2013
|Estimated Study Completion Date :
|February 2014
Active Comparator: CPAP Procedure control group
Overlap patients randomly assigned to the CPAP titrated per AASM guidelines.
Procedure: Bipap procedure
Overlap patients randomized to Bipap titrated per AASM guidleines with an IPAP to EPAP diffrence of at least 8 cm H2O.
Experimental: Bipap procedure group
Overlap patients randomized to Bipap titrated per AASM guidleines with an IPAP to EPAP diffrence of at least 8 cm H2O.
Procedure: Bipap procedure
Overlap patients randomized to Bipap titrated per AASM guidleines with an IPAP to EPAP diffrence of at least 8 cm H2O.
- The co-primary AECOPD and heart failure (AHF) outcome will be subdivided (see below). [ Time Frame: 12 month intervention period ]
Number of patients with events:
Occurrence of at least 1 COPD exacerbation; Occurrence of at least 1 COPD exacerbation leading to hospitalization; Occurrence of premature discontinuation of CPAP or Bipap; Occurrence of at least one clinician-diagnosed acute or acute-on-chronic heart failure event; Occurrence of arrythmogenic events requiring either the outpatient initiation of a new non-B blocker antiarrythmic agent or hospitalization to treat an arrythmia;
Number of events (stratified by number of events over the 12 month period)will also be measured.
- Difference in exertional and questionnaire-based quality-of-life indicators [ Time Frame: 12 month intervention period ]
Difference from baseline in 6 minute walk test distance, oxygen walk test-assessed supplemental oxygen requirements, St. George's Respiratory Questionnaire (SGRQ) and UCSD Shortness of breath questionnaire scores.
Mortality (subdivided into the following) Cancer, No. CVS, No. Pulmonary, No. Other, No. All causes, No.
Mean and median nightly number of hours used for each NIV modality
- Safety outcome measures [ Time Frame: 12 month intervention period ]
- Serious adverse events
- Adverse events leading to treatment discontinuation
- Treatment-related adverse events
- Major adverse cardiovascular events (MACE) during treatment*
- All-cause mortality with onset of fatal AECOPD during treatment with study intervention + 30 days *Included fatal cardiac disorders, fatal vascular disorders, sudden death, cardiac death, sudden cardiac death, serious adverse events (fatal and non-fatal) from myocardial infarction, and stroke.
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|35 Years to 80 Years (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- Patients aged > 35 years, the diagnosis of both OSA and COPD. OSA must have been diagnosed using an American Academy of Sleep Medicine (AASM)-protocol overnight Type I polysomnogram assessment with a resultant RDI of >5 events/hour in association with OSA-attributable diurnal symptoms.
- COPD must be diagnosed using American Thoracic Society (ATS)-protocol pulmonary function testing.
- Patients must have Global Obstructive Lung Disease (GOLD) stage II COPD FEV1/FVC < 70% predicted in conjunction with an FEV1 <80% predicted.
- The patient must have a > 10 pack years smoking history and a documented history of at least one exacerbation leading to treatment with systemic glucocorticoids or antibiotics or hospitalization within the previous year.
Exclusion Criteria:
- Significant diseases other than COPD, i.e. disease or condition which, in the opinion of the investigator, may have put the patient at risk because of participation in the study or may have influenced either the results of the study or the patients' ability to participate in the study
- Patients with a diagnosis of asthma
- Patients with a life-threatening pulmonary obstruction, or a history of cystic fibrosis
- Patients with known active tuberculosis
- Patients with brittle/unstable diabetes mellitus
- Patients with a history of and/or active significant alcohol or drug abuse. See exclusion criterion 1
- Patients with a history of myocardial infarction within the year prior to Visit 1
- Patients with cardiac arrhythmia that required medical or surgical treatment in the 3 months prior to enrollment
- Patients who had taken an investigational drug within 30 days or 6 half-lives (whichever is greater) prior to Visit 1
- Use of systemic corticosteroid medication at unstable doses (i.e., less than 6 weeks on stable dose) or at doses in excess of the equivalent of 10 mg prednisolone per day or 20 mg every other day
- Pregnant or nursing women or women of childbearing potential not using a medically approved means of contraception (i.e., oral contraceptives).
- Patients with any respiratory infection or COPD exacerbation in the 4 weeks prior to Visit 1 or during the run-in period should have been postponed. In the case of a respiratory infection or COPD exacerbation during the run-in period, the run-in period could have been extended up to 4 weeks
- Patients who, during their CPAP titration study are found to require such excessive CPAP pressures as to mandate a Bipap titration
- Patients with either Cheyne-stokes respiration noted on PSG assessment or a central sleep apnea with an associated central event index > 5 events/hour (using AASM central apnea/hypopnea scoring criteria)
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01427673
|Contact: Patrick F Allan, MD
|Contact: Dara Regn, MD
|United States, Ohio
|Wright-Patterson Medical Center
|Not yet recruiting
|Wpafb, Ohio, United States, 45433
|Principal Investigator: Patrick F Allan, MD
Publications of Results:
|Responsible Party:
|Patrick F. Allan, Chief, Pulmonary, Critical Care and Sleep Medicine, United States Air Force
|ClinicalTrials.gov Identifier:
|NCT01427673 History of Changes
|Other Study ID Numbers:
|First Posted:
|September 1, 2011 Key Record Dates
|Last Update Posted:
|September 1, 2011
|Last Verified:
|August 2011
Keywords provided by Patrick F. Allan, United States Air Force:
Chronic Obstructive Pulmonary Disease
Obstructive Sleep Apnea
Overlap Syndrome
Additional relevant MeSH terms:
Lung Diseases
Lung Diseases, Obstructive
Pulmonary Disease, Chronic Obstructive
Sleep Apnea Syndromes
Sleep Apnea, Obstructive
Pathologic Processes
Respiratory Tract Diseases
Respiration Disorders
Sleep Disorders, Intrinsic
Sleep Wake Disorders
Nervous System Diseases


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Arabian Business Magazine, based in Dubai, focuses on the economic and commercial developments in the Middle East and Gulf regions, and read throughout the world, devoted a place to a Reuters' article on the 17th of May, 2011. Some parts of the news article were as follows:
… Muslim creationists are touring the country preaching against evolution and claiming the Holy Koran predicted many modern scientific discoveries… Followers of Harun Yahya, a Turkish publisher of popular Islamic books, held four conferences at Muslim centers in the Paris area at the weekend with more scheduled in six other cities.
Harun Yahya, one of the most prolific publishers in the Muslim world, gave proudly secularist France a scare in January 2007 by mailing… his "Atlas of Creation" to schools and libraries across the country.
… Harun Yahya has developed a series of books that have helped spread this view in recent years beyond the Middle East, including to France, whose five million Muslims make up Europe"s largest Islamic minority.
Adnan Oktar told Reuters in 2008 that he was preparing for the return of the Prophet Jesus(pbuh). And he also told that the Prophet Jesus (pbuh) will come back to earth as a Muslim to help Hazrat Mahdi (pbuh) to make Islam prevail throughout the world and demolish the system of the antichrist …


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Luis Martinez stopped at the Subway sandwich shop and ordered this thing they call a Philly Cheesesteak…and he ordered it with ketchup. The Subway worker, Lawrence Ordone, objected.
"That's when I flew off the handle," said Ordone.
"He shoved a chair to the side, like knocked it down to come at me, and I said, 'This is going to be serious,'" said Martinez.
"I said, 'Let's go, fight me like a man,'" said Ordone.
"I was scared. Next thing, I'm thinking a gun's going to come out," said Martinez.
Ordone said he blocked the customer so he couldn't get out.
"He threatened to kill me in front of my wife," said Martinez.
These are important issues that a man should engage in battle over: everyone KNOWS that a true Philly cheesesteak is served with ketchup and fried onions. The abomination that the Subway serves lacks both. And now we have learned that Subway employees are willing to fight to the death to preserve their heresy.
Oh, and American cheese? Pffft. It's supposed to be Cheez-Whiz.
By the way, Ordone was fired — Subway apparently objects to their employees assaulting customers. They still, however, refuse to serve ketchup.


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This Week In Movies: 'X-Men: Days Of Future Past,' 'Blended'
05.19.2014 | By Jack Rico | No Comments">No Comments
We have two more weeks to go in May and the 13 new film releases for this week are lukewarm at best. There are exceptions. The new X-Men film, which I saw, is very good, but not better than "Captain America: The Winter Soldier", which is the film that all superhero films will be compared to against this year. Also, after 23 years of not directing a film, legendary cult director Alejandro Jodorowsky is back at it in "The Dance of Reality". Some other films have star-studded casts, yet have no buzz around it from their respective studios as if they weren't interested in promoting them. I could barely find descent trailers from them. Regardless, they are listed here for your information. Read More


text: Tomato Recipes (2) by Denise Barratt | Aug 2, 2018 | 0 comments Related Submit a Comment Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Recipe Rating Notify me of new posts by email. Yes, add me to your mailing list Yes, add me to your mailing list.


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Fire destroyed a home Thursday in Nottawa Township.
Fire destroyed a home Thursday in Nottawa Township.
The blaze was reported around 7:15 p.m. at a home in the 23000 block of River Run Road. Centreville firefighters arrived to find the home fully engulfed.
Cause of the fire had not been determined at press time, but authorities said it does not appear to be suspicious.
Centreville Fire Department was assisted by LifeCare Ambulance. Departments from Mendon and Colon were placed on standby, but were not needed.


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Range Rover Evoque SE 2.0 eD4 150PS – from only £319 per month + VAT on Land Rover Contract Hire*
The iconic Range Rover Evoque has an exemplary corporate CV, having been voted Best Cross-Over Vehicle in the Fleet News Awards. It delivers surprisingly low CO2 emissions, offers high specifications as standard and represents superb value. The fact that it performs brilliantly in all conditions and wins admirers wherever it goes could prove quite useful too.
*Business users only. 36 month term. VAT at 20% is payable. Model pictured (including metallic paint and privacy glass) from £319 a month +VAT, plus initial rental in advance of £1,914 + VAT.
Contact us to talk to a Fleet & Business Specialist 0800 096 0539.
Vehicle shown is a Range Rover Evoque SE 2.0 eD4 150ps Manual FWD with optional Corris Grey paint, with a mileage of 10,000 miles per annum, non-maintained. Initial rental in advance as shown (exclusive of VAT) followed by 35 monthly rentals as shown (exclusive of VAT). Excess mileage charges (at 11.96p per mile plus VAT). Must be returned in good condition to avoid further charges. Contract Hire subject to status. This promotion cannot be used together with other manufacturer's promotions and is subject to availability at participating Retailers only for new vehicles ordered by 30th June 2018. Land Rover Contract Hire is a trading style of Lex Autolease Limited, Heathside Park, Heathside Park Road, Stockport SK3 0RB.
Official Fuel Consumption Figures for the Range Rover Evoque in mpg: Urban 27.4 (10.3) – 56.5 (5.0) Extra Urban 44.1 (6.4) – 72.4 (3.9) Combined 36.2 (7.8) – 65.7 (4.3) CO2 Emissions 181 – 113 g/km.
The figures provided are as a result of official manufacturer's tests in accordance with EU legislation. A vehicle's actual fuel consumption may differ from that achieved in such tests and these figures are for comparative purposes only.