text:
Thank you for being a community partner and providing our staff and students opportunities to serve the community. Our office will work with you to provide volunteers and support for your various events, services, and activities.
You can contact us via phone or e-mail to provide information about your particular event, service, or other program in need of volunteers. The BCVS office will make these opportunities available to our students, faculty, staff or groups on campus. For your convenience, you can submit a service request
online. All requests must be received a minimum of two weeks prior to the email being sent out (each Thursday). You may also provide our office with any informative materials such as brochures, packets, or registration forms detailing your organization's mission, opportunities, and/or events by sending them to:
Berry College Volunteer Services
P.O. Box 495050
Mount Berry, GA 30149
Our partners are encouraged to participate in the annual Student Involvement Fair, which takes place this year on August 26th. This is an excellent venue to showcase your volunteer opportunities and discover interested students, faculty, and staff. Pre-registration is required for all attendees. Please use this
online form to register and more information will be provided to you.
Make a Difference Day is an annual service day sponsored by USA Today at the end of October. This year's date is October 22nd. Berry has participated in the service day for many years, and it is the longest standing tradition hosted by Volunteer Services. Every year, hundreds of students gather to serve the community, working with various organizations, including Habitat for Humanity, Angel Express, The Open Door Children's Home, Boys and Girls Club, and more! Additionally, students host an annual Fall Carnival and invite children from the community in which various groups and organizations create carnival booths. If you would like to host a group of volunteers on this national service day or operate a booth at the carnival, please make your request using this
online form.
In collaboration with Georgia Power, BCVS hosts the annual MLK Service Day, "A Day On, Not a Day Off." MLK Service Day will be held on January 16, 2016. This day is part of a challenge issued by the President to bring people of all walks of life together to serve neighbors and community members. Berry College participates by working at various locations to answer Dr. Martin Luther King, Jr.'s question, "Life's most persistent and urgent question is: 'What are you doing for others?'" If you would like to host a group of volunteers on this national service day, please make your request using this
online form.
Please Note: When requesting volunteers, be advised of the
Berry College Academic Calendar. When classes are not in session, we have very few people on campus available to volunteer.
See a Full List of Community Partners


text:
AKracing Octane Gaming Chair - Blue
Под заказ | На складе партнёра:
4 шт
Срок доставки: 4-14 рабочих дней
Способы доставки
335 €
Производитель: AKracing
Код производителя: AK-OCTANE-BL
- 713228143328
Гарантия: 12 месяцев
Most often it is the office workers и геймеры that are the most vulnerable to various health disorders resulting from bad posture. Therefore it is worth finding solutions that will have a positive impact on your health. The best и most effective option is to offer an ergonomic chair by AKRACING. Prepared with great care и attention to detail ensures quick results. Shaping of the seat makes you feel pleasure и relaxation at any time и your work or gaming sessions will become even more efficient. While sitting at a desk you are straining many parts of your body. Not only the spine but also wrists neck shoulders и arms. We know exactly what position the body holds while performing routine duties so the chair has to be an extension of your spine. Its appearance gives new forms и ideas of gaming chairs. It resembles the interior of a sports car и nice и soft material doubles the comfort. Rugged metal construction ensures durability of the chair for many years. What's more the use of the seat can also be used for watching a great movie reading и many other actions that it is important for you comfort и relaxation. Pillows are included. <img src«http://pcb.se/images.php?id613783222&sizemax»> Metal Construction Thanks to the metal frame the chair is extremely safe и strong. <img src«http://pcb.se/images.php?id613783240&sizemax»> Padding High quality comfortable hard foam not prone to deformaion over time. <img src«http://pcb.se/images.php?id613783285&sizemax»> Quality Surface Made from very durable high quality materials. <img src«http://pcb.se/images.php?id613783226&sizemax»> Adjustable Armrest Set up the right heigth for your comfort. <img src«http://pcb.se/images.php?id613787197 &sizemax»> Multifunctional Mechanism Adjustable seat tilt и back Height adjustment Adjustable flexibility <img src«http://pcb.se/images.php?id613783230&sizemax»> Adjustable Back Angle 180degree backrest adjustment allows you to adjust it to your needs. <img src«http://pcb.se/images.php?id645634153&sizemax»> Durable Wheels These wheels wont break easily и dont leave nasty scratches on your floor. <img src«http://pcb.se/images.php?id645634151&sizemax»> Metal Base Very strong fivestar base made of metal. <img src«http://pcb.se/images.php?id613783236&sizemax»> Attention To Detail Original logo AKRACING <img src«http://pcb.se/images.php?id613789428&sizemax»> Class4 Gas Lift Durable gas lifts with class 4 cylinders supports up to 150kg! <img src«http://pcb.se/images.php?id613790048&sizemax»> Ergonomic armrest Armrests designed to provide comfort и support. <img src«http://pcb.se/images.php?id613790050&sizemax»> Cushions Two cushions included one for your lower back и one for the neck. <img src«http://pcb.se/images.php?id613785971&sizemax»> To extend the sitting height by 5 cm you are able to purchase the AKRacing Extended Hydraulic Gas Lift <a href«http://pcb.se/p/AKEXTGAS»>> more info here

subset: commoncrawl


text:
I was leafing through People Magazine today (oh, sinful Fridays!) and I happened upon a tirelessly researched, five-paragraph-long article about Brad Pitt trashing Tom Cruise's movie.
Pitt is in the recently released Quentin Tarantino WWII flick Inglourious Basterds. While promoting the movie, an interviewer asked the Hollywood hunk what he thought of Tom Cruise's friendly Nazi film Valkyrie. "It was a ridiculous movie," Pitt responded.
I smell a cat fight! Let's hope these two A-listers settle it with a greased up, mud wrestling match. My money's on Cruise. That guy is totally insane.


text:
HANG TIME HEADQUARTERS — Well, there's no need for anonymous sources anymore.
Magic coach Stan Van Gundy confirmed it for the world to hear this morning in Orlando. Dwight Howard has asked management to replace Van Gundy as coach, confirming a Wednesday report from an Orlando television station. The Magic coach confirmed it to reporters moments before Howard came in and hugged Van Gundy in front of the crowd and denied the story, not realizing that Van Gundy had just confirmed it (more from the Orlando Sentinel):
"I know he has," Van Gundy told reporters after the Magic completed their shootaround. "That's just the way it is. Again, I've been dealing with that all year. It's not anything real bothersome. You go out and do your job."
When asked about the story, Howard did not deny Van Gundy's claim. But he did ask the assembled crowd of reporters to reveal their source.
The tweets from some of the reporters in attendance provided a blow-by-blow and illustrated the surreal nature of the event:
- Ian O'Connor of ESPNNewYork.com — Stan Van: yes I know Dwight Howard has asked for me to b fired..wow
- Frank Isola of the New York Daily News — Dwight Howard, moments after putting his arm around Stan, denies he wants him fired. Wow, crazy times in Orlando
- Howard Beck of The New York Times — Absolutely surreal: Dwight comes out and denies reports that he wants SVG fired, though SVG himself just said it on record moments earlier
- Brian Schmitz of the Orlando Sentinel — Dwight: "I want to get Stan fired/ Come on." He then joined Stan in media huddle and started joking Thursday
Today's crazy turn of events is just the latest in a bizarre, season-long trail of foolishness involving Howard and the Magic. From his training camp trade request to his 11th hour flip-flopping about staying or going, to his deciding to stick around for another year in Orlando to this latest mess … when will the madness end?
Next stop is TNT tonight at 7 p.m. when the Magic and Knicks square off at Amway Center.
You have to wonder how coach and superstar handle themselves with the entire basketball world watching now that the truth, according to Van Gundy, has finally come out …


text:
Sketching implies looseness and freedom as opposed to more fully finished or formal drawing practices. Sketching techniques usually focus on hand-eye coordination and observational skills surrounding proportion, light and dark, and gesture. Creating simple pencil sketches or quick studies is an affordable and engaging way to sharpen one's drawing skills. Freehand sketching can result in marks that aren't technically correct, but the purpose of sketching is to embrace the "mistakes" and stray marks as signs of an artist's process and progression through any given drawing.
For more inspiration, follow Artist Daily's Sketching board on Pinterest.
Beginner sketches
By mastering shapes drawing, you will have a good foundation on which to build your sketches. Begin by drawing cylinders, and from there you'll be able to put together much more complicated pencil drawings.
Sketching techniques
Download this free sketching tutorial to find out more about how to sketch well!


text:
Judge Joseph Purtill dead at 86
Superior Court Judge Joseph J. Purtill, who enjoyed a long and varied career in public service, died Tuesday at age 86.
His co-workers at the Huntington Street Courthouse in New London were saddened to hear that Purtill, who heard cases up until about two weeks ago, had passed away.
"We've lost a very wise and humble servant," said Emmet L. Cosgrove, chief administrative judge for the judicial district.
Purtill continued to work beyond the judges' mandatory retirement age of 70, serving as a judge trial referee, a position in which both sides of a dispute would have to agree that he could hear a case. Because of his reputation for fairness, few attorneys declined to have him preside over their matters.
His family was not surprised that Purtill continued to go to work long after he "retired" from the bench.
"He really, really liked it," said his son, Joseph Purtill Jr. "He loved the law."
The son said that as word of the judge's death got out Tuesday, a lot of people contacted the family.
"He was a compassionate man with a sense of humor," Purtill Jr. said.
Purtill had heard cases in Hartford and New Haven courts as well as New London, where he served stints as the presiding judge for criminal matters and the administrative judge.
Judge Elliot N. Solomon, the state's deputy chief court administrator, said Purtill's passing is a great loss to the Connecticut judiciary.
"He heard criminal, civil, family and juvenile matters throughout a distinguished career of 35 years on the bench," Solomon said. "Although he presided over many high-profile matters, Judge Purtill understood that every case was important to the people involved and handled each matter with dignity and respect for all involved."
A native of Stonington, Purtill enlisted in the Navy after graduating from high school in 1945. By the time he completed basic training, the war was over, his son said, and the Navy didn't need him. Purtill joined the Marine Corps Reserves. He performed his active duty during summer vacations and retired as a colonel in the mid 1980s, according to his son.
Purtill graduated in 1950 from St. Michael's College in Burlington, Vt., with a bachelor's degree in history. He received his law degree from the University of Connecticut in 1953. He was admitted to the Connecticut Bar the same year.
"I've known him since he was town clerk in Stonington," said Judge Robert C. Leuba, his close friend and regular lunchtime companion. "I always thought he was one of the more intelligent lawyers in New London County."
Purtill served as town clerk and town attorney in Stonington for 17 years and ran a private legal practice until he was appointed to the bench by the late Gov. Ella T. Grasso in 1979. He had been recommended for the bench by the town's longtime first selectman, James M. Spellman, a member of the state's Democratic state central committee, who said Purtill had the background and temperament to be a judge.
He spent the bulk of his judicial career presiding over criminal matters. State's Attorney Michael L. Regan said Purtill, who has been a judge for as long as Regan has been a lawyer, was a pleasure to try cases in front of and would be sorely missed.
"He was right to the point in his decisions, whether he ruled in favor of you or not," Regan said.
Supervisory Assistant State's Attorney Lawrence J. Tytla said he did his first five trials in front of Purtill and considered it a great learning experience.
"He was the best," Tytla said. "He was one of the last of the old-school judges, but really in the best sense of the word. He was stable, firm. You knew what to expect from him."
Bruce A. Sturman, New London's chief public defender, said he had known Purtill since the early 1980s and was always impressed by his calmness, intelligence and dry sense of humor. Purtill and Sturman were partners at the annual bocce tournament organized by Judicial Marshal Frank Pucci, playing together for the last time in September 2013.
"We never got by the first round," Sturman said.
Judge Patrick J. Clifford said he tried cases before Purtill while working as a prosecutor in New Haven, then had the opportunity to work with him as a judge during several assignments in New London.
"He was sharp, unassuming, a wonderful jurist," Clifford said. "He could make a point without having to raise his voice."
Judge Leuba said Purtill was anxious to be of service as a judge trial referee and established a routine that kept him productive. He went to the Norwich courthouse on Thursdays to do the uncontested divorce docket. On Fridays he sat in the juvenile court in Waterford. Back in New London, he handled the default judgment docket, which involved mostly collections matters. And he was specialist in administrative appeals of zoning matters, Leuba said.
Purtill's routine also included lunch hours spent with Leuba and other judges. They rotated among a few local restaurants, and at each place, Purtill had a favorite dish that he ordered every time, Leuba said.
Purtill had suffered from medical problems for a number of years but never complained, his co-workers and son said. His wife, Katherine D. Purtill, died in 2008.
In addition to his son Joseph, he is survived by daughter-in-law Susan and grandson Ryan, all of Waterford, daughter Jane Purtill and her husband Mark Furst of Mansfield, Mass.; daughter Mary Anne Purtill and son John D. Purtill of Pawcatuck.
The family said a wake would be held from 4 to 8 p.m. Thursday at the Gaffney-Dolan Funeral Home in Westerly. A Funeral Mass will take place at 11 a.m. Friday at St. Mary Church in Stonington.
Police seek information in Crystal Mall fight involving machete
Barr says Mueller found 10 cases of possible Trump obstruction
Mueller report suggests Congress should judge whether Trump obstructed justice
Connecticut delegation joins call for special counsel to testify


text:
mydress.com Offer Terms and Conditions:
mydress.com Offer ("Offer") is only applicable to the principal cardholders and supplementary cardholders ("Cardholders") of DBS Credit Cards, its Co-branded Cards and DBS COMPASS VISA (excluding Private Label Cards and Business Cards) ("Applicable Credit Cards") issued by DBS Bank (Hong Kong) Limited (the "Bank").
The "Promotion Period" of the Offer runs from 1 January 2018 to 31 December 2018.
Cardholders conducting Eligible Transactions at MyDress website (www.mydress.com) with the Applicable Credit Card during the Promotion Period shall be entitled to 15% off on regular-priced new items. Cardholders must input the promotional code (DBSXMD) when conducting Eligible Transactions in order to enjoy the Offer.
The Bank and the participating merchant will not accept any liability should a Cardholder fail to input the promotional code when conducting Eligible Transactions at MyDress website and that is result in forfeiture of the Cardholder's eligibility to the Offer.
Offer is not applicable to "Non discount products", please visit http://www.mydress.com/discount-tnc for details.
Offer is not applicable to DBS Black American Express
General Terms and Conditions:
To enjoy the Offers, Cardholders are required to settle payment for eligible transactions with the Applicable Credit Cards.
For the Promotion Period of the respective offers, please refer to terms and conditions of participating merchants. Specific offers are not valid on black-out days as designated by participating merchants. Please contact the respective participating merchants for details. All relevant transactions, based on transaction date, must be conducted during the Promotion Period.
Cardholders completing any posted specified online retail transactions at designated websites/webpages/applications of participating merchants or by using designated online payment system ("Eligible Transactions") with the Applicable Credit Cards during the Promotion Period shall be eligible to enjoy the Offers. The following types of transactions are not Eligible Transactions: any bill payments, any transactions that are subject to cancellation, charge-back, return of goods and/or refund, or any other categories of transactions as the Bank may specify from time to time. Please refer to the designated terms and conditions of specific Offers and Eligible Transaction amount required.
Unless otherwise specified, the Offers cannot be used in conjunction with other promotional offers or discounts, coupons or membership offers. The Offers and/or prizes cannot be transferred or used to settle the minimum payment, exchanged for cash, spending credit or other discounts/products/services.
All products and services are subject to availability while stocks last.
The prices of all products and services are designated by the relevant participating merchants and are subject to change from time to time without notice.
The Bank is not the supplier of the products/services or the description, photos or reference prices in relation to the products/services published in our website (which is intended to be for reference only). Any enquiry, claim or complaint in relation to the quality or availability of the products/services or the accuracy of any of the aforementioned information contained in our website shall be directed to the relevant supplier. The Bank shall assume no liability in respect thereof.
The Bank will not accept any liability for any loss incurred by Cardholders should the participating merchants refuse to provide the Offers.
The Offers are only applicable to Cardholders whose Applicable Credit Card accounts are determined at the sole discretion of the Bank to be in good standing and remain valid and not in default during the relevant Promotion Period and when the rewards and/or cash rebate are presented. The Bank shall have the sole discretion in determining a Cardholder's eligibility to the Offers.
Time and validity of any transactions and/or eligibility of a Cardholder to the Offers and/or rewards shall be determined by the Bank at its sole discretion based on the Bank's record. If there is any discrepancy between the record of transaction held by a Cardholder and that held by the Bank, the Bank's record shall be conclusive and binding on the Cardholder.
Transactions made by different Applicable Credit Cards of a Cardholder cannot be combined. If there is a supplementary card under the Applicable Credit Card account, Eligible Transactions conducted under the supplementary card will be deemed as Eligible Transactions conducted under the principal card account.
Any fraud and/or abuse of the Offers by any person (as determined by the Bank at its sole discretion) will result in forfeiture of the person's eligibility to the Offers and/or cancellation of all or part of the person's account(s) with the Bank. The Bank reserves the right to deduct the value of any rewards and/or cash rebate awarded inappropriately to a person directly from any of the person's account(s) with the Bank without prior notice and/or take legal action in such instances to recover any outstanding amounts.
A person who is not a party to these terms and conditions may not enforce any of their terms under the Contracts (Rights of Third Parties) Ordinance (Cap 623 of the Laws of Hong Kong).
The Bank and participating merchants reserve the right to amend these Terms and Conditions as well as to vary or terminate the Offers. In the event of disputes, the decision of the Bank and participating merchants shall be final and binding.
The English version shall prevail if there is any inconsistency between the English and Chinese versions.


text:
Department to help aging enroll in drug plans
Marion County Department on Aging will be helping individuals enroll in Prescription Drug Plans every Thursday morning from 10 a.m. to noon. Interested person can walk-in for assistance enrolling or comparing 2013 plans. Appointments can be scheduled 8 a.m. to 4:30 p.m. Monday through Friday by calling (620) 382-3580.
Last modified Nov. 7, 2012
© 2019 HOCH PUBLISHING | Marion County Record | Hillsboro Star-Journal | Peabody Gazette-Bulletin | Checkerboard


text:
|Little Venice's tranquil waterways, colourful narrow boats and meandering canals are easily reached from The Colonnade hotel, which is also conveniently located for easy access to the West End and many of London's top sights and attractions. Formerly a Victorian mansion built in 1865, the boutique style town house has 44 individually decorated and designed guestrooms, with some boasting a four poster bed. Facilities include complimentary WiFi, Gilchrist and Soames toiletries, overnight shoeshine service and a daily newspaper.
Booking multiple rooms?
Visit our group bookings page or call 020 7437 4370 for assistance
Room 1
Map for The Colonnade Hotel London
Underground Stations
Railway Stations
Car Parks
The Colonnade Hotel London
Most recent feedback from actual LondonTown.com customers
|What a great hotel, charming and comfortable with staff who know how to look after you.
David from Cheltenham, United Kingdom would recommend this hotel to a friend
|A great stay. The staff were friendly and helpful and the room was both comfortable and quiet. Will definitely be using this hotel again.
Anonymous from Ivybridge, Plymouth, United Kingdom would recommend this hotel to a friend
|The Colonnade totally exceeded our expectations. The staff were all friendly, welcoming and nothing was too much trouble. The locTion is fantastic, just a short walk along the picturesque canal from Paddington. We will be staying there again.
Aimi from Plymouth, United Kingdom would recommend this hotel to a friend
|Excellent hotel extremly friendly staff, definately will return and would recomend.
Michelle from Wigan, United Kingdom would recommend this hotel to a friend
TripAdvisor User Reviews
The Colonnade Hotel London Hotel Facilities
Hotel services
Fitness centre
Swimming Pool
Business facilities
Business centre
24hr porter
24hr reception
Laundry services
Dry cleaning
Passenger lift
Accept dogs
Airport shuttle service
Room facilities
En suite bathroom
Satellite and cable
In-room direct dial
Room service
24hr room service
Mini fridge
Tea/coffee making
Air conditioning
In-room safe
- From: £12.00
43 rooms
For children
Baby cots
Wheelchair access rooms
Guide dogs welcome
|Check-in from:
|Check-out before:
All rooms
Some rooms
Telephone reservations
To book the The Colonnade Hotel London by phone, call the telephone booking department on 011 44 20 7420 4956. The hotel reservations call centre is open seven days a week from 8am until 11pm (UK time) seven days a week. From USA call 011 44 20 7420 4956
Group booking discounts
Are you booking for a group of people? If you are making a booking for a group of people and require over 10 rooms, you may prefer to speak to the Group Booking Department for The Colonnade Hotel London bookings. Special deals can be arranged for groups, including discounts and arrangements for adjacent and inter connecting rooms if required. Call the Groups Reservations Department on 0207 292 2307. The best way to book a group deal is to complete the online form for group reservations at The Colonnade Hotel London .
Customer Service - Speak to a London hotel expert
From USA:
011 44 20 7420 4956
8am to 11pm
Free callback service:
We can call you back
Email a London Expert
Send email
Live Chat
Advisors available now
Chat to a London Expert
Live chat
Speak to a
London Hotel Expert
From UK:
020 7437 4370
Free callback service
If you prefer, we can call you back for free:Call me back
Email a London Expert:Send an email
My shortlist
Our pick of alternative hotels
Suggestion 1
Hilton London Metropole Hotel
Close to Hyde Park
Customer rating: 77%
The Hilton London Metropole is a large modern hotel on Edgware Road, nearby to Madame Tuss.. more
Suggestion 2
Hilton London Paddington Hotel
Near Paddington Station
Customer rating: 94%
Originally built in 1854 - and thoroughly modernised in 2002 and again in 2012 - the Hilto.. more
Suggestion 3
Hotel Indigo London Paddington
Luxury Town House
Near Paddington Station
Customer rating: 94%
Bright carpets, coloured glass and funky décor help create a warm welcome at this bra.. more
Featured in...


text:
Suspect! 10 Things About This Whole Lil Wayne Vs. Chris Bosh Thing That Don't Quite Add Up
Questions About The Lil Wayne Vs. Miami Heat Feud
Well it appears the Lil Wayne VS. Miami Heat feud is over after Wayne apologized like real gangsters do. But the whole thing was full of weird angles, rumors and allegations that will probably forever go unresolved. We have a ton of questions about Bosh, Wayne, LeBron and everyone that we need answers to.
Here are 10 questions about that weird feud.
1. Why hasn't Chris Bosh or his wife responded yet? Shouldn't they bit a bit peeved over all of this?
3. Is it possible Chris new his wife was a gold digger and just paid her to be his beard? Sounds like a deal a gold digger would go for?
4. The NBA can't ban people from all their Games anyway, so who in the hell told Lil Wayne that anyway?
5. Shouldn't Lil Wayne be sitting court side at Hornets games anyway since he loves New Orleans so much?
6. If Lil Wayne hates LeBron and them so much then why does he have season tickets every year? Who gets season tickets for a team you hate?
Continue Slideshow
7. Let's not forget Jay-Z is best friends with LeBron. Think Weezy is feeling some sort of way about that?
8. Lil Wayne needs to just pick a team. He's rooted for Mavericks, Spurs, Thunder, and Heat. Make up your mind, fool.
More Stories From Bossip
Bossip Comment Policy
Please read our Comment Policy before commenting.


text:
Herberton's war memorial, a popular 'Digger' soldier statue-stands out, and not just because of its soldier's posture: erect, head high. This monument specifically acknowledges an Aboriginal serviceman among its honoured.
The painted stone memorial, unveiled in the early 1920s, is a tribute to 199 local men who enlisted in WWI. Australians were proud of their army of volunteers: many monuments accordingly record all names, providing a rich insight into the community's support of the war.
The plinth on which the khaki uniformed soldier stands also identifies 28 war dead: 21 killed and seven died on service, including a man designated as Aboriginal.
Monumental masons AL Petrie and Sons of Brisbane created this memorial, part of their own virtual army of soldier statues embodying the ANZAC traits of loyalty, courage, youth, innocence and masculinity.
A path leads to the memorial, now set in established gardens. A captured gun or 'war trophy' is located at the front of the monument.


text:
Express. Home of the Daily and Sunday Express.
Blackpool show interest in Hammill
Blackpool boss Ian Holloway has confirmed he is interested in signing Barnsley winger Adam Hammill.
Hammill, who had a spell on loan from Liverpool at Bloomfield Road in the 2008-09 season, has scored eight goals for the Tykes so far this term and his impressive performances in the npower Championship have led to him being linked with a host of clubs.
"There are lots of people who would be interested in Adam Hammill," Holloway said. "His agent has done a good job and there is a clause in his contract which guarantees you can get him. We're not the only ones who know that, but we like the boy and we've had him on loan here."
He added: "But he's not my player and there are a lot of things that have got to happen before he is.
"There are a lot of other clubs who want him, so the boy is in a great situation."
Meanwhile, Holloway has once again emphasised that he views a bid of £3.5million for Seasiders captain Charlie Adam - reportedly made by Aston Villa - to be derisory.
"I don't believe it is right for him to move at the moment," Holloway said.
"The offers we are getting and the clubs that are asking about him, I believe he is better than that, with the greatest respect to them.
"£3.5million for him? You're taking the mickey out of us, it is an absolutely disgraceful offer.
"Why is it in the paper and why are they talking about it when they are below us?"


text:
The best moment of this little snow drift video is when one guy picks up some frozen animal poop and throws it at his friend's Lada mid-drift, who then nearly crashes. That's what hooning is all about.
If anything, this video is proof that the reason the Flying Spaghetti Monster gave us snow was so that you can still go drifting, even if all you can only get your hands on some underpowered econobox.


text:
Product Description
Genuine leather BOOK CASE
Case from Book Case series is the combination of aesthetic, functionality and high-class of execution. Easy access to function keys, slots and camera is assured by precise cut-outs. Hidden magnetic closure slightly prevents case opening, and ensures protection during fall. Additionally, the case is equipped with business and credit card pockets. The case comes with tempered glass screen protector and screen cleaning cloth.
Meticulously designed packaging indicate the class of the Madsen House products. The economic form, which was precisely created, is a proof of our trust in targetcustomers. The box is enough to discover the greatest assets of a product.
The case comes with tempered glass screen protector and screen cleaning cloth.
Hidden magnetic closure prevents case opening
Ultra-soft velour interior finishing
Functional shape facilitate easy use
Neutral colours of natural materials and contrasting stitches constitute elegant look
Wider for additional protection
Best threads and glue for perfect stitches and precise bonds
There are no reviews yet.
Be the first to review "BOOK CASE iPhone 6 / 6s Genuine leather (model inge.bc.)
Navy blue "
Navy blue
You must be logged in to post a comment.


text:
'Dinner? I'm afraid we can't serve you dinner," the waiter at Charlie Trotter's said starchily as we arrived at the celebrated Chicago restaurant. For 25 years, people made special trips from all over the country to brag about the dozens of courses Trotter served on his ever shifting tasting menus. But as other chefs became more celebrated, the traffic slowed, and Trotter—the first American celebrity chef to build a cult following for elaborate, very long, take-what-I-give-you meals—announced he would be closing for good.
I'd never been to Charlie Trotter's and called the restaurant to ask when in the next six weeks or so they could possibly seat us. After a long time on hold, the man on the phone told me they could fit me in at 5:30 on a distant Friday. We booked our flight, invited Chicago friends who had likewise never been to the restaurant, landed on time, and then were stopped on the runway to wait out a freak thunderstorm—a storm that lasted two full hours, during which we anxiously texted our waiting friends to keep the table.
Keep it they did—but they also, at the restaurant's insistence, ate their way through the eight-course tasting menu. For us, the waiter pronounced when we finally got there, it would be the dessert courses. Or nothing. After a good bit of protestation, the maître d' agreed that we could be served the full meal—at a forced-march pace, all eight appetizers and main courses plus two preliminary and two post-dessert "complimentary" courses. It turned out to be a mercy: we were able to get out in just under three hours.
Mercy is a rare commodity at restaurants like this, where the diner is essentially strapped into a chair and expected to be enraptured for a minimum of three and often four and five hours, and to consume dozens of dishes. Choice, changes, selective omissions—control, really, over any part of an inevitably very expensive experience—are not an option. Course after course after course comes to the table at a pace that is "measured, relentless," as the former New York Times restaurant critic Sam Sifton wrote (admiringly!) of Blanca, the latest tasting-menu-only cult restaurant in New York.
When Trotter began, chefs were just breaking out of their backstage supporting roles and putting themselves on display—often literally, in open kitchens. He helped unleash a generation of chefs no longer willing to take orders. The entire experience they will consent to offer is meant to display the virtuosity not of cooks but of culinary artists. A diner's pleasure is secondary; subjugation to the will of the creative genius comes first, followed, eventually, by stultified stupefaction. The animating force radiates outward from the kitchen, with no real chance of countervailing force from the table. The chef sets the rules; the diner (together with the cowed serving staff) obeys. The reason we were initially denied dinner at Trotter's, we later learned, was that it didn't suit the cooks to have us start late. They were making all the courses for all the tables at exactly the same time, and didn't want to break their lockstep pace to accommodate the inconvenient exigencies of customers.
How did the diner get demoted from honored guest whose wish was the waiter's command to quivering hostage in thrall to the chef's iron whim? I found clues in the signed menus on the walls of the guest bathrooms at Trotter's—a history of revered restaurants of the past 25 years, almost all of them in France, the menus inscribed affectionately to Trotter. Paul Bocuse, Frédy Girardet, Michel Guérard, Marc Veyrat—these were the kings of nouvelle cuisine, champions of the techniques of classic cooking married to rigorously seasonal and local ingredients, and lightened to create a supremely elegant dining experience. Many of the menus were degustations, or tasting menus—but tasting menus that were modest in their ambitions. They listed four, five, maybe six courses.
The model Trotter emulated was honorable. Many French chefs built their reputations by naming their restaurants for themselves; they kept control by owning their own places, with the husband running the kitchen and the wife running the dining room and keeping the books—a mom-and-pop model that in this country had been the province of mostly diners and simple spots. In big American cities, financial control of luxury restaurants was in the hands of the manager, who set the tone and attracted the customers. Chefs were employees—invisible and, in the case of the fast-food franchises that began to dominate the American landscape in the 1950s, irrelevant. Even in what many gourmets considered New York City's, if not the country's, best restaurant, Lutèce, the chef-owner, André Soltner, didn't put his name on the door and was famously modest. Nouvelle cuisine brought international media attention to its pioneers, whose names were worth big consulting and franchising fees at Asian—and American—luxury hotels.
Trotter, logically, wanted in on that action. He put his name on the door. He owned his name and his premises. But to that sound, relatively restrained French model he applied a peculiarly American, boosterish, Rotarian spirit. If French chefs made brief handshaking rounds at the end of the meal, Trotter would be more visible than his own maître d', glad-handing everybody in the room and making the chance to be in his presence for the entire meal—a "chef's table" in the previously off-limits kitchen—the hardest reservation in town and, for a while, the country.
Much of this could be explained away as an American form of entrepreneurialism. Trotter's name would be synonymous with the very best: he built a wine cellar with the biggest-name, highest-priced vintages from France, Italy, Germany, and California. He pushed the meticulousness of nouvelle cuisine chefs to a kind of technique-obsessed extreme, making plates as precious as they were pretty. In the most dangerous entrepreneurial touch of all, he took a tire pump to the usual nightly French degustation. If 5 or 6 courses were good, why not 10? Or 12? Or more? He might as well have put gigantic tail fins and hood ornaments on the plates.
Trotter was also a press hound—a relentless self-promoter with a ravenous hunger for fame. Anthony Bourdain has called him the country's first celebrity chef. He may have meant that as praise. In fact, it was the beginning of what can be considered a dining disaster: taking the underside of the French system—the fierce discipline, the screaming in the kitchen—way too far, making a virtue of the red-faced, toque-wearing, will-breaking drill sergeant. Trotter's notorious outbursts in fact led many apprentices to quit his kitchen.
Overboard as his behavior may have been, Trotter paved the way for reality TV, in which hair-trigger eruptions and chef-imposed meltdowns are a gladiator sport. This abuse, long an open secret in French kitchens, spilled over into dining rooms and became a blood sport diners wanted a taste of. The irony is that Trotter, who made Gordon Ramsay's profane and public tantrums possible, was too early to benefit from the television celebrity he likely craved. (The restaurant closed at the end of last August.) But he did leave a lasting legacy: his totalitarian style has become, in many restaurants, the norm. And recently it is enjoying a resurgence.
Unconditional Surrender
The most telling echo of the kind of rampant ego Trotter set in motion in this country was a framed Catalonian menu in a guest bathroom dated 1998: it was from El Bulli and signed by its chef, Ferran Adrià. Starting in the mid-1990s, every ambitious diner had to take a plane and snare a reservation—often in that order, the bleary traveler throwing himself on the maître d's mercy for a cancellation—at two places: El Bulli, a notoriously difficult two-hour drive north of Barcelona, and the French Laundry, a far easier drive from San Francisco to the wine country of Napa Valley. The cuisines at the two restaurants differed in important ways. Thomas Keller, the chef at the French Laundry, was rigorously trained in French technique and incorporated the best of California's artisan food producers into his heavily French, generally heavy (because butter-laden) dishes. Ferran Adrià began as a cook of relatively rustic Catalonian cuisine. But he started experimenting with new techniques and processes that had been the province of the food industry, creating disorienting novelties that acquired a name that he never liked but will forever be associated with: "molecular gastronomy." Adrià wrested the crown of the world's most influential cuisine away from the French and became the chef ambitious cooks had to work for—even knowing that they would be treated like slaves by an exploitative overseer, as Lisa Abend documents in her entertaining book, The Sorcerer's Apprentices.
The two restaurants shared something important, though: they extended a typical meal to hitherto unknown numbers of courses—50 at El Bulli, 40 or more at the French Laundry. They didn't give you a choice of what you ate. Adrià and Keller might have begun with similar ambitions: to startle and delight the diner. Adrià wanted to push the sensory experience beyond where it had ever gone, disguising food so that deliberately disoriented diners had to work to recognize a flavor—making hot things cold, soft things hard, solid things powder or air (or, horribly because the technique became ubiquitous, foam). Keller said he was merely overcoming his own palate fatigue, in which his concentration and pleasure eating a dish dropped precipitously after two or three bites. But Adrià and Keller's lasting contribution to the world of restaurants was to shift the balance of power from diner to chef. They demanded unconditional surrender.
I was present at a French Laundry dinner convened by Phyllis Richman, then the restaurant critic of The Washington Post, in 1997. The meal became famous because a friend Richman had invited, Ruth Reichl, scooped Richman by quickly writing a column in The New York Times declaring the French Laundry to be "the most exciting place to eat in the United States." Richman said that it was "as good as a restaurant gets in this country, maybe as good as a restaurant gets anywhere." I later went back and spent several days and nights in the kitchen to write about Keller.
Besides being impressed by much of the food, though, what we all remembered from that famous dinner was trying to stay awake until long after 1 a.m., when the meal that had begun in the garden at about 8:30—with the signature ice-cream cone of salmon tartare in a savory tuile (it became as much a cliché as Adrià's foams)—was drawing to an end. Or so we fervently prayed. The intent was to dazzle, and indeed any tenth of one of these 40-course meals would have dazzled. At the chef-commanded full length, the meal felt like a form of torture.
Could that sort of long, by necessity leisurely meal translate from the flagstone garden of the French Laundry, planted with rosemary and roses, to the sterile mall of the Time Warner Center, in the heart of New York City? Keller opened Per Se in 2004 to immediate rave reviews. But with the taxis of Central Park South flashing their headlights through the restaurant's floor-to-ceiling windows, a very long tasting menu seems endless merely midway through, when thoughts inevitably turn to unanswered e-mails and meetings the next morning. Even people who are willing to sit at the French Laundry for four or five hours, and who find any excuse to wedge in mentions of their dinners at El Bulli, told me they didn't have the patience for Per Se—that what seemed charming in wine country was pompous and overblown in Manhattan. And expensive: with wine, it's hard to get out of Per Se for under $400 a person.
Yet its three Michelin stars and four stars from two New York Times reviewers keep Per Se busy—mostly with tourists, who don't have to worry about work the next day and are the only people who can think about sitting through a nine-course lunch. (The restaurant recently added its version of an express lunch, five courses, which makes almost as little sense to a New Yorker.)
When I dined at Per Se recently, the differences from my visits to the French Laundry were notable. There was no one at the check stand to greet me—no visible staff members in the large entry area and bar at all, despite my arriving at the hour of my reservation. If there were New Yorkers in the room, the life had drained out of them. The atmosphere was quiet, reverent, even somnolent. The contrast that makes the French Laundry memorable, with very correct waiters and formal service in a California-casual context, doesn't apply, so the brown-and-beige room just seems cool and somber. The waiter was friendly and relatively informal, but the sommelier was indifferent and condescending to a young French guest who happened to know a good deal about wine and later pronounced himself shocked at the obviousness of the wine choices—for instance, sweet Sauternes paired with foie gras. The parade of gastronomic giveaways before and after dinner seemed shorter and less oppressive than I remembered from California. Nonetheless, when course after course keeps arriving and demands an explanation from the server, genuine or meaningful exchange with one's fellow guests is not a possibility. The focus must be squarely on the food, not the company. As at Per Se's fellow three-Michelin-star restaurants, technique and precision are what count—not freshness or spontaneity.
Some Per Se dishes did register strongly, not just for the ramrod-straight technique that underpins them all but for the sheer elegance of conception and flavor. Roast lamb with delicate green almonds and intensely flavored cauliflower cream was a triumph, one that will be a taste-memory benchmark. So was the burst of fresh sweet-tart flavor in a gooseberry sorbet with elderberry foam over a toasted corn cake. Impossibly thin and translucent ribbons of cucumber carefully draped over a plate; little green strawberries and sweet melon squares compressed via sous vide, a Keller specialty, to give them gem-like tones; squares of pumpernickel also compressed into paper-thin sheets for tiny sandwiches layered like Viennese tortes—much of the food is exquisite.
But exquisite is different from remarkable or transporting. And exquisite can also seem tormented, like so many French gardens. Another guest raised partly in Paris was scandalized by the number of courses: "How is it possible," she asked before the numerous dessert courses arrived, "to eat this much without feeling … heavy?" Seen through French eyes, what began as an earnest re-creation of a French model looked like it had passed through Disney World with a stop at Mount Rushmore.
The Apprentices
The counterparts of Adrià and Keller 15 years later are Rene Redzepi and Grant Achatz, who both indentured in Adrià's kitchen—in, as it happens, the same year, 2000. Redzepi, whose Muslim immigrant father met his Danish mother when they were working at the same Copenhagen cafeteria, returned from his time at El Bulli with the idea of overthrowing the Mediterranean ingredients that had world cuisine in a choke hold. So he went foraging in the Scandinavian woods and meadows, and on the Icelandic tundra, for herbs, plants, and wildlife of all kinds to use in ways both traditional and inventive (his latest love is ants). Achatz had been sent to El Bulli by Keller, his mentor—he worked his way up to being sous-chef at the French Laundry (he was in the kitchen the night of my seminal dinner there), and named one of his two sons Keller—and returned with the idea of pushing industrial techniques and ingredients even farther than Adrià had. But he brought to them a stronger sense of design and restraint, and a stronger rooting in French cuisine and technique from his training with Keller. The two apprentices also returned from El Bulli with the philosophy that the chef decides the day's multi-course menu, and the diner gets that, period.
Ten years later, Redzepi's Copenhagen restaurant, Noma, took from El Bulli the title of "world's best restaurant" in a poll of about 900 chefs, restaurateurs, and critics from around the world run by the British magazine Restaurant. Noma has kept that title for three years running, just as El Bulli kept it for the previous four years. (In 2003–4, the French Laundry held it.) The list is frequently criticized—most loudly by chefs whose rankings have dropped or who haven't yet made the list—as corrupt and promotional, but it does make people get on airplanes. And now that Adrià has closed the money-losing El Bulli to run a food-research lab and cash in on consulting contracts with the food industry, Noma is the impossible international plat (or rather plats) du jour.
I never made the pilgrimage to El Bulli and never wanted to, having been in Adrià's papal presence on too many occasions. But eating at Noma recently, I felt everything that diners at El Bulli reported in its glory days (and was certain I wouldn't have felt had I gone): the thrill of the new, one spectacularly good dish after another presented in thrillingly fast succession. El Bulli–style whimsy was on the menu: for instance, little flowerpots with baby turnips and carrots embedded in "edible soil" made with malt, hazelnut, and other flours, and butter. El Bulli–style disorientation and surrealism bordering on the sadistic (blood-red meat, raw-looking organs really made of high-tech Play-Doh) were not. But neither was choice.
Achatz's Chicago restaurant Alinea was named the best restaurant in America by Gourmet a year after it opened, in 2005. A second restaurant Achatz opened in Chicago last year, Next, sells reservations like theater tickets—pay everything when you book, use it or lose it—in three-month blocks, to coincide with changes in themed menus. After watching all of his Next tickets for an entire year sell out in minutes—at a cost of up to $300 with wine pairings, but much higher when scalped—Achatz and his business partner put seats at Alinea on the same sales system.
This ticketing regime can be seen as the ultimate power grab by a chef: the diner is, like a theatergoer, a passive participant in a spectacle he can either like or lump. It's a dream come true for young chefs on tight budgets, to control food costs and be able to collect revenue. It's less dreamy for diners who stubbornly cling to the antique idea of booking a table when it is convenient for them, not for the restaurant, and persist in hoping they won't lose the price of a meal if they need to reschedule.
In Manhattan, at Eleven Madison Park, the four-star successor to Per Se for the mantle of most fought-over chance to spend a lot of money on a meal someone else decrees, the Swiss-born Daniel Humm has acquired a local reputation as exalted as Keller's. Oddly, I found the cuisine itself a half-thought-through version of the kind of high-style, high-tech experimentation Achatz and Keller and others engage in, with immaculate technique but wan flavors and a use of technology that seemed gimmicky rather than creative.
This became worse when Humm changed from a tasting menu with a 4- or 8-course option to a single 15-course menu at both lunch and dinner, supposedly redefining New York City cuisine with elaborate takes on either locally grown foods or dishes associated with the city. Slices of sturgeon were presented in a giant glass cloche swirling with menacing white smoke from applewood charcoal. "Don't lift the glass," the server warned as she set it down—but later admitted that the fish had been pre-smoked and the show was in fact just for show. The harsh last-minute smoke did lend an urban flavor—as if the fish had come off a New York trash fire. Another server clamped a meat grinder to the side of the table and put into it a long, fat, bright-orange carrot with bright greens attached by a tightly wound yellow elastic band. He tried to deny that the ponytail of greens had been re-attached until he admitted that the carrot, which went through the grinder with suspicious ease, had been simmered with olive oil and salt. This was a version of the steak tartare that, his rehearsed patter informed us with sweeping inaccuracy, every New York steakhouse in the 50s and 60s like Delmonico's (which closed in 1923) and the Four Seasons (which opened in 1959) would serve when you came through the door. He put the bright, insipid gratings onto a wooden plate with a dozen or so shallow indentations filled with seasonings for you to mix in at will—an inferior mash-up of the famous Noma egg you fry and stir yourself, and the long fat Noma ash-roasted 24-hour carrot that comes to the table looking like a revolting stick of charcoal but reveals a marvelously sweet, custard-like texture and flavor.
The servers had no sense of whimsy or humor about a menu that depends on humor: they almost ran away when we asked for a wine list, and generally seemed terrorized at being overly garrulous, as the estimable restaurant critic Pete Wells had accused them of being in a New York Times "Critic's Notebook" that ran immediately after the menu change. You need to like them, and your guests, to endure the meal: we arrived at 1:00 and were not served our last course until a bit before 5:30. At 4:00, a server disconcertingly began visiting every empty table with a white steam iron, to smooth the tablecloths, and by the time we had paid the check, at 6:00, the tables had begun to fill for dinner.
Worse than bad—which most courses weren't, really—the meal was tedious. Certainly, surprise and delight and originality shouldn't be banished. But in meals this long and ambitious you hope to see the soul of the chef—as you do with Keller and Achatz. In only two of the many courses at Eleven Madison Park did I think I saw Humm's: a seafood stew with bits of bay scallop and apple in a sea urchin and squid custard, subtle, simple, and silken; and an elaborately presented, many-days'-process roast duck served with a dish of fantastically clear and intense consommé, both of them strictly bourgeois and rooted in French technique. Both were food to dream of eating again, food that only someone with Humm's training, background, and staff can produce. True, if chefs don't continually re-invent themselves, their food—especially if they traffic in trendy technology—threatens to look as dated as Trotter's nouvelle cuisine. But as one chef or another seizes the international culinary imagination, Humm seems to be re-inventing himself to chase trends, something he's too talented to do.
The trouble is, chefs don't look to be re-inventing themselves as people willing to cede any control to their customers. Young chefs everywhere are adopting the tasting menu as a way to show off and control costs at the same time—and to signify their ambitions. Few follow the one laudable exception I know: that of Dan Barber, the visionary chef-owner of Blue Hill at Stone Barns, an experimental farm and research center on the lavish Rockefeller estate in Westchester. Some years ago he changed to a tasting menu because, he recently told me, "our menu is dictated by what comes in from the farm in the morning. I don't think people realize that not having a menu here isn't a gimmick. Farmers aren't responding to my menu requests. They're leading the dance. Always."
And fewer still have the talent or artistic vision to sustain a long tasting menu. Trying a diner's patience, though, is an achievement that even a mediocre chef can aspire to. In Somerville, near Boston, the young, self-taught owners of a restaurant called Journeyman made tasting-only menus a part of their business plan, along with the usual local/seasonal/carted-from-the-farm-or-raised-in-our-window-boxes ingredients. When I dined there last year, the inflexibility of the dour, dogmatic servers would have been comical had it not been so infuriating. As more and more restaurants adopt this model, tasting-only menus will empower formerly well-meaning, eager-to-please cooks and servers to become petty despots, and more and more diners will discover that absolute power irritates absolutely.
Service for All!
Even as a new army of fresh-faced Stalins prepares to spread tyranny across the land, at recent dinners at Noma, Next, and even Eleven Madison Park, I saw the seeds of, if not democracy, then perhaps a limited attempt at glasnost.
At Noma, the diner feels desired and attended to, in a way that comes across as collegial, not obsequious or didactic. A main reason is that Redzepi sends aproned, working cooks to the table bearing dishes. They'll explain as much or as little as you like about what they give you. They make you feel a part of the action, not just the passive subject of it. At the Sicilian-themed dinner I got tickets for at Next, I saw similar glimmerings of a kind of warmth that has never figured in the severely gray-and-white Alinea. To be sure, there were some eye-roll-inducing touches, like the earnest, handwritten notes to each table signed by the chef and the waiters explaining the philosophy of the meal (dictatorships thrive on theoretical manifestos). But, shocking from a chef whose presentations have been manicured and tweezed, there were also dishes served family-style and looking positively sloppy. It felt a bit forced, like a seersucker-and-bow-tied dandy putting on a dirty T-shirt and torn jeans. But I was heartened by the effort.
As for Eleven Madison Park, it comes across as less forced than Per Se. This is because of its origins as a restaurant in the empire of Danny Meyer, whose Union Square Hospitality Group has democratized service in luxury restaurants much as the Four Seasons did in luxury hotels. Humm also added the Noma-like touch of sending aproned cooks to the tables, and he himself makes the rounds of tables at every meal.
How far will this as yet very modest evolution go? A lot farther, we can hope. No one wants a return to the reign of the smirking, tip-taking, tyrannical headwaiter, who indeed put the needs of the diner first (the needs of the richest and most famous ones, at any rate)—an era defined by Henri Soulé, of Le Pavillon in the 50s and 60s, and Sirio Maccioni, of Le Cirque in the 80s and 90s. Obsequiousness is seldom far from its twin, contempt. But, ah, how nice it would be if at the world's most celebrated restaurants we could get back to the point where the paying customer picks what and how much she or he eats, guided by helpful but not overbearing suggestions as to what a diner might enjoy most.
Could it be that France, the culinary Forgotten Man, the birthplace of haughtiness, will show us the way forward? I recently came upon two signs it could be trying to fight its way back from the unaccustomed gastronomic shadows by adopting an even more unaccustomed humility. One was a radio interview with Jacques Pépin, the masterly, ebullient, encyclopedic teacher and writer on French food in America, who corrected the host when she asked about the chef as artist. "I never equate a great artist with a great chef," he said with unexpected vehemence. "Food is taste," not art. "A great chef is still an artisan." And in an interview with the Financial Times, the Michelin-starred, much-admired Parisian chef Alain Passard replied to a question about whether the customer is always right by saying, "Yes, always. I am there to serve others' commands, and I always do what I am asked to do. I put aside my own concerns when faced with a client who orders a dish cooked a certain way or asks for a certain seasoning."
Pépin and Passard are not quite waving the bloody banner and crying, "To the barricades!" But if they did, a hungry mob with knives and forks would be right behind.


text:
Jeezy Talks About His Collaboration with Jay Z
For his coming sixth studio album, Young Jeezy decided to make it "real personal."
Jay Wayne Jenkins, now known simply as Jeezy, said the album focuses on "who I am as an entrepreneur," a part of his career that was largely influenced by rapper and hip-hop mogul Jay Z.
The two collaborated on a track that, according to Jeezy, was supposed to land on "Magna Carta Holy Grail."
"It was really a personal record for me, I told J, I love this record so much, it's so personal for both of us but it's got to be on my album. It is very much classic Jeezy and Jay-Z," Jeezy told the Journal.
Jay-Z's 12th studio album debuted in July on the Billboard 200 at No. 1 and sold 527,000 units in its first week, the year's second-biggest opening after Justin Timberlake's, "The 20/20 Experience," according to Nielsen SoundScan.
The idea for their track collaboration, which remains untitled, happened in Philadelphia in Timberlake's dressing room. The two spent four straight hours backstage, sorting out everything from beats to lyrics, talking about the similarities in their backgrounds and the song's overall theme, "which is to stand tall and continue to conquer the world each and every day," said Jeezy.


text:
35:27; 64 kbps, mono; 16.2 MB
Episode #0117! VegettoEX, Meri, and Julian discuss "IN THE NAME OF PICCOLO-DAIMAO", a special side-story manga chapter collaborated upon by Koyama Takao and Maeda Minoru. Where did this come from, how can you read it, and are there any more of these? DBZ ABCs, some e-mails, Mike's broken pop-filter, and other great things round out the episode. Referenced sites:
- Bandai 2008 Fiscal Year Predictions @ Gunota Headlines
- "DragonBall Online" Official Website
- "DBZ: Burst Limit" News @ meristation.com
- "DBZ: Burst Limit" @ GameStop
- "Chôzenshû" Track Listing @ Columbia Japan
- "Voiceprint" Podcast @ trevordevall.com
- DBZ Side Stories @ desirecampbell.com
That's right, we finally got a chance to weigh in on the coolest thing floating around! We probably don't cover much more than everyone else already has, but hopefully we can spread the good word to a whole bunch of new people. Much appreciated is the hard work everyone did!


text:
The virtual green web of IUCN Members in Google Earth showcases the organizations on the frontlines in the battle against climate change, reductions in water quality and quantity, deforestation and biodiversity loss.
The IUCN Members' Layer will enable everyone to get more information about the individual members and also to see their overall geographical distribution.
"We are very excited about this opportunity and hope that the Members are too. We believe it is very important to provide more options of visibility for our Members, as they are safeguarding the planet by encircling it in a Green Web", says Enrique Lahmann, Director of the Constituency Support Group at IUCN.
This layer is just the beginning, as more features will be added to make the information about the Members more complete. In future IUCN will be able to map not only its Members, but the way they are involved with IUCN, whether this be in a programmatic area, a specific project, within policy, or contributing in some other way.
"This is our goal for the future and we will work very hard over the next year to incorporate more and more dimensions as our internal systems get upgraded and we start using new technology. This will be done in partnership with our Members", says Susanna Söderström in the Membership Unit.
The Constituency Support Group, Information Management Group, in collaboration with the IUCN Mapping Initiative all contributed to the success of this product. We thank Google for their support.
The IUCN Members' layer on Google Earth can be viewed here:
To update your Google Earth data, please contact the nearest Membership Focal Point in your region. For technical questions, please email [email protected]


text:
BEAM Pieces is a BEAM Reference Library site.
Omron (Mac floppy drive eject)
gearmotor detailed data
This page presents all the data from my testing of two examples of the Omron gear motor salvageable from Macintosh floppy drives. The test procedure I used is described in detail elsewhere.
I tested two copies of this motor in two configurations -- with only minimal modifications (removal of internal "limit switch"), and fully "hacked" (two internal resistors also removed). The resistors (2 x 470 Ohm 1/2 watt resistors) are there to provide "dynamic braking" when the limit switch is tripped; in the motor's original use (i.e., to eject floppies), this makes sure that the motor stops at the same position, repeatedly. We don't need this function, so the resistors' waste of energy doesn't buy us anything.
What removal of the resistors does do is significantly increase the motor's efficiency, and decrease its current draw. But perhaps I should let the numbers speak for themselves...
Motor "raw" (minimal mods):
Motor "hacked" (internal resistors removed):


text:
Poor Region Rich in Musical Talent of Youth
Available in Español [1]
There's a small treasure in Brazil's state of Rio Grande do Norte. It's "The Sao Tome Philharmonic"- an orchestra rich in youthful talent located in the country's impoverished North East.
The orchestra operates out of a small cultural center in Sao Tome, where it offers free music classes and instruments to the many low-income youth in the city and surrounding areas. Many of the newly- trained musicians are young women.
"It's very important. It means constant learning," says 14-year-old Eulanicleia Marylylyane who is learning French horn at the orchestra and now plays there a few times a week. Her four sisters are studying music at the orchestra as well.
"We are all a group and it is important to my life," she says.
Sao Tome's Maestra, Paula Francinete, is the only female conductor in the entire state. She says this and the general "machismo" of the region made it initially very hard for her to get young women to sign up to play instruments."This was a very male setting at least here in the state of Rio Grande do Norte, until I became Maestra of the philharmonic, says Paula, a music major and single mom who travels from four hours away to teach and conduct the orchestra three days a week."It's a big responsibility," she says.
Now half of the 42 musicians in her orchestra are women. And almost half of those say they're planning on turning the music they are learning into lucrative careers.
"I would like to be a professional musician and I applied to the music department at university this year," says Raquel Silva, 22, who learned clarinet in the orchestra and now plays it there alongside several male counterparts, like 21-year-old Magnus Acariz De Sousa.
Magnus says the orchestra has given him more than just music. "I made new family and relationships that motivate me," he says.
Residents of Sao Tome created the orchestra with a grant from a poverty reduction project backed by the World Bank. The project aims at generating economic and social opportunities in Rio Grande do Norte.
Resident Josefa Maria De Oliveira says Sao Tome used to have little to offer to its high school students until The Sao Tome Philharmonic came along.
"(S)he improved very much because she can finally be enthusiastic about doing something she loves to do," she says of her daughter, Luisa, who now learns and plays trumpet at Sao Tome, and is hoping to study music soon at university.
- Tags:
- children [2]
- Development [3]
- girls [4]
- junior choir [5]
- machismo [6]
- orchestra [7]
- poor [8]
- Poverty [9]
- women [10]
- Youth [11]
- United States [12]
- Brazil [13]
- blog [14]


text:
$7.50 $10.00
This is an archival reproduction of my acrylic painting, titled "Mad Hatter Cat", from my Alice in Wonderland series of cat portraits.
Print Details:
• printed by the artist
• measures 7" x 5" (17.8cm x 12.7cm)
• textured Cold Press cotton rag paper (archival)
• K3 UltraChrome pigment inks ~ water/fade resistant
• looks nearly identical to original painting!
• signed and dated by artist (on back)
(watermark/copyright info is for internet display only)
Artwork©TaraFly, 2015.
All rights reserved.
I gladly accept PayPal and credit cards.
I will also accept money orders and personal checks for the exact amount of your total purchase... please allow up to 10 days for the check to clear before shipping.
Please make payments promptly. If I don't receive a payment within 7 days, unless I hear from you, I may decide to cancel the sale and relist the item.
I am very understanding, so if you are having trouble, simply contact me and we'll work something out. :)
I am curently shipping via First Class worldwide. International customers will be responsible for paying any additional customs' fees and taxes that might be required.
If you'd like a different method of shipping, please send me a request *before* purchasing so that I can adjust the shipping cost.
I will gladly gift-wrap, or include a note for the recipient, if you ask! :)
I want you to be excited about your purchases!
If my work didn't meet your expectations, or was damaged, please notify me of the condition within 2 days of receipt, and we'll work out a replacement or refund that suits you.
Obviously, custom work is encouraged!! Many of my portraits were, in fact, special commissions using pets' photos.
My cat artwork is also available for licensing, wholesale, and consignment arrangements... so please inquire via convo here, or e-mail me: (firstname.lastname@example.com) if you are interested.


text:
The power of "Transform Each"December 03, 2002
It seems to me that Adobe Illustrator is one of those programs that everyone knows a little bit about, but not many consider themselves experts on. Often eclipsed by its big brother Photoshop, it packs in a heck of a lot of great features that you don't find elsewhere.
I've recently been doing a lot of work in Illustrator, and I'm reaching a familiarity level that's coming close to my main squeeze, Photoshop. One of the little gems I've been making a lot of use of is the "Transform Each" function, to be found under the Object menu. (Object>Transform>Transform Each, to be precise)
what it does
The idea behind this function is that if you've got a bunch of objects that you want to modify in subtle ways (scale, transform, rotate, and any mix of the above) you can select them all, open up the panel, play around with the settings and modify all of them at once. While somewhat simplistic sounding, the real power behind this feature is when you check the "Random" checkbox in the control panel.
Selecting Random allows arbitrary transformations on each object, within the range you set in the panel. That means that each individual object in your selection is modified differently, and this can be a tremendous time–saver when you need to fill an area with a somewhat random pattern.
figure 1.
In figure 1 above, I've started with a group of squares to use as my source objects. This set was created by placing a single square on the canvas, duplicating it, selecting both new squares, duplicating them, and so forth. Using the power of exponents like this, you can create a set of objects quickly. The colour variations were a simple matter of using the 'Blend Color' filters under Filter>Colors. Changing each corner point on the square to a different colour, I selected first the top–most horizontal row and applied the 'Blend Horizontal' filter. Modifying each of the four edges in this manner to create reference colours for each row, I then selected each row individually and blended horizontally.
figure 2.
Once I had a collection of objects to work with, I selected all of them and loaded the Transform Each dialogue. This is where the fun begins, the result shown in figure 2 above.
There are a couple of sliders for controlling the scale and offset, as well as an angle indicator. If random isn't checked, these settings are applied to every object equally, eg. changing the width to 150% of the starting value adjusts all objects selected by that amount. When random is checked, these values represent ranges for the transformations. If width is set to 150%, that means any object can be modified up to 150% of the original starting width, or anything in between the two. All objects are affected differently, but on the same scale. The scaling and angle ranges work much the same way.
figure 3.
Interesting things start happening when you use different shapes and repeat the process. There's also no reason to limit use of this function to just an array of identical shapes — any shape works, and you can of course mix and match freely. The only glitch I've found is that grouped objects aren't treated as groups; each object within the group is acted on individually. This makes it much less effective on anything but simple shapes, unfortunately.
In figure 3 above, you'll notice that each star is given space between it and the next. This is something that had to be done manually after applying the transformation. The function doesn't distinguish between objects, and overlaps are fairly common. Sometimes this is desired, sometimes it's not. Adjustments are inevitable when the space is needed, but lucky they're not too tedious. Well, at least not as tedious as creating each shape individually and transforming it by hand at any rate…
Transform Each is a powerful tool, and one of those simple little tricks that can prove to be so effective time and again.


text:
Jason Marsden
Animation Animation News Anime Anime News Bandai Bandai Tamashii Darkon633 dc comics Disney Dragon Ball Featured Gaming Gaming News Hasbro Hero Club Herotaku Kamen Rider Live-Action Lucasfilm Marvel Marvel Comics Microsoft Nintendo Nintendo Switch Playstation 4 Power Rangers Premium Bandai PS4 review S.H.Figuarts sentai Sony Star Wars Steam Sunrise super sentai Toei Toei Animation toku Toku News tokusatsu Toy News Transformers Walt Disney Xbox One
Static Shock Complete First Season DVD Release Announced
Warner Brothers has announced that they will be releasing the Complete First Season of Static Shock via Warner Archive. The set will be released on March 28 priced at $24.99 SRP. Meet Virgil Hawkins, a mild-mannered teen in the wrong place at the wrong time when a chemical explosion rocks the streets of Dakota City – changing him from supergeek to super-hero. Based on the Milestone/DC Comics property, this animated series about the adventures of the first African-American teenage superhero follows quick-witted Virgil, who finds himself imbued with electromagnetic superpowers after being exposed to a mutagenic gas.Read More


text:
Total $0.00
Industry Resources
GCommerce is a strategic digital marketing company focused on the hospitality industry. Over the past fifteen years we have developed a set of core beliefs that guide our work and deliver proven results. We believe that strategy is important, and should guide our work. We know that no two resorts or hotels are created the same, and that our efforts should be unique for every client. All digital marketing channels should act in harmony to maximize performance.
GCommerce Expertise:
Why GCommerce?
We are a digital marketing company that thinks a little differently. With our roots in hospitality we understand your language. Ultimately, we improve asset value by driving revenue and earnings. We achieve dramatic results by specifically tailoring our strategy based on our clients' current position and where that client ultimately wants to be. Digital is our canvas, and the only limitation to this service is our imagination. GCommerce's well thought out strategies draw their strength from the synergy of multiple disciplines working in concert with each other to drive unprecedented revenue for our clients.
Key Differentiators
Built on the belief that one-size-fits-none, GCommerce strives to eliminate the cookie-cutter approach to digital marketing. Catering to a wide variety of clients in the hospitality and tourism industry, GCommerce provides a customized, strategic, and client-focused approach to digital marketing. Services provided include but are not limited to search engine optimization and marketing, website design and development, display advertising, email marketing, and social media advertising and consultation.
Boasting a robust and diverse clientele, GCommerce serves at the pleasure of its clients, which include industry-leading hotel management groups, luxury and boutique hotel brands, resorts and casinos, franchises and independents, and more. No matter the scope of work, GCommerce remains focused on delivering a customized approach and incredible customer service to all its clients.
Focused on helping you discover the efficient frontier of digital marketing, GCommerce is waiting for your call. Contact us by phone at 435.214.5100 or email at email@example.com
For more information, please visit www.GCommerceSolutions.com.
email@example.com /
GCommerce Honored With Two Adrian Awards for Outstanding Travel Marketing
February 5, 2019
Five Diamond Rancho Valencia Resort & Spa Partners With GCommerce
October 5, 2018
How Much Should I Spend on Paid Search for My Hotel?
October 19, 2017
Drive Direct Revenue with Paid Search Audience Targeting
October 10, 2017
How to Be Successful with Google Hotel Ads & Hotel Meta Search
August 17, 2017
5 Perks of Using Search Keywords in Display Advertising Targeting
August 10, 2017
How Your Hotel Can Win in a Mobile First World
July 6, 2017
10 Search Engine Marketing Trends Hotels Need To Know In 2017
June 29, 2017
Improve Organic Search Performance with Structured Data
June 27, 2017
GCommerce Hosts Exclusive Travel Trends Event With Google and Other Top Industry Leaders
May 23, 2017
% New Sessions Missing - Change May Be Coming To Google Analytics Default Metrics
April 17, 2017
GCommerce Increases Vantage Hospitality's Paid Search Revenue by 75%
March 23, 2017
GCommerce Debuts New Website with Innovative No Strings Attached Program
March 14, 2017
HSMAI to Honor GCommerce Solutions With Bronze Adrian Award for Travel Marketing Excellence
December 15, 2016
The Newly Redesigned Nine-Ten.com is a Perfect 10
August 18, 2016


text:
Australian Broker TV brings you closer to the industry's
most influential leaders and thinkers. Click on the videos below to watch the interviews:
Recently, with property on the move again, there has been more discussion than ever around the activities of property spruikers. This week on Australian Broker TV we speak to Ben Kingsley of PIPA who urges caution but maintains that investors should not be put off.
Video transcript below:
Anna Temple, Australian Broker TV
Anna Temple: Recently with property on the move again discussion around the activities of properties brokers is on the rise. Ben Kingsley of Property Investment Professionals of Australia just cautions, maintains the investors should not be put off engaging with a legitimate broker.


text:
Bloom is currently on sale in larger Superdrug stores in the UK, and very lovely it is too. Its a bit expensive (or perhaps it just feels too expensive to be on a poxy stand) but it seems to be generally quite a pleasant and inoffensive brand.
I got these two Bloom Cheek tints in Bronze and Rosie (Tan and Rose) a while back:
They Say:
Bloom's lightweight, quick-drying Cheek Tint gives cheeks a healthy hint of colour. Its non-greasy formula is easy to apply and
blend, and won't clog pores.
They come in squeezy tube type applicators, with brushes on the end. The best applicator for this kind of thing? Mmm its not bad you know? Its better than the Stila pens which I always end up clicking too much product out of.
Bronze is quite a yellow ochre type bronze – it rubbed in fine but it is a slightly odd shade. I wonder how this would fare of fair skinned ladies…
Rosie is a pink – neutral, not very offensive, quite easy to wear. Not outstanding but its nice.
Once this dries (quite quickly) it leaves a light, long lasting stain. However – it is very sheer. The colour is buildable but its very liquid.
Rosie on my cheek – its quite natural:
As a stain on my lips its not up to much – its just too liquid without enough pigment to make a real difference. Its also a little drying once its set:
I got these when they were half price in Superdrug (£6) and they are fine for a on the go top up but by no means the best gel or cheek tints I have tried.


text:
Red Hat 9 Offers Continuity, Transparency for Users
One Distro, Many Users
Let's be honest--when Red Hat releases a new version of its distribution, no one really expects it to fail miserably. Reviews of such releases, while not exactly pro forma, have begun to take on an air of "oooh, look at the all the cool new features," with the occasional smattering of "this feature did not work quite right."
Every once in a while, you get a review from someone who has got a bone to pick with Red Hat (or any other distro) and they take the developers to task for some real flaw that may or may not be important in the grand scheme.
Red Hat 9 could be just another distro out of North Carolina that rakes in these kinds of reviews, and I could be one of the reviewers that does it. But as I have worked with Red Hat 9 over the last few days, my initial impressions are that it might be a disservice on my part to just toss out another such review. Because as I use it to perform the multitude of tasks needed to run LinuxPlanet and Linux Today, I find myself thinking that this version of Red Hat has actually managed to almost become exactly what Linux distributions should be.
It would be useful to explain how I approached this review to understand this conclusion. For the past year, I have been using Red Hat 7.2 pretty much exclusively during my work hours, with brief excursions with Yellow Dog 2.3 when I take this show on the road. Before that, I flip-flopped between Red Hat and SuSE distributions. Getting to the point where I can use Linux exclusively for 100% of my work was not something that just happened overnight. Getting the browsers just so, and all the tools working in the text editor, beating back the spam with the mail client (a 50-50 battle at best)--this was a gradual evolution of time and tweaking, of getting everything just right. This is not something that is indicative of Linux, but of all operating systems.
But one thing that has been unique to Linux, at least in my experience, is that upgrading Linux from one version to another can be one of the biggest pains in the neck.
Maybe I've been unlucky, but there have been some real humdingers of upgrading nightmares in my experience--usually unresolved dependencies that make old dependable applications into cranky, contenious little programs that usually need reinstalled at the end of the day.
There is, of course, the other path to take--dump everything and install a new version clean on a freshly formatted hard drive. But although data can be saved and moved from install to install, configuration settings for applications can't always be so easily duplicated. Not to mention that some applications have to be downloaded and installed anew.
All adding up to one big pain in the neck.
All of this hassle in my past experience is a big part of why when Red Hat 8.0 came out, I declined to install it on my machine. I had, at that time, just gotten everything working nicely with 7.2 and I was unwilling to erase my comforting little environment just for the sake of progress.
But when Red Hat 9 came out, I decided to forego my sense of comfort and get with the times.
From the very beginning, I had decided I was going to believe the documentation and install via the upgrade path, so I would not have to upset my delicate status quo. I approached this with a natural suspicion borne of being burned by other Linux upgrades in the past.
Red Hat 9 upgraded almost perfectly.
There were some glitches along the way--for some reason, Anaconda, the installation application, locked up in the install path choice-point screen, but on the next hard start, Anaconda breezed right by this step without incident.
I'm not going to harp on the install too much, because I really think we're past worrying about such things any more. With each new version, installs have become more and more stable and robust and no longer the Challange of the Ages to perform.
This version of Red Hat is actually my first hands-on experience with Bluecurve, the unified theme that Red Hat uses for its default theme for both the GNOME and KDE environments. I had seen dozens of screenshots, but nothing prepares you for the real thing of actually doing a double-take when you try to figure out which environment you're in. You simply cannot tell the difference between the two environments anymore with just a cursory examination.
The integrated presence of OpenOffice.org into both environments is most definitely welcome. Each of the office suite's applications is already in place on the panel, affording easy access for new and veteran users. For the e-mail client, the now-ubiquitous Evolution is in place on the panel as well.
Bluecurve, OpenOffice.org, and Evolution are all pieces of a large picture that the Red Hat Linux desktop is displaying these days: a picture of transparency.
In case you're wondering, I am not trying to be cryptic about this. But the ease of use factors than have been built into Red Hat 9 are signs that the Linux desktop is rapidly approaching the state it needs to be for widespread adoption in the enterprise and the home.
For instance, never has it been simpler for me to connect to my printer across the network. An HP OfficeJet g85, this has often proved to be a cantakerous beast for Linux (and Windows, to be honest) to handle. Drivers for this printer have historically been a big problem for users of all platforms but Red Hat 9's drivers are handling the printer with atypical aplomb.
Another welcome addition for me coming up from 7.2 was the presence of an on-the-fly screen resolution tool. Now I can just set my resolution as needed in the desktop environment without resorting to command-line edits or just using the X keyboard presets I created during the installation.
Red Hat Linux 9 9
Red Hat, Inc.
Now (Red Hat Network Members)
April 7 (Public)
- Skip Ahead
- 1. One Distro, Many Users
- 2. One Distro, Many Users


text:
We are a full service accounting firm for businesses and individuals. Everything from payroll to tax preparation. To learn more, click on a link below.
We provide business and individual consulting, financial planning, debt analysis and much more. Click on a link below to see what we can do for you.
Did you know we also offer insurance plans for businesses and individuals. From health to auto to homeowner and more. We got you covered. To learn more, click on a link below.


text:
WebDesignTC needed a new logo design and created a contest on 99designs.
A winner was selected from 79 designs submitted by 14 freelance designers.
This web site will gather profile of all companies working in IT & Telecom industry in what is called "Francophonie"
It will be a business platform as well as a source of information for software working in french language. Two directories will be valorized specifically: Learning and training software and open source softwares.
For information Francophonie is the french language community equivalent of commonwealth. This platform will include - Directory - Business platforms Some topics will be - Software - Education - Open Source
There is already an existing logo for the francophonie check it on google, perhaps it would be a good idea to use same colors. Please show me logo on both black and white background, logo only on black background will be eliminated. Shows logo in various position. Thematics must be international / multicultural/ exchange / francophonie.
Many proposition for the same logo.
Find out how a design contest works or learn more about our logo design services.


text:
More about Kompass?
Detailed data search and analysis
Company information
Company data
5 million Kompass
users globally
International business
How is the data updated?
The database is updated frequently by Kompass, it's global partners …and you!
Kompass team
Global team
of experts
A high
rate (usually
around 96%)
Kompass collects and publishes business information which can be used to assist with sales & marketing by B2B companies worldwide.
In addition to key company information (location, industry, size and executives), we are one of the few global business information providers to collect detailed data on the companies' business activity, as well as the products and services they produce or supply.
We continually update this data, which is collected locally within each country, in order to enrich depth & content and ensure it is kept reliably up to date.
In addition, we endeavour to make sure that key company information is collected from the companies listed themselves.
Therefore the information that can be made available is not limited to that which is available on the market.
We also make use of the advanced information technologies available to assist with data review, as well as traditional update methods (phone and email). Along with company's direct update contributions, these help to ensure that at Kompass we can provide the most reliable global business information available.
A collect at the root
1 500 000addresses
each week
NPAI Hard< 1%
Collaborative data update
Finally thanks go to our users, for helping to enhance the Kompass database by updating information relating to their company.
Through crowdsourcing, there are more than 25 000 updates, completed each year which are then validated by Kompass,


text: > The reason I ask is that i'm interested in setting myself a new > project. > I'd like to use a modded xbox to run linux and thus use as a PVR. I'm > aware that linux on the xbox with usb support is no problem. What I'd > like to know is are there any dvb usb devices apart from the old > nova/dec from Hauppauge. > > I'd also like know if anyone anyone else has done software mpeg2 > decoding (DVD or standard definition DVB) on linux with a celeron > 700/733Mhz so I know if that processor is powerful enough. > > All responses welcome. I have been using a Pentium III, 500 Mhz with 640 MB of Ram to decode mpeg2 from DVB-T, ADSL-TV (from the Multiposte of my french internet provider Free who provides TV with the rtsp-protocol) and also for DVD. The first two cases work very well to look TV on the computer screen, maybe 30-50 % CPU occupation. With DVD and 16/9 it works also but the CPU usage is a little bit more limit, there may be very very slight freezes from time to time. However if you have a DTS-track on the DVD and you want the computer to decode that plus the mpeg2 video than there is problem. The DTS-driver (which I used for vlc) is very very CPU-hungry, even with deactivating the video output I have nearly 100% of CPU-usage and with video it no longer works. However with standard AC3 tracks (Dolby Digital 5.1) there is no such problem. I have also a very old and simple graphics card, 8 MB of Ram and far below actual standards of performance. I believe your machine will be very okay provided you have enough memory (minimum 256 Mb, the more the better). However, I don't know what happens if you want to decode mpeg2 for a TV-analog Video/SVideo card (for a TV-connection). I suppose this will work but you should absolutely use a PCI card and no USB-device for this because with USB 1.1 this will eat up your band width which you may still need for an USB-DVB-T device. On my old computer the USB port is also 1.1 and I have also tested DVB-T with a USB-Tuner (an AverTV A800 USB 2.0 which compatible USB 1.1). In principle it works okay but USB 1.1 limits my bandwidth to about 900 KB/s (measured with a USB-hard disk). Normally DVB-T is well below this value, in my case in France it is about 4-5 Mb/s = 500-600 KB/s (here: Mb/s = Megabits/s and KB = Kilobytes/s and 1 Mb/s = 128 KB/s). However in one case, with 16/9 and one particular channel (M6 in France) the bandwidth was quite close to the maximum and taking into account normal bandwidth fluctuations in the mpeg-bitrate (this is never constant in time!) I had in this particular case (modest) freezes due to USB-1.1 speed limitations. Furthermore with USB 2 on a better computer you can access to a full DVB-T-Multiplex, record several channels in the same time. This usage is of course impossible with USB 1.1. Another problem with USB 1.1 is when you want connect a USB-harddisk and a USB-Tuner because they may share the bandwidth and this may not be enough to record directly on the USB-harddisk (this depends how many different USB-controlers you have but on an old PC there is probably only one even if there are two or more USB-ports). These are the kind of limitations you may encounter. In general the processeur seems okay to me but you can have only one full-speed USB-device (either harddisk or USB-Tuner). If you have a PCI-DVB-T card the situation changes and you don't have USB 1.1 limitation. Greetings, Klaus.


text: hi ya luc On Tue, 18 Jan 2005, Luc Vereecken wrote: > The first summer I had a failure rate of over 60%. Some motherboards the normal failure rate is say 5% or so for first 30 days or first year.. - if you lose too much more systems, than it's a vendor parts problem ( where you or they get their parts to build systems ) > failed, plenty of powersupplies failed, I had 10 brandnew disks that ran so > hot at times i couldn't put my hand on them at these ambient temperatures. > 5 of them failed in the first 6 months, the other 5 a few months later. the disks should be coool to the touch ... say no more than 30C for its operating temp ( hddtemp seems to be good measure ) - silly things like a $3 or $15 fan will keep a disk from failing, and use 2 of um to avoid single fan failure problem yyp.. after an AC failure, lots of disks will die within 2-3 months if some died during the ac failure c ya alvin


text:
Jared Clark Paces Canaries Past Sioux City
SIOUX CITY, IA -- Jared Clark homered and collected three RBI on Wednesday night, leading the Sioux Falls Canaries to a 5-3 win over the Sioux City Explorers at Lewis and Clark Park.
The Canaries (39-56) snapped a five-game losing skid and evened the four-game, home-and-away series that ventures to the Birdcage on Thursday night.
Clark quickly erased Sioux City's 1-0 lead in the second inning with a solo home run to the right of center, his 20th of the season. In the third, he knocked home Reggie Abercrombie for the go-ahead run.
The Birds used back-to-back doubles in the fourth inning by Anthony Trajano and Nick Van Stratten to push the lead to 3-1, and Marcos Rodriguez later drove in Van Stratten with a single for a 4-1 advantage.
Clark saved his biggest surprise for the seventh inning after Sioux City cut the lead to 4-3 on Sam Judah's two-run home run. With two outs and nobody on, Tim Pahuta banged a triple off the right field wall, narrowly missing a home run. Clark then laid down a bunt up the third base line, catching the Explorers defense off guard and allowing Pahuta home.
Clark finished 3-for-4.
Kyle Vazquez (3-4) earned his first victory as a starter this season, submitting a quality start. He allowed three runs, two earned, on just four hits in six innings. He walked three and struck out four.
The Canaries bullpen took care of the rest, shutting out the Xs over the final three innings. Kirk Clark, Chris Allen and Jack Van Leur pitched the seventh and eighth, and Alan DeRatt threw a 1-2-3 ninth for his 21st save of the year.
Preston Olson (1-6) took the loss for Sioux City. He gave up four runs in four innings on nine hits, walking one and striking out four.
Game three of the series is at 7:05 p.m. on Thursday at Sioux Falls Stadium.
Courtesy: Sioux Falls Canaries


text:
I love December. It's not just Christmas Day that I look so forward to, it's all the wonderful events, festivities and celebrations that lead up to the big day. The lights at night are so peaceful, thoughtfulness is on the rise and excitement fills the air!
I love December. It's not just Christmas Day that I look so forward to, it's all the wonderful events, festivities and celebrations that lead up to the big day. The lights at night are so peaceful, thoughtfulness is on the rise and excitement fills the air!
The other day while the kids were at their piano lessons, I had the opportunity to sneak a peak at a wonderful book their teacher had, Christmas Stories for the Heart. It shares a collection of Christmas stories from various authors. One, that particularly caught my eye, was called Daily Gifts by Charles R. Swindon.
"It's not too early to give some things away this Christmas. Not just on Christmas day, but during the days leading up to December 25." Mr. Swindon encourages readers to call these "daily gifts" our Christmas projects, and try one a day. He encourages readers to "make Christmas one long extended gift of ourselves to others. Unselfishly. Without announcement. Or obligation. Or reservation. Or hypocrisy.
I've added a few to his list. Here are some suggestions:
Turn off the television and talk.Enter into another's sorrowSmileLaugh a little. Laugh a little moreGive a tight hug.Take a walk with a friendKneel down and pet a dog.Read a poem or two to your mate or a friend.Apologize if you were wrong.Pay attention to people, in personLessen your demands on othersDo the dishes for the family.Sit on the floor and play a game with a kiddo.Say hello to someone that looks sad and lonely.Pray for someoneFix breakfast on Saturday morning.Give a soft answer even though you feel stronglyOffer to babysit for a weary motherSpeak kindly to a stranger.ListenMend a quarrelSeek a forgotten friendWrite a long overdue love noteDismiss suspicionGladden the heart of a child.Make or bake something for someone-anonymouslyBe gentle and patient with an angry personExpress appreciationFind the time to keep a promise
I love the idea of offering some of these gifts "without announcement" or without receiving recognition. Can you imagine the surprise and majestic feelings someone would have? Just to give that feeling to another would be grand! Giving of ourselves and sharing compassion ~ the true spirit of Christmas! Adding some "daily gifts" to your project list will change your life and the life of those around you~ spreading great comfort and joy. Give it a try! Enjoy the entire season. Merry Christmas to all!


text:
The document you want to download is protected by copyright. By clicking on 'Download' below, you confirm that you or your institution has the right to do so. Otherwise, please click on 'Go Back'.
Note that the definitive versions of all Eurographics papers can be downloaded at http://diglib.eg.org/. ACM SIGGRAPH papers can be downloaded at http://www.acm.org/dl/.