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OASIS: Online Archival Search Information System
|http://nrs.harvard.edu/urn-3:FHCL.Hough:hou00679View HOLLIS Record
Frames Version
Questions or Comments Copyright Statement
© President and Fellows of Harvard College
Location: b
Call No.: MS Am 1633
Repository: Houghton Library, Harvard Library, Harvard University
Creator: Adams, Charles Follen, 1842-1918.
Title: Charles Follen Adams papers,
Date(s): 1857-1917.
Quantity: 1 collection (3 boxes (1.5 linear ft.)
Abstract: Letters to and various manuscripts of dialect poet Charles Follen Adams.
Charles Follen Adams was a dealer in dry and fancy goods in Boston, Mass., who achieved great popularity as the author of German dialect verse. His most famous piece was "Leedle Yawcob Strauss" (1876).
Organized into the following series:
- I. Letters from various persons
- II. Manuscripts
- III. Drawings and autograph albums
Letters to Adams from various correspondents, chiefly concerning Adams's verse; manuscripts of poems and lectures; drawings by Morgan Sweeney (Boz) for books by Adams; contracts and correspondence with publishers; and three autograph albums.

subset: commoncrawl


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Originally posted by Open2Truth
I have been working on the same problem for several hours. I can confirm that it is not a problem for most.
I have narrowed down the potential problem - do you happen to run Windows XP?
Originally posted by Open2Truth
reply to post by MojaveBurning
To add a bit of information on the problem that I'm experiencing, it is across multiple browsers and multiple computers (although both running XP) and only on ATS - other websites are fine.


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Academics and journalists
The Better Off Out campaign is supported by thousands of ordinary people, as well as some MPs, Lords, journalists and opinion formers. Below are some quotes from some of our renowned supporters in the academic and journalistic world on why they believe we would all be BETTER OFF OUT:
"It is in all our interests that the UK puts an end to the intolerable costs of our EU membership." Professor Patrick Minford CBE PhD
"We would be much better off without the restrictions and interventions of the EU." Tom Utley, Daily Mail Journalist
"As Sr. Barroso pointed out recently the original justification for the move to European integration was to stop Germany invading France. Again. As Sr. Barroso also pointed out in the same Hugo Young Memorial Speech, this is now unthinkable. Good, mission achieved so can we leave now so as to be free of the stultifying effects of excessive regulation, the absurd idiocies of CAP and the CFP and the strangulation of our trade by the quite insane beliefs in mercantilism?" Tim Worstall, Writer
"Time after time I have given the reformers the benefit of doubt, but no longer. Labour will not reform the EU. Don't even ask the Liberal Democrats. Now the Conservative Party, in its decision to abandon its plan to take Britain out of the Common Fisheries Policy, has shown it is not serious about change. Reform is dead as a policy. It is not credible or believable. We'd be better off out – and if it means a grass roots campaign to achieve it then that's what we must do." Brian Monteith


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Let's face it, I love milk. I love ice cream. I love cheese. I love dairy. Fortunately, we do not have any allergies or intolerance to milk products in my home. That being said, while milk is great for the body, too much milk can pack on the calories. Skim milk is a great alternative for those looking to cut their calorie intake, but to me….it tastes like white water. Blech.
Recently, I was asked to leave the milk in the fridge and switch to Silk Soy Milk for ten days. My initial thoughts…..yikes! TEN days!? Are you kidding? But the more I checked out the nutritional information and ways we could cook with Silk, I started to change my attitude. A switch to silk could mean consuming less calories while upping my calcium intake!
For the next ten days, you will see how my family and I make the switch to Silk. My fridge is stocked with several different varieties (did you know they had dark chocolate almond milk?) and my calendar is organized with ten ways we plan to integrate Silk into our everyday (and extremely hectic) lives. I will be tweeting using #SwitchtoSilk where you can follow my journey and you just may win some Silk of your very own!
Help me out! Have you made the switch? How do you use Silk in your home?


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Where: Inc. Magazine, April, 1989
Even Jobs suffered a little anxiety when his years of developing, testing, and creating came to fruition with the introduction of NeXt. It probably didn't help that this was his first product release since leaving Apple four years earlier.
80. "You just make the best product you can, and you don't put it out until you feel it's right. But no matter what you think intellectually, your heart is beating pretty fast right before people see what you've produced."
Where: Inc. Magazine, April, 1989


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37 Ways to Integrate Wii Games into Education
I finally got around to browsing through my Plurk timeline this evening and ran across a great web site suggestion by tech guru Dean Mantz. Dean linked back to PrimaryPete,net who has created a project called CiWii, Curriculum Ideas for the Wii.
Part of the project is to gather and share ways to use the Wii as part of classroom instruction. You can find the current list online and add to the list using a Google Form.
Some good stuff here!


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Note: this currency converter is for information purposes only and does not apply on tickets and memberships. The payment page will show prices in GBP.
Browse byExhibitionSunken cities: Egypts lost worlds Lapis and gold necklace (British Museum exclusive)
Members' price *
Handmade necklace by Petra Waszak inspired by ancient Egyptian jewellery featuring stones that are known to have been used at the time, predominantly Lapis Lazuli. Lapis lazuli was important to the ancient Egyptians, and was valued as highly as gold. The deep blue stone was frequently used in jewellery, and was considered a sacred stone, most often worn by priests and royalty. About the brand Petra Waszak is an accessories designer who skilfully incorporates elements from art history into her work. She has collaborated with fashion houses such as Dior, Chanel and Gucci.
Product code: cmcn484520
Exhibition: Sunken cities: Egypt's lost worlds
Details: Hand made
Material: 24 ct gold plated brass, lapis with leather
Size: pendant approx 6cm x 6cm
Weight: 0.064kg
Standard UK delivery: 5 working days. Overseas times may vary
This price is inclusive of VAT
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Delivery & returns


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OK. To Avoid the current hassles there is this disclaimer for those Who want to use it without permission:
You shall not post this on anywhere for public use
A Young Boy goes to bed one night and wakes up in the Pokťmon world as a Piplup. Being awoken by a Chimchar, he quickly befriends his new PokťFriend. Taking them to the nearby Guild led by Wigglytuff, Piplup decides to join Chimchar on an Expedition. Joined by the guilds Sunflora, they end up under attack from Team RazorWind and then by a Gabite. Can they finish their mission?
Full Guide Coming Soon
To Be Announced
Pokťmon Mystery Dungeon - Time & Darkness Expedition
None of Consequence


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On 2011-03-04 02:40:35 ZHAO Lina wrote:Yes. But, I think you might try being less terse (and consequently more
>I tried the kget.
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verbose). Asking questions about specific interactions will probably get you
more useful information.
>such as some webs needs username and passwd for authentication,If they are using HTTP authentication, then put your username/password in the
>how to set up this?
URL you give to KGet. It's like http://username:password@host/path/to/file.
If they are using HTML Forms + Cookies for authentication, just login to the
site with Konqueror first. Konqueror and KGet use the same cookie jar.
Boyd Stephen Smith Jr. ,= ,-_-. =.
email@example.com ((_/)o o(\_))
ICQ: 514984 YM/AIM: DaTwinkDaddy `-'(. .)`-'
http://iguanasuicide.net/ \_/


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Interior Decoration in France Prior to the 18th Century
( Originally Published 1919 )
INTRODUCTION.—The story of interior decoration in France prior to the eighteenth century begins with a phase in which the body was Gothic and the clothes Renaissance; it ends with the full development of Baroque grandiosity and elaboration in what was known as the "Grand Manner" under the lavish patronage and control of Louis XIV, who evinced an extraordinary interest in decoration and regarded decorative pomp and magnificence as indispensable adjuncts of his court.
The military farings of Charles VIII into Italy, at the end of the fifteenth century, opened the door to a great influx of Italian Renaissance influences into France and fostered an appetite for the refinements of Classicism in decoration and architecture, a vivid recollection of which the returning expeditionaries brought back with them. The motives of the expedition were military; the chief results were cultural. Further expeditions into Italy on the part of the French kings who succeeded Charles had the same outcome. Kings, nobles, and soldiery alike had gazed upon the fruits of the Italian Renaissance only to become enamoured of them and imbued with a determination to emulate them in their own land and for their own behoof.
Besides the returning nobles and soldiery, other important factors that served to spread the Renaissance influence in France were the missions and embassies to Italian courts, Italian missions to the French court, and a growing influx of Italian bankers and merchants who brought in their train sundry articles of "goldsmiths' work, medals and cameos, books, pictures, furniture and intarsias, casts and bronze work, terra-cottas and maiolica," all of which "helped to ac-custom French eyes to Renaissance forms." The sincere admiration of French travellers and ambassadors for what they saw in Italy is typically voiced in the words of Philippe de Comines who, in 1495, conducted a mission to Venice which he described as "the most triumphant citie that ever I save" and enthusiastically wrote of the Grand Canal, "Sure in my opinion, it is the goodliest streete in the world and the best built."
But even more important than the agencies just mentioned, in completing Italy's peaceful conquest of France, were the lessons French artists learnt in Italy and the things that Italian artists and artificers taught in France. During the fifteenth century there were comparatively few Italians in France; "but from its closing years onwards a continuous stream of architects and engineers, decorators and all manner of artificers poured across the Alps, beginning with Charles VIII's colonies at Amboise and Tours, and continued by that of Francis I at Paris and Fontainebleau."
Generous royal patronage and, to some extent, the patronage of great and wealthy nobles played a significant part in the Renaissance development of the decorative arts in France. The colonies of Italian artificers established and maintained by Charles VIII and Francis I were only the first instances of this royal interest and support. Throughout the sixteenth and seventeenth centuries the crown, either directly or else indirectly through its ministers, gave substantial encouragement to decorative progress. This whole architectural and decorative development in France during the sixteenth and seventeenth centuries may be divided into five phases of style. The dates are to some degree approximate as there were necessarily overlappings and survivals.
The Style Louis XII, 1495-1515 (Charles VIII, 1483-1498 ; Louis XII, 1498-1515 ; contemporary rulers in England, Henry VII and Henry VIII) embraced the beginnings of Italian Renaissance influence—the decking of the Gothic body in Renaissance clothes—and marked the incorporation of a few of the delicate characteristics of the Tuscan school, a school marked by a "certain austerity . . . and a rather minute type of ornament, evolved by a race of architects of goldsmith training." The Style Louis XII was only a preliminary phase, a feeling of the way.
The second phase is known as the Style of Francis I, 1515-1545 (Francis I, 1515-1547: Henry VIII con-temporary ruler in England) marked the complete fusion (Plate 26) of the native French elements and the Lombard Renaissance forms, the latter representing a style of eminent `charm and delicacy" exuberant with the devising of new features and impressive both from its wealth of ornament and the "beauty of its detail."
The Style Henry II, 1530-1590, the third stage of development (Henri II, 1547-1559; Francis II, 1559-1560; Charles IX, 1560-1574; Henri III, 1574-1589; Henry VIII, Edward VI, Mary, and Elizabeth, contemporary rulers in England), which followed in close succession, saw the assimilation of the Roman phase of the Renaissance, that phase which took shape in Rome during the last quarter of the fifteenth century and continued dominant during the first quarter of the sixteenth. The mature Roman phase, inspired by a more systematic study of ancient monuments, and "pruned of earlier exuberances," "became bolder, surer, more balanced in its composition, gaining in calm monumentality and masculine strength what it lost in youthful vitality and variety of decorative motives."
The three foregoing phases, belong wholly and purely to the Renaissance in all their characteristics of style except in so far as chance Gothic traits survived here and there. Of the two that follow, the former embodied the beginnings of Baroque influence and its commingling with the ripe Renaissance conceptions; the latter comprised the full fruition of the Baroque mode and its complete ascendancy over the purer and more restrained forms of Renaissance provenance.
The Style Henri IV and Louis XIII, 1590-1660 (Henri IV, 1589-1610; Louis XIII, 1610-1643: Elizabeth, James I, and Charles I, contemporary rulers in England) was a phase of fusion when curvilinear forms and bolder, heavier detail began gradually to make their progress into popular favour.
The Style Louis XIV, 1640-1710 (Louis XIII, 1610--1643 ; Louis XIV, 1643-1715: Charles II, James II, William and Mary, and Queen Anne, contemporary rulers in England) marked the apotheosis of ponderous curves and scrolls, singly and in combination, of pomposity, redundance, oftentimes heaviness of detail and all that conceptions of superabundant splendour could devise to create the "Grand Manner." What was naturally imposing, the exponents of Baroque essayed to make more so and did not hesitate to create structure for the sole purpose of carrying their massive decorations which were, it is true, mightily imposing but could scarcely be called logical. The exaggerations of this period belong to the earlier portion (1610-1650). Directly the influence of Louis XIV began to make itself felt there was far more restraint and the style was perceptibly tempered by an infusion of Classicism and a more studied sobriety in composition.
During all this period of five phases there was a steady and rapid development in the technical mastery of decorative processes and resources which combined to make the sixteenth and seventeenth centuries in French decorative art one of the most resplendent epochs in history.
Architectural Background and Methods of Fixed Decoration.—Throughout the sixteenth and seventeenth centuries the rooms of French chateaux and houses were commonly of large size. Indeed, they were often oppressively so, especially in the formal and grandiose days of Louis XIV. As was natural, and in fact necessary under the circumstances, the fixed or architectural background formed a vitally important part of the composition. The ceilings were lofty.
Style Louis XII.—In the interiors of the Style Louis XII the embrasured windows were of good size, had either square heads or very flat elliptical arches, and were usually two lights wide, divided in the centre by a substantial vertical stone mullion, intersected by one or more transverse mullions or transomes. The casements were of metal. In the less important rooms oiled linen or oiled paper were used ; in the better rooms the casements were glazed with roundels or with small quarries set in lead. Inside shutters were used and, in some cases, the lower lights had also perforated out-side shutters. Door heads, like window heads, were square or had flat elliptical arches.
Walls were sometimes panelled, either wholly or in part, with small panels, but were more commonly of stone or plaster, which might be painted or frescoed, but they were more frequently relieved by hangings of painted cloth or canvas or by tapestries and embroideries. Complete schemes of permanent decoration were rather exceptions than otherwise but gradually came more and more into vogue under spreading Italian influence. The motifs used in the panelling, medallions and other carved, sculptured or moulded features of door and window trim or wall decoration were a medley of Gothic and Renaissance details.
Fireplaces, with their surmounting chimney-pieces, afforded an opportunity for rich and imposing structure and a wealth of carved detail. Some of the structures left the fire largely exposed at the sides, the hood receding upwards from a bold vertical mantel whose weight was carried on half-piers or corbels other over-mantel structures consisted of an elaborate pilastered and panelled architectural composition carried up vertically part or all of the way to the ceiling and resting on a vigorous vertical mantel which, in turn, was supported on a pillared substructure that left only the front of the fireplace open.
Ceilings were either vaulted, with a more or less complicated system of ribbing, or else of wooden construction with the timbers, as a rule, exposed to view. At times the timbers were concealed by temporary cloth or tapestry testers attached by hooks. In other cases, the ceiling timbers were boarded in the manner of a barrel vault with wooden rib divisions. Panelled wood ceilings, with square, hexagon or octagon-shaped panels, affixed to the under side of joists gradually appeared as a result of Italian influence and were frequently enriched with colour and gilding.
Flooring consisted of stone slabs, of bricks, of en-caustic tiles and also, as a direct outcome of Italian teaching, of maiolica tiles and of parquetted wood.
Style Francis I.—The most numerous type of window in the Francis I style was square-headed. An oocasional variation was the rounding of the shoulders. This detail, however, chiefly appeared outside and did not affect the interior aspect. Besides these, there were also in lesser number round-arched windows and windows with flat elliptical-arched tops. The windows were generally large, two lights wide, and divided vertically by a mullion which was crossed by a transverse mullion or transome, nearer the top than the bottom, thus forming a cross, hence the name fenetre croisee. There were also smaller windows without mullions, square-headed, and filled by two full-length casements. Besides the leaded quarries or roundels in the metal casements, stained-glass cartoons were occasionally introduced. Door heads corresponded in shape to window heads and above the door heads carved or sculptured decoration was often added.
As in the preceding style, walls were panelled wholly or in part (Plate 26), stone-faced, or plastered. At times the plaster surface above the panelled wain-scot was embellished by reliefs in stucco-duro (Plates 26 and 27). Paint and fresco adornment, as previously, were sometimes employed, but complete permanent decorations were still, for the most part, to be found only in the houses of the very great and very wealthy and it remained a common practice to deck comparatively austere walls with tapestries or with painted cloth and canvas hangings that could be taken down at will and moved elsewhere. The chief features of the rooms, however—fireplaces, overdoors and the like—were accorded rich permanent treatment.
The panels for wainscotted walls and for other interior woodwork were generally small and very frequently square in shape, defined by mouldings of low profile, in a manner strongly reminiscent of North Italian Renaissance panelling of an earlier date. The motifs with which the panels were often enriched, as well as other decorated woodwork and interior stone carving, included arabesques, paterae, monograms (Plate 27), initials, emblems, mottoes on ribbon scrolls, cockleshells, ox skulls, plant forms and human and animal forms and heads. Gothic details had quite disappeared. All of these just mentioned, and others of similar nature, appeared more especially in chimney piece carvings and in door trims and overdoor enrichments, where also one might find divers classic orders, of different scale, brought into the same composition without reference to classic precedent; capitals combining cornucopiae, fanciful volutes and heads; and panelled pilasters enriched with arabesques, interlacing scrolls or strapwork, or with circles and lozenges, the former and latter of which were especially characteristic of Francis I decoration. The relief of all carved (Plate 26) ornament was almost invariably low and restrained, and the detail exceptionally refined.
Fireplaces were quite generally surmounted with a distinctly architectural chimney-piece composition carried up vertically to the ceiling. The chimney-piece of sculptured stone or carven wood displayed niches, canopies, pilasters, panelling and sculptured devices in impressive array above a suitable corresponding mantel carried on piers, corbels or caryatides.
Vaulted and stone slab ceilings were used in places that readily .admitted their construction, but ceilings with exposed timbers and panelled ceilings were steadily becoming more and more the rule. The beamed and panelled wood ceilings were often divided up into small panels (Plate 27) and enriched with delicate carving or with colour and gold.
Stone, marble and encaustic tile floorings continued in use, but parquetted wood floors (Plate 27) were winning wider and wider favour as were also the floors of Italian enamelled or maiolica tiles in bright colours or with divers subjects in colour on a white ground.
Style Henri II.-The Style Henri II marks the very height and flower of the French Renaissance, the climax to which all previous development was only preparatory. It is logical and straightforward in all its characteristics and its creations carry a sense of satisfaction and conviction unequalled by the work that preceded or followed. The composition of a room in this style possessed unity of conception and ,did not represent merely a more or less unrelated group of fixed decorative items.
Windows to a great extent retained their mullioned and transomed divisions and their two-light width, al-though mullions and transomes were not invariable, and square-headed windows without them and with two full-length casements were not uncommon. Round-arched windows also occurred to some extent. Panelled inside shutters were used. Door heads were of corresponding shape to window heads and over-door decoration often took the form of a pediment, either rectilinear or arc-shaped, with appropriate accompaniments.
While movable hangings, such as those mentioned in the review of the preceding styles, continued to some extent in use, permanent complete decorations (Plate 28) were much more common. Walls were often panelled, either wholly or in part, and the panelling, which tended to become larger and more diversified (Plate 28) in the shapes of its divisions, was not infrequently embellished with carving and gilding and sometimes also "with marqueterie of coloured woods, and inlays of ivory, ebony, precious metals and even of marble."
Oftentimes walls that had an high-panelled dado (Plate 28) were of decorated and moulded plaster above, with colour and gilding applied to the plaster relief, or else there were frescoes (Plate 28) framed in moulded plaster cartouches with all their attendant scroll embellishments. Again, whole wall surfaces were frescoed, or were hung with tapestries or decorated leather hangings which were framed in with stucco or plaster frames wrought in high relief and embellished with scrolls, strapwork and figures in the round. Wall coverings were also made from embossed and stamped leather decorated in the Spanish manner, polychromed and gilt in repeat patterns, and affixed to the wall. A much less pretentious wall covering, but one nevertheless capable of agreeable decorative effect when wisely used, was the Italian motley marbleised paper made in small squares and applied to the walls. This paper, similar in pattern to that used for book covers, was called "domino" paper and was made in Italy from the fifteenth century on.
The motifs employed for the sundry wall decorations—this includes likewise the adornments of the chimney-pieces and door trims—showed, for one thing, an increased use of the orders (Plate 28) in a systematised and consistent arrangement with due recognition of their proportions and parts. The combinations of members and forms were somewhat more restricted in variety than previously by a more conscientious attention to classic rules. Capitals, for instance, adhered more nearly to traditional types (Plate 28) and the variations from precedent were chiefly in minor matters such as the incorporation of monograms, sprays of foliage and the like. Bay, olive, myrtle, oak, acanthus and palm were the usual sorts of foliage. It was very significant and characteristic that pilasters were fluted, or now and then wreathed, instead of being panelled and adorned with arabesques or with circles and lozenges, a treatment thoroughly indicative of the Francis I style. Strapwork, scrolls, interlacings, frets and running borders were among the "properties" in evidence.
While the profiles of mouldings and the cutting of all enrichments were cleanly and incisively wrought with extreme delicacy, a larger scale in general was adopted, patterns were less complex and "in the treatment of doors, shutters, panelling, and indeed all features, larger and bolder patterns were preferred, with a tendency to make of each a single, centralised design with one dominant feature, while the characteristic of the best rooms is the manner in which all the features were combined into a consistent whole." In other words, whereas the earlier styles had been largely methods of enriched decoration of spaces with small enrichments, the style of Henry II was far more architectural in its feeling and in its well-rounded scheme of composition.
The general contour and structure of the chimney piece, which still continued the most significant single feature (Plate 28) in the room, remained substantially the same as previously. The only notable differences were that its composition was more closely governed by classic precedent and that it was not seldom executed in coloured marbles as well as in the stone or wood of former times.
Plaster ceilings had now come into high favour and were wrought with all the mastery of design and delicacy of finish of which the best Italian and Italian-taught¬ French plasterers were capable. To the rare artistry of pattern and modelling these ceilings added the living glory of colour and gold in brilliant and glowing schemes. In addition to flat and coffered plaster ceilings, there were simple and intersecting barrel vaults and domes. The wooden ceilings also glowed with rich colour and gold and were beamed and panelled or coffered in hexagons, octagons and the like. Oftentimes the beams were encased in panelling. Occasionally the wooden ceilings were inlaid instead of being painted and gilt.
While the formerly mentioned flooring materials were still employed, carefully laid wooden floors, enriched with parquetting, were more than ever in high esteem. Likewise, glazed polychrome tiles, now made in France after the inspiration of the Italian maiolica tiles, played an important part as flooring materials.
Style Henri IV and Louis XIIL—In this style of decoration Baroque influences, and especially Flemish Baroque influences, began to make themselves more and more conspicuous. The crisp delicacy and restraint of the Style Henri II were supplanted by a more bulbous, obtuse and ponderous conception of line and design.
Windows under Henri IV grew larger and longer but, generally speaking, kept their stone mullions and transomes, making the divisions previously noted. The openings were commonly square-headed but were occasionally varied by round-arched heads. The two-light width remained unchanged. Later in the period, under Louis XIII, many windows were further in-creased in size, so that they extended nearly all the way from floor to ceiling. About the same time, also, stone mullions and transomes began to fall into disuse, being replaced by wooden substitutes or by wooden casement frames with broad stiles and rails. Door heads, as usual, followed the fashion of window openings.
Save in the most sumptuous rooms, the bare plaster of the walls was exposed, thus leaving a broad expanse to be decorated with frescoes or treated with "domino" paper as indicated in the previous style. While, of course, tapestries were plentifully used, they no longer formed an inseparable adjunct to the general scheme as indicated by the earlier plaster or stucco mouldings, especially contrived to frame them. A low-panelled dado or wainscot, with small divisions, was often used and embellished with painted decorations of landscapes, flowers, foliage and the like.
The prevailing motifs for mural decoration—in which may also be reckoned the carved wood, stone or modelled plaster adornments for chimney-pieces (Plates 29 and 30 B) and overdoor enrichments (Plate 30 A), where they were especially prominent, included the "cartouche" form (Plate 30 A), one of the most ubiquitous and important—with its surrounding "scrolliage'' pierced and slashed, and pulpy strapwork, heaving convex cabochons, masques, pudgy cherubs, which one wit has humourously dubbed "pukids," volutes, conucopiae, ovoid bulging shields, massive draperies,, scrolls, rectilinear pediments, arc-shaped pediments (Plate 30 A), and both kinds of pediments interrupted, scrolled pediments, and several kinds of pediments combined in a redundant medley, swags and drops of foliage and flowers, palm branches, laurel leaves, human figures, caryatides, quadrangular term-shaped pedestals or pilasters tapered toward the base, along with the various other characteristic Baroque "properties" which found an analogue to their thick, pulpy gobbiness in the contemporary big-scale, fat women painted by Rubens. The same conception of the properties of line was back of both. Mouldings, as contrasted with their sharp crispness and incisive delicacy in the Henri II style, now appeared obtuse and blunted (Plates 29 and 30 A) as well as rotund and massive. And yet, notwithstanding the tumid pomposity and exaggerated emphasis of the Baroque style, its often grotesque conception and lack of refinement, we must concede that it could be both imposing and distinguished and, when discreetly managed, was not without a certain agreeable quality of charm. It should be added that in France the tendency to extravagance of expression was generally kept within bounds, thanks to the national trait of moderation.
Although the fireplace openings began to be appreciably reduced in size (Plates 29, 30 B and 31 A), the chimney-piece superstructure extending to the ceiling lost none of its pristine importance and was duly embellished with all the decorative assets of the time. The scheme usually included some central feature—a decorative panel or picture—surrounded by a composition of some of the motifs just enumerated. The whole composition might be in stone, wood or stucco.
Ceiling beams (Plate 30 B) were often decorated with painted and gilt patterns as were also the enclosed panels (Plate 31 B). Sometimes the panels were of stucco wrought and coloured. Again, the whole ceiling was an elaborate production of the plasterer's art (Plates 29 and 31 A) with heavy stucco details and gorgeous colouring.
The formerly mentioned flooring materials continued in use in varying degrees of popularity, but marble tiling and parquetted wooden floors (Plates 29 and 30 A and B) were regarded with most favour.
Style Louis XIV.—In his admirable summarisation of characteristics that dominated the style of Louis XIV, W. H. Ward (Architecture of the Renaissance in France) says, "No government, however powerful, and no monarch, however good his taste—and within certain limits that of Louis XIV was excellent—can create an art or a literature to order. Success was achieved in virtue of a coincidence in aim with the artistic tendencies of the century and a skillful choice of agents." To put the matter a little differently, one might say that the almost universal prevalence, at any one given period, of a great wave of popular taste or, in other words, the vogue of a particular style, may be likened to the on-sweeping epidemic of a contagious disease that few or none can wholly escape. One person, for in-stance, may have a light case of small-pox and be apparently little affected by the disorder; another may be severely ill with all the attendant symptoms fully developed. But the same influence has been at work in both cases. So is it in the matter of falling under a style of influence and so is it that the epidemic of a style merges into a clearly defined and crystallised fashion.
Thus was it also in the case of the Style Louis XIV. There were certain antecedents back of it whose presence, in the new style development, could not be ignored and from whose influence there could be no complete escape, no matter what fresh elements came into play, unless there was to be an absolute and drastic revolution in all conceptions and in all methods of style expression. And such a sweeping revolution it would have been exceedingly difficult to compass even had it been desirable or desired. As a matter of fact, it was not desired and the obvious solution, therefore, was a compromise with the infusion of a large and vigorous new element of ideals. The Style Louis XIV was just such a compromise. It was a full coordination of the elements that had gone to make up the Henri IV–Louis XIII style with something added—a very appreciable addition, indeed. In architecture, and to a very much greater extent in decoration, it was a compromise, and on the whole a sane and satisfying compromise, between Palladianism—the scholastic interpretation of Classicism as formulated during the late Italian Renaissance —and Baroque tendencies. The result was Baroque idealised, purged of its grossness and abnormal, swollen heaviness, presented in a tempering and restraining setting of Classicism (Plate 35), a rationalised style that incorporated what was best in the preceding episode and added positive elements of fresh provenance. Its physical affinities were Baroque, a chastened and reasoned Baroque; its spiritual affinities were Classic and Renaissance.
The foremost artists and craftsmen of the age—and it was a truly great age, despite certain defects—encouraged and assisted by the king, aided in making the Style Louis XIV one of the most sumptuous and impressive that the world has ever seen. Simon Vouet, Eugene Le Sueur, Nicholas Poussin, Charles Le Brun, Le Pautre, Marot, Francesco Romanelli, Berain, Jacques Sarrazin, Laurent Magnier, these are a few of the names of men who added lustre to the decorative work of the period, their association with the practice of their several metiers proving a guarantee of the excellence therein realised.
If the cartouche and all its satellite entourage of auxiliary motifs was the "trade-mark" of the Style Louis XIII, the rayed sun, the Gallic cock, along with the shaped panel (Plate 33, Figs. 1–5) and all its kindred variations, may be regarded as the badges of Louis XIV decorative expression. Other distinguishing traits were the impressive applied orders (Plates 34, 35 and 36 A), the general architectural composition of interiors (Plate 35), the full convex sections of mouldings (Plates 32, 34 and 35) and projecting members, often deeply undercut, the frequent use of the torus and of the cyma reversa, reticulated diaperwork (Plate 33, Fig. 7) in otherwise unoccupied spaces such as spandrels, and the striking use of shadow. It was, in short, an opulent, masculine and magnificent style.
Windows and doors were commonly square-headed (Plate 36 A) or round-arched (Plate 35), the former being far more numerous. The divisions of casements and panes were, as a rule, much the same as in the pre-ceding style. Mouldings of door frames were full and often richly ornate, and above important doorways was generally an imposing architectural and decorative composition (Plate 34) in bold relief, subsidiary features of the decoration not infrequently extending to the floor on either side. The doors themselves were richly panelled (Plates 34, 35 and 36 A) and decorated in relief or colour or both.
Order and organised symmetry were two of the most characteristic traits of the style and the wall spaces, vast as many of them were, afforded opportunity for impressive architectural composition with the use of orders of pilasters and rich panelling between. The whole ensemble represented "symmetrical and careful scheme, distributed into large well-defined divisions, and these sometimes subdivided into smaller compartments." The tops of panels were commonly shaped (Plate 33, Figs. 1-5), or rounded, and angles were apt to be softened into quadrants.
Where orders of pilasters were not used, walls were, nevertheless, divided into compartments or broad rectangular panels (Plate 32), extending from floor or dado to cornice, with enriched borders, "the centre either plain or containing a tapestry, a picture, a relief, a carved or painted arabesque, or octagonal panel in the centre."
The motifs and "properties" most in evidence, besides those already mentioned, were the lion, eagle and griffin among animal forms, normal and robust human figures quite different from Rubens's, specimens of unwholesome obesity; and, in the vegetable types, oak, laurel and olive in full, close-packed and be-ribboned wreaths, acanthus, heavy swags and drops of fruit and foliage. Shells ,and scrolls, cherubs and masques (Plate 33, Figs. 6 and 7), were used to break the centres of lintels or arches; while the cartouche, in conjunction with architectural mouldings and pediments, was reduced to "its original function of framing a shield or panel." Architraves and kindred members forming "frames to panels and openings were broad and bold, and carved with close-packed foliage or other enrichments."
When tapestries were used, it was a common practice to stretch them in a fixed frame like a painting or to empanel them. Wall adornment also often consisted of modelled stucco (Plate 32), of paintings or frescoes (Plate 32), and of inlays or coatings of various and richly coloured marbles. Mirrors also began to be employed for wall panelling and for incorporation in chimney-pieces. The colour schemes were full and vigorous and gilding was freely called into service.
Fireplaces with their accompanying overmantel decorations were focal features in the composition of the room (Plates 35 and 36 B), although the chimney breast was now often disguised in the thickness of the wall and, instead of the fireplace and chimney-piece constituting an architectural projection, it became a massively detailed and impressive piece of applied decoration. The overmantel embellishment, whether a picture empanelled in an ornate and heavily moulded surround, or some other feature, usually extended to the cornice.
Cornices were distinctly architectural (Plates 34 and 35) in their interpretation. Ceilings, which were frequently plastered with a flat surface throughout their expanse, were commonly enriched with heavily moulded plaster or stucco ornamentation of an elaborate character to which the additional touches of col-our and gilding were added. The larger panels of the ceilings were often the vehicles for gorgeous frescoes. At other times the beams were visible and coloured and gilt decoration was added to coffered panels and projections. Barrel vaulted (Plate 32), domed and coved (Plate 35) ceilings were used as well as flat. The floors were of various-coloured marbles, of tiles and of wood, plain or parquetted in patterns.
Furniture and Decoration.—During the sixteenth century, Renaissance forms of furniture completely ousted any remaining traces of Gothic design. Gothic influence, however, persisted for a time in the high-backed, stall-like seigneurial chairs of state. Oak and walnut were the staple cabinet woods and yielded a ready medium for the interpretation of Renaissance ideals, especially the latter, which was much more responsive to the carver's efforts.
The chief articles of furniture (v. illustrations, Part III) were chests and cabinets, a few chairs of state—the use of a chair was still a mark of distinction and rank—and tables, either of the draw or refectory variety. Contours were bold and structure heavy, al-though the lines were graceful, for French artisans had proved apt pupils and, shown themselves alert to grasp the new ideas of style and oftentimes to improve upon them. Upholstery, more as a bit of elegance than for comfort, was introduced fairly early in the century, but it was not until the latter part of the century that it figured to any appreciable extent. Carving was the chief decorative resource and the motifs used by the carver, as well as the structural contour of the objects, closely reflected contemporary architectural features.
From about the beginning of the seventeenth century, the progress of French nobiliary art made rapid strides. The variety of articles in use increased, structure became lighter, contours more graceful, decorative processes more diversified, and altogether the characteristics of a politer age, or at least a more luxurious age, were unmistakable. Indeed, the French cabinet-makers and carvers of the end of the sixteenth century and the beginning of the seventeenth quite equalled in skill and taste their Italian preceptors and, in addition to other excellences, they succeeded in imparting a very distinct touch of national individuality to their handiwork. By this time Baroque influence had perceptibly affected French mobiliary design and we find curvilinear structural elements, such as scrolled legs, arms and stretchers, profusion of ornament, and detail in vigorous relief, in distinction to the rectilinear, flatter and more reticent qualities that marked the earlier styles.
Under the lavish patronage of Louis XIV, the making of furniture attained a degree of finish and perfection hitherto unprecedented in any country. Furniture, likewise, branched out into various new phases. Besides employing the staple oak and walnut, rare woods of divers colours and ornamental grains were freely drawn upon for veneer, inlay and marqueterie. One of the most significant developments was the introduction of the wonderful Boule inlay of tortoise-shell and brass. To set off properly this extraordinarily rich combination, elaborate ormolu mounts and metal appliques, cast, chiselled and engraved, were profusely resorted to. Painting, gilding, lacquering, and carving also played their respective parts, but there were so many decorative processes now available that carving lost its paramount position. Although Baroque scrolls and curves had long since established themselves, structural lines, especially in cabinet work, were mainly rectilinear. Cabinets and armoires were among some of the most resplendent examples of this resplendent age.
Other Decorative Accessories and Movable Decorations.—Throughout the sixteenth century there poured into France choice products of craftsmanship from Italy and the East—ivories, intarsias, goldsmiths' work, maiolicas, small mirrors from Venice curiously set, and divers objects of like nature—which, however, came more in the capacity of curios and cherished personal possessions than as accessories to decoration. Apart from the wrought-iron or brass candelabra and sconces (Plate 32), and the banners, arms and trophies of the chase, the chief decorative accessories were such as have already been noted in connexion with the fixed background.
In the seventeenth century the story was quite different. Besides the tapestries, hangings and pictures whose presence was mentioned in discussing the fixed decorations, foreign trade had brought porcelains and bronzes from the Orient, zeal for classic research had stimulated the use of sculpture in marble and bronze, and lacquer from the East was beginning to count as an appreciable item. The brass founders and the smiths were contributing chandeliers and sconces of admirable design and these were employed to the full extent of their decorative as well as utilitarian capacity.
During the reign of Louis XIV all of the aforementioned accessories were multiplied in number and the recently started manufacture, in France, of mirrors of greater size than heretofore contributed another item of effective decoration, while the metal workers ex-celled their past performances in the fashioning of lamps, candelabra and sconces, which performed a more conspicuous function in the decorative schemes than ever before. Glass and crystal lustres for chandeliers and sconces also helped to create brilliant results.
Materials and Colour.—The materials of furniture and the fixed decorations have been noted in preceding paragraphs. The fabrics employed during this period, besides embroideries and tapestries, numbered silks, satins, brocades, damasks, brocatelles, velvets plain and figured, and printed linens. Copious importations from Italy were later supplemented by the excellent products of the French looms. Throughout the period the colours were rich, full and varied, and the patterns were, for the most part, vigorous and large.
Arrangement.—During much of the sixteenth century the arrangement of furniture was determined more by considerations of convenience than by notions of symmetrical composition or systematic grouping. By the end of the century principles of formal balance were beginning to be heeded and by the middle of the seventeenth century, in the reign of Louis XIV, conceptions of formalism and symmetry in arrangement had reached their full fruition and pairs of objects were symmetrically disposed where they would pro-duce the most impressive effect.


text:
Learning in the morning, teaching in the afternoon!
Love it when "Pass it
Permalink Submitted by MMario on Mon, 2008-01-14 12:57
Love it when "Pass it forward" works....
MMario - ambiguity is cultivated, it doesn't happen in a vacuum!
MMario - I'm not divorced from reality - we're having a trial separation
The best way to learn is to
Permalink Submitted by gardenerstitch on Mon, 2008-01-14 13:07
The best way to learn is to teach!


text:
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Casting announced for Hoxton Hall's all-female musical
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text: Now that the summer is coming to an end, I keep reminiscing about all the schoolwork I used to have to complete over the summer to get me ready for the next and upcoming grade. Every summer I would have a summer reading book to read. I hardly ever had math work to complete, which I find interesting. I only remember having a math packet to do over the summer once. I find it puzzling that most schools do not offer a summer math packet. Each year students learn new concepts in math that will help them the following year. If one student does not practice these concepts over the summer, how will they remember them? I feel as though if more schools (speaking of school levels k-12) required summer math packets, this could cut down on a lot of time teachers have to use each year reviewing material from the previous year. Say for instance one year you learn derivatives, and then the next year you are supposed to learn integrals, practicing derivatives over the summer will make it a lot easier to jump into integrals in the fall since they go hand in in. Requiring mandatory summer math packets would help a lot of students as well as teachers in their mathematics career.


text:
The "Legacy Way of Being"
- By admin
- 14 November, 2012
- No Comments
The Legacy Outdoor Adventures' core principles are comprised of four quadrants. At the center lies a "heart at peace" surrounded by "Recovery", "Honorable Manhood", and "Self Awareness". We call it a way of being because it is much more than values we strive for in moments of decision, but a constant frame of mind that comes to play in every decision we make. As a treatment team, we try to foster this way of being in ourselves so we can provide a powerful model for our clients.
Heart at Peace
The "heart at peace" terminology comes from the Arbinger Institute. The Anatomy Of Peace defines a heart at peace as a way we look at others. With a heart at peace we see others not as objects, but as people with wants, dreams, strengths, and weaknesses equal to our own. With a heart at peace we can communicate better, have more accurate empathy for others and have stronger relationships. This is something we constantly strive for and try to instill in our clients as they graduate from our program. In order to have a heart at peace we have to understand the antithesis, or "heart at war" and create awareness when we see others as objects. I have personally witnessed the transformation from a heart at war to one of peace and the result is a powerful reconnection to loved ones and a new found opportunity for meaningful relationships.
Legacy Outdoor Adventures prides itself in creating a foundation where recovery can happen. Recovery means different things to different people, for many, recovery means freedom from the shackles of an addiction to substances. Being addicted to a substance, or having a process addiction can severely stunt the growth in maturity for a young man. For us at Legacy, recovery is not just an idea or even a task to complete and check off; it is a way of life and a way of being that keeps us vigilant against the demons we face in our lives. The skilled substance abuse counselors at Legacy Outdoor Adventures guide the young men in the beginning steps of recovery and create a foundation for completing a 12 step program. Through research, and extensive experience our team developed 7 keys to lasting recovery, with number one being purpose for recovery. We at Legacy Outdoor Adventures know that the path of recovery for an addict is long and arduous one, yet in the time we have with our clients we discuss their recovery in terms of being prepared with skills, a detailed relapse prevention plan and increased awareness of triggers.
Honorable Manhood
For many who find their way to Legacy Outdoor Adventures it's about a lack of direction. The same seem to be stuck in a pattern of childish behaviors. Honorable Manhood is a reachable goal for each of our clients as the wilderness teaches them what they are capable of. Through this new found self efficacy, the clients begin to mold and envision the man they want to be; an honorable man. An honorable man is one of values, and integrity. He is responsible, caring, and considerate of others. We at Legacy create an atmosphere and space where an honorable man can be made from one trying to find himself. We challenge the clients to define their own kind of honorable manhood through individual and group therapy. They have the opportunity to exercise these traits with group members, where the feedback is often immediate.
At Legacy we create an environment of self-awareness. We have moments of awareness throughout each day. We strive to give and receive immediate feedback so we can be mindful of how each of us are experienced by others. As we increase our awareness of our emotions, thoughts, and behaviors we can begin to have influence and control over these areas of self. For instance, if I can create awareness over my emotions and the thoughts that precede those emotions I can create an opportunity to behave differently in the awareness. This awareness is especially useful in maintaining interpersonal relationships. If we can create awareness of how others may be experiencing ourselves, we can begin to influencing the outcome of that experience.
At Legacy Outdoor Adventures we believe in helping young men transition into honorable men by increasing their awareness and finding their heart at peace. Whether our clients are beginning their recovery from addiction or simply finding a direction, we at Legacy pride ourselves in creating a way of being around a heart at peace.
By Mike Mills, Therapist


text:
Noble Energy announces gas sales in Israel
Noble Energy has reported that commercial natural gas sales have begun to the Israel Electric Corporation Limited (IEC).
The natural gas is being supplied from the Mari-B field, which is located off the coast of Israel in the Mediterranean Sea, to IEC for use in its electric power plants throughout Israel, reported a press release.
The initial commissioning of the onshore natural gas delivery facilities was completed on February 17, 2004 and natural gas delivery to IEC's Ashdod power plant began immediately. Currently IEC has converted its first steam boiler to natural gas resulting in sales of approximately 35 million cubic feet per day (MMcfpd).
During 2004, IEC plans to convert three additional boilers and a turbine to natural gas. Ultimate gross production is planned to reach 170 MMcfpd under the 11-year, take-or-pay contract with IEC for the supply of 636 billion cubic feet of natural gas.
Noble Energy is the operator of the project with a 47.059 percent working interest. Noble Energy's partners include Avner Oil Exploration, Delek Drilling and Delek Investments and Properties.
Noble Energy operates throughout major basins in the United States including the Gulf of Mexico, as well as internationally, in Argentina, China, Ecuador, Equatorial Guinea, the Mediterranean Sea and the North Sea. Noble Energy markets natural gas and crude oil through its subsidiary, Noble Energy Marketing. — (menareport.com)
© 2004 Mena Report (www.menareport.com)
Top Headlines
- Israel's gas planners full of hot air? Official's turnaround decision leaves energy industry future in the balance
- Well-deserved: Gaza attacks reduce demand for Israeli gas
- Noble announces exchange of U.K. North Sea property
- Looking for a new client to substitute Jordan? Israeli Noble in Egypt for gas trade talks
- Jordan's gas deal with Israel finally gets the green light


text:
no one can see.
No one will, no one cares to look,
I cling to the fringes of my former self,
and wonder where I went,
sometimes I feel, If you were to open me up,
all these ugly things would pour out,
just like the tears that you,
can't care to notice.
The only memories I can keep now,
are the ones when my menace,
alarm clock is ringing,
and caged bird is singing.
Caged girl is running,
hanging by a thread,
caged girl... is dying.
I've lost my memories,
can't recall yesterday,
But I remember you asking me,
which songs I didn't like,
and more and more, now that I listen,
I fall in love with their awful sound.
I met my savior one day,
But I can't remember the sound of his voice,
I can't remeber his voice,
or his words of grace,
I only wish I could return his gift,
unopened in its package,
but its too late for that.
I can remember his eyes,
I thought I saw them in the crowd,
I wish I knew,
One day I thought I saw them on a crow,
such a menacing figure,
with those piercing eyes of blue,
it chilled me,
thrilled me,
like I never knew before.
Love lost me somewhere along the road,
of presciption pill addictions,
and sad songs that sing to me,
in vague levels of consciousness,
I lost you somewhere,
while I was too s c a tt e re d,
to find myself.
Some words are lies.


text:
I've had issue with the the speedometer needle bouncing all over the place every occasionally when driving and then just recently once in a while it seems like it doesn't want to shift from 1 to 2. It doesn't shift until the RPMs get up to around 2200-2300. Someone told me that their car was doing the same and it was a faulty speed sensor. I googled it and the symptoms were the same. Had a diagnostic scan done at auto zone and it came back with that code as well as a leaky vaccuum hose (I think) but I was told that code that was given for that was not the right code and didnt make any sense because if that were the case I'd have no brakes. They thought it was just triggered by the speed sensor. I had the sensor replaced and it seemed fine for about a day then started in with the same issues. Took it back and had the throttle sensor replaced and the scan done and there were no codes. Got it back drove it home, drove it later that night and the same issue. I'm supposed to take it back in tomorrow so they can take another crack at it but thought I would see if anyone has had issues with this or if you have any suggestions? Also just had new brakes on front and back replaced and my abs and brake lights are both on.
have the same problem?
Monday, July 15th, 2013 AT 10:54 AM


text:
I think you meant Digital Restrictions Management. It's a sad day for Mozilla, the w3c, the web as a whole, and open culture. At least there's still the iceweasel fork that doesn't come with this shit.
I don't see how supporting playback hurts anyone. If you don't like DRM simply don't play or subscribe to content that uses it. Don't force your ideology on others.
Because everyone who uses it is legitimizing it and sending the message that it's acceptable and the way forward. That hurts everyone.
Yea, all those Netflix users, are just such a small user base, that they add no legitimacy to DRM at all.
Unlike all those GNU fans who, who seem to complain the fact that Firefox actually needs a VGA display to work.
Unlike all those GNU fans who, who seem to complain the fact that Firefox actually needs a VGA display to work.
I for one can't wait until Lynx includes an ASCII-art Netflix plugin. Pretty please?
Because everyone who uses it is legitimizing it and sending the message that it's acceptable and the way forward.
For a rental service like Netflix it is perfectly fine. Aim your guns at Steam, they're the ones that charge you full purchase price for software that will fail when they go out of business. You lot got all upset at DRM back when it was used exclusively for 'permanent' purchases, you forgot to re-evaluate that for rentals.
At least Steam rides its own platform rather than demanding the introduction of proprietary extensions into a tool meant to browse the open web. Don't get me wrong, I'm a Netflix subscriber and I'd like to get my content easily, but at some point I have to wonder why they don't develop their own desktop apps to support the client side.
Then you get people complaining they should be using the browser instead of their own apps which only work on Windows and OS X, versus a web app which works on Linux as well.
You already get people complaining on mobile that "apps" should go away and be "web pages" instead, and now you're advocating the reverse - that what WAS web pages will now be apps.
Well geez, what happens is you go to Netflix, select your movie, and then it launches the Netflix app, like what iTunes does now. So the web becomes just a portal for apps and to do anything requires installing bunches of apps.
Want to download music? Here it is on iTunes, now install the iTunes app to purchase and download. Want to download movies? Well we have the iTunes app, the Google Play app, the Xbox app,
I mean, on Windows 8, Netflix has an app. I don't think they have one for OS X, but who knows.
Still, if Netflix did restrict their service to apps, you'll find a bunch of Linux users suddenly complaining that it doesn't work anymore. And probably a bunch of people whose friends or children upgraded them to Linux and are now unable to enjoy their Netflix.
There is no good solution. Mozilla's solution is probably the best - sure it's "unpure" and "not ideal", but it's all about compromise and realizing that users will do what they want to do. If Netflix doesn't work on Firefox, no amount of "DRM is bad" philosophy will let them watch movies. They'll take the path of least resistance, Google 'how to get Netflix to work on firefox" and see the solution is "Install Chrome" or "Use IE" or "Use Safari".
It's all about picking your battles. No point in winning the battle by excluding DRM only to lose the war by being marginalized.
Steam itself doesn't universally apply DRM - a large number of games on Steam don't have DRM at all, you can just copy the files to wherever you want and run them.
They do offer their own DRM, which is about as non-intrusive as you can get while still being DRM, and they allow publishers to include their own DRM as long as it is noted on the store page. You can be mad about games using DRM, but Valve isn't the one to be angry at.
PS: Valve's talked about issuing a patch to disable the DRM if they ever go out
Of course the usual way has just been to use Flash, Java, Silverlight or some other NPAPI plug-in to provide the DRM. That API is 20 years old from Netscape Navigator 2.0 and honestly nobody likes it much. Microsoft has always pushed ActiveX for IE, Chrome prefers their PPAPI they launched 6 years ago and Firefox calls plug-ins a legacy technology. Many mobile browsers don't support traditional plug-ins of any kind. But it's not going to go away as long as it's the only way to play DRM'd content under Firef
There are uses of DRM that I find unacceptable (I won't "buy" a movie from Google Play or iTunes) but Netflix isn't one of them.
. It's a sad day for Mozilla, the w3c, the web as a whole, and open culture. At least there's still the iceweasel fork that doesn't come with this...
You say that as if it's the only option.
We also recognize that not everybody wants DRM, so we are also offering a separate Firefox download without the CDM enabled by default for those users who would rather not have the CDM downloaded to their browser on install.
I can only conclude that the issue is not that you don't want to use that capability, it's that you don't want anyone else to be able to use that capability. The contradiction in wanting "open culture" to deny some users options that they desire never crosses your mind, does it?
I can only conclude that the issue is not that you don't want to use that capability, it's that you don't want anyone else to be able to use that capability. The contradiction in wanting "open culture" to deny some users options that they desire never crosses your mind, does it?
Wanting "open culture" to not be destroyed by those who promote "closed culture" instead is not a contradiction.
So you want complete freedom of expression as long as others agree with your vision.
Got it.
Why is their not room for both the open and closed cultures?
Assuming s/their/there/:
Because the concentrated non-free media use their vast financial resources to lobby governments to make existence harder for free culture.
Big media uses copyright to squelch competition. It has successfully lobbied for successive extensions of the term of copyright, which reduces the chance that a work will enter the public domain while it remains culturally significant. It uses copyright claims to squelch comment on its works and "similarity" claims under copyright to interfere even with creation of original works, as you have no way of telling whether the song you wrote infringes the copyright of some other existing song out there.
Big media uses its massive selling power to convince viewers to purchase player devices designed to play only works created by sufficiently large commercial enterprises, giving it a captive audience. These include such as video game consoles (with their code signing), Blu-ray Disc players (with the requirement of an AACS license for BDMV), home Internet service plans (with their bans on running a home server, enforced through carrier-grade NAT or TOS disconnection), and AM and FM radio receivers (governed by scarce exclusive licenses to transmit). Furthermore, there exists only a finite amount of electromagnetic spectrum. Case in point: People commuting to and from work who are unwilling to pay for expensive cellular data plan have only AM and FM radio as means of discovering new music. When was the last time, for example, that you heard free recordings of free music on radio? (Here, by "free" I mean distributed under a license conforming to the Definition of Free Cultural Works [freedomdefined.org].)
Big media even controls elections. All major U.S. television news outlets share a corporate parent with a major movie studio: CBS is Paramount, ABC is Disney, NBC is Universal, CNN is Warner Bros., and Fox is (duh) Last Century Fox. This gives them enormous power over name recognition [pineight.com], both in campaign contributions and in "in-kind" donations of name recognition through news coverage. It also helps them control what issues voters feel are important to them, as they tend not to report on threats to the existence of free culture unless it's something extraordinarily high-profile like Wikipedia's PROTECTIP protest blackout of 2012 [wikipedia.org].
I can only conclude that the issue is not that you don't want to use that capability, it's that you don't want anyone else to be able to use that capability. The contradiction in wanting "open culture" to deny some users options that they desire never crosses your mind, does it?
Wanting "open culture" to not be destroyed by those who promote "closed culture" instead is not a contradiction.
In this case, yes it is.
If you are attempting to argue that the very existence of "closed culture" is what is destroying (incorrect tense included) "open culture" - well you are about 50 years late to that lost battle.
Under that definition open culture was destroyed long long ago with zero hope of ever existing again.
If you are not arguing that point, then you are either contradicting yourself at best, or lying/trolling at worse.
Being an additional (optional at that) feature you don't have to use, I don't u
Read the blog post [mozilla.org], it is actually very reasonable. Better to have a standardised, secure, removable and optionally installed DRM than a mysterious black-box software by a random company.
Better to have a standardised, secure,
Except it's neither standardised nor secure. All the DRM interface is is a standard interface to a proprietary, non standard closed source module.
mysterious black-box software by a random company
That's EXACTLY what it is. The DRM interface is just an interdace to a mysterious black-box software module from a random company.
That's right, because you wouldn't want anybody to be able to watch Netflix on your browser. Somebody might want to use it. I mean, what would be next: users wanting http: support?
At least there's still the iceweasel fork that doesn't come with this shit.
The DRM isn't a closed source part of *firefox*. It's a separate external plugin (like flash, etc.) that runs sandboxed (like chrome) and that can be
disabled and/or removed [mozilla.org] like any other plugins (or you can download a version of the installer that doesn't even pack the DRM module).
You don't need to go as far as Iceweasel.
I think you meant Digital Restrictions Management.
Or, you know, an actual build of Firefox from Mozilla that also doesn't come with it, as the article pointed out...
Firefox can also come without that "shit". From the article:
Mozilla also announced the launch of a separate Firefox download [mozilla.net] that won't automatically install Adobe's technology for playing back DRM-wrapped content in the browser.
As stated in TFA, the Mozilla foundation had to choose whether to support DRM in its own code according to HTML standards, or else accept that most users will resort to awful buggy plugins like Flash or simply switch to Chrome, Safari, or Edge to get the content they want so bad. I, myself, prefer Firefox not become a marginalized has-been project with single-digit adoption.
Choose your poison. There's a silver lining in DRM over browser: it enc
Don't like it, don't use it. There's a version of Mozilla available without the plugin. Your beliefs should not infringe on my ability to enjoy the content I want.
Is there an explanation of how this works ? At the end of the rendering pipeline shouldn't there be an unencrypted frame for display, and couldn't somebody it just grab it from there ?
02 The Internet is a global public resource that must remain open and accessible.
not when you bundle digital restrictions management with your browser and only offer the truly open one as an 'option'
04 Individuals security and privacy on the Internet are fundamental and must not be treated as optional.
quit enabling googles malware system, and stop enabling targeted ads by default.
05 Individuals must have the ability to shape the Internet and their own experiences on it.
thats the direct antithesis of DRM. same goes for point 06 on interoperability.
07 Free and open source software promotes the development of the Internet as a public resource.
but DRM does not.
08 Transparent community-based processes promote participation, accountability and trust.
I dont remember hearing a goddamn thing about you adding DRM or targeted ads before you just decided to do it.
DRM = encryption + key obfuscation.
If DRM was merely encryption that would be great. Then we could save the encrypted streams to our hard disk, then play them while on vacation. Or we could copy those encrypted streams for time shifting. We could decrypt them, then re-encode them into another format for playing on another device. Or take fair-use protected clips from them.
The goal of DRM is to prevent the the end-user from doing the things listed above. But encryption alone isn't enough to do that. You need a way to give the key to the user, but obfuscate the key so that they can only use it limited circumstances. It's infuriating to the user.
Before this new version of Firefox, the DRM was delivered via Silverlight. Either way, you are running a closed-source binary blob that handles DRM.
What has changed is the capability of the binary blob. The blob runs in a sandbox that has no network or file system access. All it can do is decrypt.
There are some positive aspects to the Encrypted Media Extensions API. It does provide some DRM options for companies like Netflix, which isn't great, but it can also enhance the security of personal media files. It will enable a web app to let you upload an encrypted video, then stream it from their server to your computer without having to download the entire thing and decrypt it -- without any browser plugin.
So if you really don't want anyone being able to see your personal videos (not just Netflix's videos), this thing isn't all bad.
So, my Firefox did the whole pop-up thing with a message saying that it was urgent that I upgraded my browser for security reasons.
Did they offer me the DRM free version? NO.
Did they tell me that this next version would be infested with DRM? NO.
If the update was so urgent, why is the DRM free version dated 8th of may and it is now 13th May, it can't have been very urgent can it.
And why is it that when I went to about Firefox on the help menu it checked again for an update and said that none was available when Firefox had already told me that an update was available? FFS.
You have a massage (from the Swedish prime minister).


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Last Login: 02/12/2012 7:40 am
Registered: 05/12/2006
Gender: Female
Location: Somewhere...I guess
Birthday: 10/10
Occupation: School
Hi, anyone who reads this I'm Shadow_Hexis(formally known as Kei-Kei89). I love the animes Naruto, Saiyuki, Prince of Tennis, and Bleach. I have brown hair and eyes. I like writing and getting to know others. I plan to write about my opinion on a


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Yanks Can't Buy a Run
Athletics 2, Yankees 0
A.J. Griffin pitched six-hit ball into the eighth inning Friday night and Adam Rosales homered on CC Sabathia's first pitch, leading the Oakland Athletics to a 2-0 victory over the Yankees at the Stadium.
Derek Norris hit an RBI single for Oakland. The Yankees lost for just the second time in eight games. They had only six hits in Joe Girardi's 1,000th game as a manager.
—WSJ Wire Services
Corrections & Amplifications
The Yankees lost to the Athletics, 2-0. An earlier headline on this story said the Yankees won 2-0.


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Howdy CHers,
I'm constantly trying to broaden my London horizons and travel to obscure areas to eat and experience the many cultures the city houses. I really enjoy travelling to areas with distinctive ethnic attributes, i.e., the Broadway in Southall, where you feel a bit like you've trekked across the world rather than 20 minutes on a train, and thought a comprehensive thread would be a great addition to the board.
Off the top of my head :
Afro-Caribbean : Brixton, Harlesden, Stonebridge, Tottenham, Dalston, Lewisham, Peckham
Bengali : Whitechapel / Tower Hamlets
Chinese: Chinatown
Greek - Palmers Green
Japanese: Ealing, Golders Green, East Finchley
Jewish : Golders Green, Stanford Hill
Korean : New Malden
Middle Eastern: Edgware Road
South Asian: Southall
Vietnamese: Deptford, Shoreditch (Kingsland Road), Hackey (Mare Street)
Please feel free to add (and correct me if mine are wrong).
Happy Saturday!!!


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Unenjoyable Frustrating Obstruction
We have bombs now, and can now break down bricks! There are a lot of those in the world (boy howdy), but let's start with the ones we saw on the way in.
Right here.
Boom shakalaka!
Thus, we make a completely dry hole to walk through. I'm reminded of the star-filled, cube-shaped floating water from the Kirby universe.
Hey, look! We're back out here! Now we've got ourselves a shortcut. Not that there's any reason to go back there anymore. All that's there is empty treasure chests and spear guys. Now that we have all the exploring gear, though, we can go pretty much anywhere we like. But where would we like to go? Ah, that is the question! Luckily, it just so happens we have a handy-dandy map!
If there's a place you gotta go, I'm the one you need to know; I'm the map! And one of the first things I notice is a blue "KEY HERE" mark next to a pink "YO TREASURE" mark! That looks like a good place to investigate.
That, however, means travel. Quite a bit of it, in fact, as we have to go all the way back to the river area. The place we need to get to is above us, and it's still quite a climb.
I'm sure some of you remember the breakable bricks behind this waterfall here. Don't worry; we'll get to those. I want to do this first for a number of reasons, though. The primary reason being we could've done part of this the instant we got the suction cups, but I wanted to put it off for another number of reasons. Look, if you stop asking questions, I can stop being vague and you can actually see what I'm mysteriously alluding to. So shut up. Even though I'm talking to myself, and the only one asking anything is—Shut UP, me! OK, I'm done now.
It's the river we dammed with the giant cheese ball! But while you remember this part, did you ever think to ask what lay behind the cheese ball? Ah-ha!
There's a precipice back here, as it turns out. A decently steep one, even. It's been a while since we had a good ol' fashioned Long Fall. So shall we?
Make sure to hug the wall here, though, or else you'll just plummet back towards the starting area. Stay close, though, and you'll hit this little ledge.
Wall fall down; go boom.
Here's kind of a jerkish thing about these destructable walls: They respawn if you switch away from Gil. I have no idea what happens if you're standing on top of one when they respawn, as I've been too chicken to try. Maybe I'll do that for bonus material, along with that one Good Bad Bug I found.
After paying that lip some service, let's see what's in here...
Gee, who woulda thunk it? Certainly not me! It's not like I looked at the map or anything!
A lessthanthree! Just what I always wanted!
Now our health has yet another additional bar to it! Beefy.
Getting down from here is a simple matter of letting yourself fall again. It's possible to land on another small outcropping, but it's not necessary since this particular Long Fall just drops you back in the entrance to this area anyway. You kids sit tight while I go fill up this pupper. (Fun fact/exploit: When you load from a password, all of your health containers that are currently filled will stay so, with your highest-level "filled" one at 10 life. But the medicines respawn, so you can, in theory, fill yourself up, then save and reset to stock up on even more medicine or go get the easy ones.)
Some time later...
We return to the top of the cliffside. There's more than health in that big pit.
Make sure you've got Shades out, and jump for your life!
Oh-ho-ho? What have we here? The other characters will just plummet past this unusual construction without being able to reach it, but Shades' lazy drift makes it quite easy to touch down on this tiny, floating spit of land.
In Cool Gate fashion, the place the doorway takes us to looks absolutely nothing like the area we just came from. Ah well.
...This is bad.
This is very, very bad.
Meet the game's fifth boss. You may notice something a bit different about this one. Mainly: He isn't glaring at us! Thus, it feels a bit inappropriate to stick to the "-[vowel]rry" theme for his name. Hmmm... Since you're an alien, how about we call you... K'ti P'ree? Yeah. I like the sound of that. K'ti it is.
I hate, hate, hate this boss. He bobs up and down the room in a fashion far too fast to be jumped on, even by the mighty Shades. Instead, he air-lifts his Teletubby army in to harass you, and for you to harrass for ammo. Mutual harassment!
They respawn quickly, too—the second one dies, he summons another one.
As you might've guessed, you want to throw balls at him to damage him. A few problems with this, however:
- He bobs and weaves, moreso than Sky-High Harry's second form, even. And he's fast.
- That UFO of his is completely invincible. You have to hit the soft fleshy bits operating it to do any damage.
- The only time you can actually jump high enough to throw the ball and have a chance of hitting him is when he's at the very bottom of one of his swoops.
- The window of oppertunity you have for doing this lasts about half a second.
Shades is pretty much the best option here. One strategy you can use is to play jalai-alai and bounce the balls off the wall, which gives them just a smidgen of extra height with which to potentially hit him. Then duck and avoid him when he flies down while you wait to pounce on one of his midgee clones.
The other, ballsier strategy (well, technically they're all ballsy) is to get up in his grill when he starts diving, timing you jump such that you go up while he's going down. You have to be a bit more precise, but if you can get the timing down, it does work.
Kinda dangerous, though. Not helping is the fact that the collision detection is kind of finicky, so often the balls will bounce off even though you could've sworn you hit him.
But all things must come to an end, and this, too, shall pass. ...Right?
WRONG. Despite the fact that K'ti's UFO just shrugs off the balls during the flight itself, the "final" blow just causes his flying saucer to self-destruct. Then the man comes after you himself, with a ray gun.
You would think that his absence from this screenshots is due to sprite flicker, right? After all, there's obviously some bad flicker going on in the other screenshots. Except again, you'd be wrong. He turns invisible. He turns invisible as he paces around the room and fires lasers at you and while you can't hit him while he's invisible, he can hit you. You've basically got to stay airborn at all times to avoid getting hit.
The lone solace here is that you don't have to screw around with balls any more. You can just pop him upside the head. Downside: He still takes about seven more hits in this form.
FINALLY. The video component of this installment was about 20 minutes long, and 13 of those minutes was just me fighting him. And that was one run, too. I'm honestly surprised I did it without dying—I died to the underwater boss once, actually, offscreen—and this guy's harder. Yet, somehow, I made it.
Let's go claim our reward, Shades. We've earned it.
If that UFO were still around, I would be taking this key and rubbing it all over that thing's shiny new paint job.
With our key ring slowly expanding, this seems like a good place to stop. See you guys. Next time, on Let's Play Ufouria: We finally investigate the waterfall and grope around in the dark for another key! See you then!
- Enemies updated!
- Bosses updated!


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Leslie - posted on 07/15/2010 ( 3 moms have responded )
My Eamon is the same height and weight as when he was 10 months old. He is between 22 and 23 lbs. and about 29 inches tall. He gets alot of the usual illnesses from daycare and then doesn't eat much, but his usual appetite is okay. His doc is not worried; he's met his milestones early and is always very active. I'm very concerned. He was 9 lbs. 13 oz. at birth and 21 inches and grew steadily until 6 months when he started crawling. I know a drop off is expected at that point, but a four month standstill? Any one else experienced this?


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There's a reason why Agatha Christie still ranks as the best-selling novelist of all time in the Guinness Book of World Records more than 30 years after her death.
Christie's knack for taut and impenetrable thrillers remains unrivaled. The British crime writer is the queen of elegant whodunits, murder mysteries that feature a killer whose identity is at once unforeseen and completely credible by the time the revelation rolls around at the end of the story. That skill for suspense drives the action in "Murder on the Nile," one of Christie's most successful stage adaptations currently running at the John Hand Theatre in Lowry. The Spotlight Theatre Company handles the thriller with skill and subtlety; Christie's trademark elements are all at play in the modest confines of the 89-seat John Hand Theatre. The story features an exotic locale, a colorful menagerie of characters/suspects and some truly startling and violent moments, all of which come to life through some standout performances and Bernie Cardell's direction. Some of the accents are more believable than others, and some expository moments weigh a bit heavy. The suspense is still consistent, and the Spotlight troupe offers a mystery that is intriguing.
All of the action takes place in the parlor of a luxury steamer ship, a vessel that departs from Cairo for a leisurely cruise of the Nile River in the 1940s, a turbulent time in the history of the Middle East. In typical Christie fashion, the motley cast of characters comes at a speedy clip. We meet the well-to-do and hyper-sensitive English socialite Miss Ffoliot-Ffoulkes (Deborah Curtis) and her meek servant Christina Grant (Jenny Weiss); the idealistic young agitator Mr. Smith (Phillip Bettison); and Dr. Bessner (Dale Halton), a physician from an unnamed eastern European country.
The mystery develops with the arrival of Simon Mostyn (Christian Mast) and his wealthy fiancée Kat Mostyn (Kaity Talmage-Bowers). When the couple runs into their old friend and spiritual guide Canon Pennefather (Todd Black) on boarding, the plot thickens. It turns out that Mostyn has spurned his former fiancée, Jacqueline De Severac (Haley Johnson) for Kat. Jacqueline hasn't taken the slight well, Simon reveals. During the couple's honeymoon in Egypt, Severac's been following them from hotel to hotel, from tourist site to tourist site.
The luxury steamer is no shelter, it seems. Jacqueline De Severac appears on the boat before it casts off. She confesses to Pennefather that she delights in causing the pair discomfort; she confesses to violent urges, she reveals she's carrying a pistol and cites a constant thirst for revenge. That twisted fantasy is realized, it seems, when Jackie accidentally shoots Simon in the parlor. The gunfire doesn't end there — almost immediately after the first shot rings out, the crew discovers that Kat Mostyn has been murdered, shot in the head by an unknown assailant. De Severac claims innocence — her presence in the parlor rules her out as the murderer, she insists.
What follows is classic Christie: Gradual exposition where everyone is a credible suspect; Gunshots and attacks that ring out at unexpected moments; Plot twists that make sense, against all odds; A murderer revealed, a final scene that poses its own questions.
Deborah Curtis takes a cue from the classic noir films of the '40s and '50s for her energetic performance as Ffoliot-Ffoulkes, and Black is meditative and understated in his performance as Black, one of the most layered and intriguing characters in the mystery. As the highly suspicious De Severac, Haley Johnson is a standout. Her thirst for revenge is unsettling and her motives understandable, but Johnson's measured performance is far from simple or cartoonish.
Vibrant characters find an anchor in a brilliant set design by Bernie Cardell and set dresser Beki Pineda. The John Hand Theatre takes on the feel of a cramped steamer in some faraway time. The soft and subtle lighting schemes by Brian Miller support that sense of place and time.
The production succeeds in maintaining the most important part of a good mystery. The suspects and the motives are legion. The puzzle is constant. The answers aren't obvious. It's a formula that's made Christie and her stories such a durable part of the genre and "Murder on the Nile" such an enjoyable piece of theater.
"Murder on the Nile"
Runs 7:30 p.m. on Fridays and Saturdays; 2 p.m. on Sundays, through Sept. 22.
John Hand Theatre, 7653 E. 1st Place, Denver.
Tickets start at $20.
Information: 720-880-8727 or thisisspotlight.org.


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FROSTY Stornoway was warmed up yesterday (Tuesday 4th) as the town was doused in the Christmas spirit at the annual Christmas Lights switch on.
A huge number of local residents packed the town centre for the official switch on of the Christmas Tree lights which was twinned with the usual best dressed shop window displays and a stunning range of fireworks.
See this week's Stornoway Gazette, out Thursday 6th, for full coverage of the Stornoway Christmas lights switch-on 2012.


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Next Great Browns Hope Pat ShurmurJanuary 15, 2011
Since 1999, Chris Palmer, Butch Davis, Terry Robiskie, Romeo Crennel and Eric Mangini have taken turns as head coach of the Cleveland Browns. Robiskie finished out the 2004 season for Davis, who resigned.
Now it's Pat Shurmur's turn to right the ship. An offensive coordinator for the St.Louis Rams the last two seasons, Shurmur will be taking on his first head coaching job at any level.
Browns President Mike Holmgren is making a bold statement in selecting the 45 year old Shurmur. Holmgren will look like a genius if the Browns can become consistent winners.
The fact that Shurmur runs a west coast offense helped get him the job. Holmgren has stated more than once that Shurmur is a team player. That probably made him more attractive than a veteran coach with a huge ego.
Now it's time to get down to business. The hiring of coordinators should happen soon.
Look for the Browns to sign a veteran defensive coordinator. It would make sense allowing the new head coach to not have to worry about that side of the ball. Offense is Shurmur's expertise.
On offense, I look for a young coach to be Shurmur's top guy—possibly a quarterback coach/coordinator and someone who can be trained to fit the Browns new system.
After his assistants are in place, Shurmur can tackle the current Browns roster. Make no mistake, there will be turnover.
Cleveland General Manager Tom Heckert will be in charge of finding the players to fit both the new offense and in all likely hood, the new defense. A switch to a 4-3 seems almost certain.
A change in defensive philosophy will require a different type player for the front seven. The Browns already have a need to over haul that area making it not that be that big of a deal.
Is Colt McCoy going to be the guy at quarterback? That is the biggest question that will need answered on offense.
The changes in offensive personnel should be minimal. The philosophy will change greatly.
The Browns already have a decent line in place but could use a right tackle. If McCoy is deemed to be the quarterback, the Browns should be able to make the switch effortlessly.
Running back Peyton Hillis should fit in with no trouble. He is an outstanding receiver as well as a runner. The biggest need here is another wide receiver or two.
While Brian Robiskie looks like a good fit for the west coast, the Browns will need to add some talent to this position. I'm excited to see what Josh Cribbs can do in those short crossing routes.
Tight ends Ben Watson and Evan Moore should also fit right in. Both have excellent hands and decent speed.
With all the changes that will be taking place with the Browns over the next few months, there is only one I care about—becoming a winner.
Mike Holmgren has said he hopes Pat Shurmur is the last head coach he has to hire. I'm sure all Browns fans do as well.


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Daren Burns and Onibaba at Grand Star Jazz Club
Grand Star Jazz Club
943 N. Broadway
Los Angeles, CA
Wed, March 13, 2013
"And then there's the stuff that doesn't quite fit the mold." - Brick Wahl @ LA Weekly
$5 @ the door
DAREN BURNS - Fretless Bass/Compositions
VINNY GOLIA - Woodwinds
GEORGE MCMULLEN - Trombone
WOODY APLANALP - Guitar
YASHA PHILIPS - Drums
KIO GRIFFITH - Live Video
Daren Burns and Onibaba will be performing a show at Grand Star Jazz in Chinatown, coinciding with the release the bands debut CD entitled, "Disintegration of Secrets, Apparitions of Kings". Giving away CD copies to attendees!
Created by Daren Burns in 2006, Onibaba synthesizes its sound by using elements of the Chicago avant-garde, jazz, rock, world, techno, noise, and classical, to create a new type of fusion that is definitely not the smooth, funky jazz of the 80's and 90's, but a new living music...
Daren Burns uploaded this event on February 27, 2013


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Managing rental property is challenging. Dealing with Tenants, local Governments, Contractors and the neighbors is time consuming too.
As your property management team we become an intermediary between you (the Owner of the property) and the Tenants, Government, neighbors and Contractors who demand of your time and resources.
Although we are licensed Real Estate Agents, our focus is on Property Management. We are not in the business of listing and selling real estate. We are bound by the laws and regulations of the State of Ohio and answerable to the Ohio Real Estate Commission. All owner and tenant funds are held in trust accounts in accordance with state law.
We have an A+ rating from the Better Business Bureau and are members of the Greater Dayton Real Estate Investor's Association.


text: special olympics PHOTOS: Special Olympics torch makes its way through Michigan By Michigan Radio Newsroom • Jun 9, 2015 Paula Friedrich / Michigan Radio The Special Olympics "Flame of Hope" torch is currently on its way through Michigan as part of a cross-country relay trek to California. It was carried through Detroit on Monday and made it to Ann Arbor on Tuesday, where a group of students from the Lenawee Intermediate School District were waiting at the Big House at 11:30 a.m. for their section of the Special Olympics Unified Relay Across America. Michigan lawmakers take the plunge... polar plunge, that is By Zoe Clark • Feb 24, 2012 Photo courtesy of the Governor's office Almost 30 Michigan lawmakers jumped into a cold pool yesterday outside of the state's Capitol building. They raised some $20,000 for Special Olympics Michigan. "Proceeds from these plunges help support year-round sports training and athletic competition for more than 20,670 children and adults with intellectual disabilities in Michigan," the Special Olympics Michigan website explains. After Lt. Governor Brian Calley jumped into the chilly waters yesterday afternoon, Governor Snyder (@onetoughnerd) tweeted: Who knew @briancalley had such mad hops? And, just in case you want to see it to believe it, the Michigan Information and Research Service posted this video of many of the lawmakers (many dressed in costumes) taking the plunge:


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Select your stay dates to check availability at DoubleTree by Hilton Hotel & Conference Centre Regina
About the Hotel
Property Location
DoubleTree by Hilton Hotel & Conference Centre Regina is in the heart of Regina, walking distance from Globe Theater and Cornwall Center. This eco-friendly hotel is within close proximity of Casino Regina and Dunlop Art Gallery.
Make yourself at home in one of the 235 air-conditioned rooms featuring refrigerators and espresso makers. Complimentary wired and wireless Internet access keeps you connected, and cable programming provides entertainment. Bathrooms have complimentary toiletries and hair dryers. Conveniences include safes and desks, as well as phones with free local calls.
Take advantage of recreation opportunities such as a 24-hour fitness center, or other amenities including complimentary wireless Internet access and gift shops/newsstands. Additional amenities at this hotel include wedding services and a television in a common area. Guests who want to try their luck at the slots can hop on the complimentary casino shuttle.
Satisfy your appetite at the hotel's restaurant, which serves breakfast, lunch, and dinner. Dining is also available at a coffee shop/café, and room service (during limited hours) is provided. Quench your thirst with your favorite drink at a bar/lounge.
Business, Other Amenities
Featured amenities include a 24-hour business center, express check-out, and dry cleaning/laundry services. Planning an event in Regina? This hotel has 18000 square feet (1672 square meters) of space consisting of a conference center and meeting rooms. Self parking (subject to charges) is available onsite.
Hotel Facilities
- Bar/lounge
- ATM/banking
- Porter/bellhop
- Conference center
- Free casino shuttle
- Safe-deposit box at front desk
- Coffee shop or café
- Meeting rooms 11
- Breakfast available (surcharge)
- 24-hour business center
- 24-hour fitness facilities
- Smoke-free property
- Restaurant
- Conference space size (feet) - 18000
- 24-hour front desk
- Wedding services
- Self parking (surcharge)
- Free WiFi
- Total number of rooms - 235
- Television in common areas
- Multilingual staff
- Gift shops or newsstand
- Snack bar/deli
- Number of floors - 15
- In-room accessibility
- Conference space size (meters) - 1672
- Number of meeting rooms - 11
- Conference space
- Elevator/lift
- Luggage storage
- Coffee/tea in common areas
- Dry cleaning/laundry service
- Express check-out
Room Facilities
- Desk
- Free toiletries
- Phone
- Free WiFi
- In-room climate control (air conditioning)
- Daily housekeeping
- Cribs/infant beds (surcharge)
- Free wired Internet
- Hypo-allergenic bedding available
- Connecting/adjoining rooms available
- Refrigerator
- Hair dryer
- Premium TV channels
- In-room safe
- Cable TV service
- Espresso maker
- Rollaway/extra beds (surcharge)
- Iron/ironing board
- Bathrobes
- Blackout drapes/curtains
- Free local calls
- Room service (limited hours)
- Air conditioning
Hotel Policy
Know Before You Go
- Children 18 years old and younger stay free when occupying the parent or guardian's room, using existing bedding.
- The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
The following fees and deposits are charged by the property at time of service, check-in, or check-out.
- Fee for full breakfast: CAD 16.00 per person (approximately)
- Self parking fee: CAD 15.00 per night (in/out privileges)
- Pet fee: CAD 35 per accommodation (varies based on length of stay)
- Crib (infant bed) fee: CAD 15 per stay
- Rollaway bed fee: CAD 15 per stay
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.Show all hotel policy Show less hotel policy