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Product Info Guide
Recommended Accessories
Key Features
- 30,000 BTU H-shaped burner provides quality cooking performance
- Heavy-duty cast aluminum casting is highly resistant to rust
- Sure Start ignition lets you light your grill quickly, easily, and safely
- Ceramic Moon Rok briquettes provide even heat distribution and minimal flare-ups
- In-Ground Post Included
This PGS A30 Cast Aluminum Grill features durable and permanent cast aluminum housing and a 30,000 BTU stainless steel dual-control H-shaped burner. The Sure Start electronic ignition ensures that lighting your grill is a quick, safe, and easy process. The 1/4 inch stainless steel rod cooking grids, ceramic Moon Roks, and porcelain coated steel Moon Rok tray deliver even heat distribution across 330 square inches of main cooking area. The 121 square inch warming rack provide additional cooking area. This A30 gas grill also includes one stainless steel side shelf and a 48-inch black in-ground post. Natural gas hose included.
Legal disclaimers and warnings
Product packaging, owners' manuals, installation instructions, and/or operating instructions may include more information than what is shown on our website. The content on our site is intended to be used for reference purposes only. Please fully read all included manuals and documentation before installing or using this product. WARNING for California residents: this product may contain chemical(s) known to the state of California to cause birth defects, cancer, or other reproductive harm.
Product Information
- Model Number
|Gas Grill Class
|A series
|Fuel Type
|Natural Gas
|Exterior Material
|Cast Aluminum
|Number Of Main Burners
|2 Burners
|Grilling Surface BTUs
|Infrared Main Burner
|Not Available
|Main Burner Material
|304 Stainless Steel
|Flame Tamer Material
|Cooking Grate Material
|Stainless Steel
|Cooking Grid Dimensions
|Main Grilling Area
|330 Sq. Inches
|Secondary Grilling Area
|121 Sq. Inches
|Total Grilling Area
|451 Sq. Inches
|Burger Count
|Rotisserie Burner BTUs
|No Rear Burner
|Rotisserie Kit
|Heat Zone Separators
|Ignition Type
|Continuous Spark
|Flash Tubes
|Grill Lights
|Spring Assisted Hood
|Includes Smoker Box
|Side Shelves
|Side Shelf Material
|Stainless Steel
|Side Burner Type
|Made In USA
|72 lbs
Manufacturer's Downloads
WarrantyBack to Top
PGS warrants the stainless steel cooking grids, warming rack, and upper and lower housings are free will be free from defects in material and workmanship for a lifetime. The stainless steel cart, stainless steel side shelves, Flare Guard radiant shields, and brass valve assembly are warranted for a period of ten (10) years from the original date of purchase. The stainless steel burner assembly are warranted for a period of five (5) years and the electronic Sure Start ignitor, all galvanized steel components and all other parts are warranted for a period of one (1) year from the original date of purchase. PGS grills also offer a ninety (90) day warranty when used in a non-residential, commercial, apartment or condo common areas.
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Questions & Answers (0)Back to Top
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Proposition 65Back to Top
California Proposition 65. The burning of gas cooking or heating fuels (and certain components contained in this product) generates some by-products which are on a list of substances known by the state of California to cause cancer or reproductive harm. California law requires businesses to warn customers of potential exposure to such substances. To minimize your exposure to such substances always oprate this appliance in accordance with our Use & Care Guide (owner\'s manual) ensuring you provide good ventilation when cooking with gas. For detailed information please see official California Proposition 65 website. www.p65warnings.ca.gov
Shipping & ReturnsBack to Top
Ship your entire order to your home for free, especially the big stuff! * Continental US only.When Will My Item Arrive?
Once shipped, items usually arrive within 3 to 5 business days. If your item is large it may ship via one of our third-party freight carriers (18-wheeler). If your order has an item that is shipped on a freight carrier, you will be contacted to schedule a curbside delivery time.
Anything under $49. ships at one low price. If your order increases, your shipping stays the same!45 Day No Hassle Returns
Return all new, unused and unassembled items in their original packaging, and we'll give you a full refund minus the cost of the original shipping AND return shipping.No Restocking Fee
Most companies charge a restocking fee. We think that is wrong.
About UsBack to Top
At BBQGuys.com we pride ourselves on being the grilling experts. From expert product reviews to free outdoor kitchen planning services, BBQGuys.com is dedicated to being your go-to resource for all things barbecue. Based in Baton Rouge with over 500,000 happy customers nationwide, we stand by our wide selection of grills, smokers, outdoor kitchen components and grilling accessories. Call us with any questions - we're here to help.


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A subdomain, occasionally referred to as a "canonical," and sometimes called a "third-level" domain, is another URL address that can be created instead of a Web site subdirectory. Whereas, a particular web page domain is a folder that contains the site files; a subdirectory is a folder contained within this main folder. A subdomain, on the other hand, is basically an alias, as any Internet user can enter the subdomain in a browser's address bar to view the subdirectory with which it's associated.
A subdomain combines a unique identifier with a domain name to become essentially a "domain within a domain." The unique identifier simply replaces the "www" in the web address. Yahoo!, for example, uses subdomains such as mail.yahoo.com and music.yahoo.com to reference its mail and music services, under the umbrella of www.yahoo.com.[1]
Unique identifier
This table shows the structure of a subdomain.
|3rd level
|2nd level
|1st level
The logic is that ".com" is the first level domain, "Conservapedia" (etc.) is the second level, and "www" or "http://" is therefore the third level. Thus, the domain name "conservapedia.com" is therefore a "real" domain name; however, "encyclopedia.conservapedia.com" would be a subdomain.
Machine names
Subdomains are sometimes used to identify individual computers, each having an IP address of its own. In that case, the term "machine name" is sometimes used instead of "subdomain." For instance, a company could have two servers called "marketing.somefirm.com" and "accounting.somefirm.com." The two computers would serve different departments, and contain different information, but share the same domain name.[2]
Organizational tool
In most cases subdomains are used to organize information with a website. For example, an on-line shop could use the subdomains "books.onlineshop.com," and "clothing.onlineshop.com," etc., to store related information together. An excellent example of a site that uses subdomains for this purpose is About.com.
A Web site that uses subdomains could have used subdirectories, for example "about.com/antiques/" instead of "antiques.about.com." But the use of subdomains allows for a company or the host of a domain to more easily move a topic to a dedicated computer if it turns out to be very popular. The larger a site is, the more likely this "scalability" could be an important benefit and factor for using subdomains over subdirectories. For smaller sites, however, subdirectories work fine; it may not need the two-hundred or more subdomains included in a hosting package. Subdomains are available only in Web Hosting and Merchant Solutions plans.
- ↑ What are subdomains?, Yahoo!
- ↑ Subdomains, Web Hosting

subset: commoncrawl


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CZ-27 pistol made under German occupation
The CZ-27 pistol was developed in around 1926 by Czech arms designer Frantisek Myska in an attempt to produce simplified version of the CZ Vz.24 pistol, chambered for less powerful 7.65x17 SR Browning ammunition (also known as .32 ACP) and suited for police and security use. It was put into production in 1927, at arms factory in Praha. Until the appearance of the famous CZ-75 pistol, the CZ-27 was one of the most sucessfult handguns produced in Czechoslovakia, with well over 500 000 guns of this type produced between 1927 and 1951. During the German occupation of Czechoslovakia it was manufactured for German armed forces and police as Pistole modell 27, or P.27(t) in short. It was extensively used by Czechoslovak police and security forces, and widely exported to many parts of the world.
The CZ-27 pistol is a simple blowback weapon. The barrel remains stationary when gun is fired, but can be easily detached from the frame during disassembly. To unlock the barrel, one has to pull the slide back and then rotate the barrel until it is free to move forward. The return spring is located below the barrel, around its own full-length guide rod. The firing mechanism utilizes an exposed hammer and a single action trigger. Manual safety is located on the left side of the grip frame, behind the trigger. To engage the safety operator has to push the lever down until it locks there, blocking the trigger and the sear linkage. To disengage the safety operator has to push the small button, which is located just below the lever.Feed is from detachable box magazines, holding 8 or 9 (depending on the period of manufacture) rounds of ammunition in a single stack.


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"The Talking Television" was inspired by "http://www.angelfire.com/80s/sixmhz/tvscope.html.".
If you have an old television, it can be converted into an oscilloscope!. I decided that instead of having waves of lines, I wanted lines that were free and random. The dangerous thing about this, is a television has enough electricity to kill you. The voltage is dangerously BIG (tinker at your own risk). I learned my lesson, I blew out an itouch experimenting. I still consider the project a huge success because the visuals change by pitch and intensity, and the patterns are always new. There is a 1/4 inch out on the side of the T.V so you can plug all kinds of electronics (guitar amps, record players, other T.V's, etc...)


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|Case Studies
on FLICKER
|Our Silent Epidemic
|- Why do children's fingers become permanently bent and twisted from video games, computers, and coloring?
|- Why do adults develop chronic back-shoulder-neck-pain, carpal tunnel, arthritic fingers, autism from
"stiff suspensions" shaking the embryo and "high effort steering" systems causing fingers to curve and twist?
|Bad Impact
Elizabeth 3 yr-Amish
|Video Gaming
|Bad Toys
|Warnings to:
|Report your adult and children's injuries to: The CDC - Unintentional Injury Group
e-mail: Grant Baldwin-Deputy Director email@example.com or firstname.lastname@example.com Phone: 404-488-1494
phone: 800-CDC-INFO (800-232-4636) TTY: (888) 232-6348, 24 Hours/Every Day
US Mail: Centers for Disease Control and Prevention, 1600 Clifton Rd, Atlanta, GA 30333, U.S.A. Attn: Grant Baldwin
Call your Congressman or Senator (Toll Free) using name or state at: U.S. Congress switchboard 1-800-828-0498 and ask them to contact
the CDC and request an investigation..
|Adult's Silent Crippling Arthritic Injuries from Driving Stiff "high effort" Steering Vehicles
|Free for private use or articles with our web site identified
|Amar Sawar, M.D.
Board Certification in:
Internal Medicine
Electrodiagnostic Medicine
Clinical Neurophysiology
Neuromuscular Medicine
Sleep Medicine
|Kaushik Raval, M.D.
"The efforts in identifying
a public health problem
that may need systematic
investigation and
action is commendable."
|Kenneth Granke, M.D.
Professor of Surgery
Michigan State Medical
|Arthritis is from wear, tear, and age. In our research, prompted by why our children developing arthritic fingers from video gaming, we discovered the root cause of
many forms of arthritis and why it becomes crippling, which is contained here in our site, and our free download able book "Our Silent Epidemic", Module 6
|Did you know todays stiff steering vehicles require our body to generate and deliver damaging impact forces that cause muscle-skeletal injuries?
If you can't turn the steering with one finger then arthritic hands will develop
|Adult steering injuries Module 2 of 6 Adult steering injuries
Adult Muscle and Skeletal Injuries and Chronic Pain from The High Resistant Power Assist
Steering and Stiff Suspensions on Todays Vehicle's
|Cause of Autism - Alzheimer's Module 3 of 6 Cause of Autism - Alzheimer's
A major factor in causing autism is the physical shaking of the uterus/embryo due to the stiff suspensions on todays vehicles.
The delicate brain and nerve tissues of the unborn (embryo) are injured from the physical shock loads caused by todays stiff suspensions and hard seat vehicles!!
The 17,400 shock loads (17,400 in 20 minutes, 8 million in 9 months) physically tear the soft tissue in nerves, cause premature birth,
miscarriages, brain function disorders, and physical deformities.
Embryos and new-born must be isolated from vibrations and shock loading forces.
Do not allow your baby to ride in a baby seat unless it isolates the baby from the bouncing/shaking from stiff suspensions.
Shock load impacts to a baby in the back seat is 5 to 10 times greater than the front seat.
|Download a Free Copy of Our Book Module 6 of 6 Download a Free Copy of Our Book
|Our Research Team Module 5 of 6 Our Research Team
|Texting Deformities
|CHILDREN'S WARNING: Your children's bones are too soft for some
repetitive motion forces that cause bone stresses which result in
per-arthritic curved fingers and twisted knuckles. Avoid Video Gaming
Equipment, toys too heavy for effortless two finger use, avoid toys with
button pushing/slapping.
|Do not purchase a vehicle unless you can turn the steering wheel with ONE FINGER at any speed
|Download Book - This may take 2 minutes to open -135 Megs
|Print an Index for Illustrations
|Knuckle Deformities from a Piano
|TV 25 Flint, Mi, USA
Dr. A. Sawar (2:11min)
|Children's Deformed Finger Injuries Module 1 of 6 Children's Deformed Finger Injuries
|Why was he ridiculed,
disgraced, and sent to
prison? Because he
dared to think
differently, and said
the sun did not revolve
around the earth, the
earth revolved around
the sun.
Nicolaus Copernicus
|* Now What ? Do we condone our children
developing arthritic hands in fear of the economy?
|Some case histories firstname.lastname@example.com Bay City, Michigan, USA
|Nicholas Negroponte and his "One Laptop Per Child"
Program (OLPC) Causes Children to Develop Arthritic Fingers
|Impala 30k miles
Permanent Injuries
Denied by GM
March 29, 2011
Autism was 1 in 88
March 21, 2013
Autism is now 1 in
every 50 children
|Mayo Clinic: Dr. Sanjeev Kakar: "Your research is correct; children are developing finger joint deformities from video gaming." Dr. Kai-Nan AN agrees "Yes,
material creep is present in bone mass." Mayo Clinic, Rochester, Minnesota Click for more information - Red Tape Delaying the Announcement?
|Major News
|Young Children's Permanently Deformed Fingers from Video Gaming, Computers, Texting, and Toddler Coloring.
Why? Their Small Developing Bones are Too Soft. Some will be unable to perform physical work as adults.
|Curved Bones and Deformed
Knuckles from Clarinet
Lessons in 5th Grade
|100 Million
suffer from
chronic pain.
|635 Billion Annual
cost of chronic pain,
in treatmenta and lost
|4.6 Productive
time lost weekly
by 13% of
workers due to
|26 Million
Americans report
frequent back
|42 Million
Americans say
pain keeps them
up a few nights a
Good Breaking News 10-7-13
NOTE: Mercedes-Benz is eliminating the "stiff suspension" that causes autism and eventual Dementia & Alzheimer's
See videos of Mercedes-Benz's new Soft Suspension that will prevent shock-loads from reaching the embryo/uterus.
It will end the shaking of the baby and adults head 200+ times a minute. miketomich
#1 Mercedes New Suspension Eliminating Passengers from Shock-loads and AUTISM.
Mercedes started the autism with the stiff suspension in the 80's. Now they are slowly converting back it avoid law suits.
|September 2013 - Mercedes-Benz announced the introduction of a new electronic soft-riding-vehicle-suspension-system that eliminates the
present stiff/shock loading ride. Soft suspensions will prevent damaging shock loads traveling through the human body, clashing our joints, and
soft tissue which our research attributes to the cause of autism, degenerative disc disease, fibromyalgia, hip replacement surgeries, depression,
mood swings and many issues caused by shaking the human body over seven millions times in nine months.
Video: Mercedes-Benz NEW Ride Control See Module 4 below for more information.
|Video of Good Easy Steering
|Initial Letter to Various Fraternal Order of Police Lodges - examples of injuries to watch for and how to prevent them
|Posted 1-22-14
|Posted 1-22-14
|Mayo Clinic: Dr. Sanjeev Kakar: "Your research is correct; children are developing finger joint deformities from video gaming." Dr. Kai-Nan AN agrees "Yes,
material creep is present in bone mass." Mayo Clinic, Rochester, Minnesota Click for more information - Red Tape Delaying the Announcement?
|Warning to Schools and Day Care Module 4 of 6 Warning to Schools and Day Care
|The Honorable Terry Brown, House of Representatives warning to Huron
and Tuscola County Schools.
|"There is emerging research that indicates that the repetitive motion,
dynamic forces used by children in video gaming and other similar activities
may lead to physical trauma to children's developing joints and bones."
|Your Child's School and Day Care Center is causing children to develop childhood arthritis. Bent and twisted fingers like adults injuries from driving
because of repetitive white-knuckle video gaming, repetitively pressing keyboard and mouse buttons, and destructive forces generated in
during lengthly time coloring with wax crayons (see Section 3, pages 3-41 to 3-51, and 3-65 of our free downloadable book in Section 6).
| Fox News
Warning 6-23-16


text:
Channel in the dark as purdah sets in
Pre-election shutdown begins today
The pre-election shutdown period known as purdah has set in today, signalling the beginning of an uncertain period for some in the channel. Parliament was dissolved at midnight, marking the six-week...
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All the key info as IBM stutters in Q1
Big Blue dragged down by legacy businesses again, despite cloud surge
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text:
The World Cup: Everyday PIM Malpractice
If you're an electronics-loving football fan, you may have used the World Cup as an opportunity to finally buy that coveted new large-screen TV. If you did, you weren't the only one: In fact, UK retailer John Lewis reported a 47% sales increase on televisions the week of May 31. And, almost without exception, electronics retailers designed special World Cup offers to attract customers.
The World Cup drives a profound number of purchases. These purchases expose a stunning amount of what I call "PIM malpractice." When there is a sudden surge in online product comparisons, the companies with effective Product Information Management benefit the most. The companies that lack effective PIM lose revenue.
It should be a no-brainer for electronics retailers to make sure their TV category product information is complete and up-to-date. After all, attributes sell. Unfortunately, many retailers still don't understand the importance of consistent, accurate product information. Product information does sell – especially online, where shoppers go for product research. This is especially true for a spec-heavy tech purchase like a big-screen TV.
Product information has enormous power. When it is accurate and consistent, it has the power to excite and guide shoppers. When it is incomplete or incorrect, product information can create deal-breaking insecurity.
A case in point:
Let's for a minute replicate the customer journey to that new TV set. Say you want a new HD TV with a 50-inch screen. Your budget is around $1,200, and your spouse said "yes" under the condition that it's wall-mountable. You visit an online shop and filter your search by price and screen size. The result: no fewer than 25 models to compare. This is what a detailed view of one of them looks like:
Apart from the prioritization of essential information (shouldn't the screen size be displayed above the model number?), it seems pretty impressive. There are lot of information and explanations (hidden behind the information icons) that make the product take shape in your mind and help you learn what to look for. The only thing that seems to be missing is information about the wall mount…
What we can learn from the comparison function
Once you look at a few products in comparison, however, the situation changes quite a bit. Say you choose four TVs from your filtered search results and hit "compare products." This is what your screen looks like now:
The comparison view reveals the kind of product information deficiencies that inhibit purchase. Here's what we can learn from it:
- Data on all four products was incomplete. One of the first things the customer sees is a whole lot of grey: product information that's missing. The single product view only gave the available attributes but the comparison function highlights the gaps. And gaps are bad, because…
- The product with the most attributes sets the standard. Customers look to product information to tell them what they should know. Missing information or an attribute that isn't defined always look careless – and what's worse, it makes the product look inferior: If they haven't bothered, they can't think too much of the product, right?
- Product information doesn't simply exist, waiting to be written down. You have to create it. When it's designed well, it sets standards and helps your products rise above the competition.
- The unanswered question is always the most prominent. You still don't know about the wall mount… And as a matter of fact, whatever far-fetched detail customers may want to know – it will always be the first thing on their mind. It may be their dream TV, but unless they know that one thing, they just can't buy it.
So when I said in the beginning that brands and retailers don't understand that product information sells, this is what I meant:
Modern shoppers always research product information, especially when making a major purchase such as TV set. That product information isn't neutral, or nice-to-have. It is the product. And it needs to be treated with the same care as the product itself.
Retailers need to create their own standards: It's not enough to just display supplier information. Rigorous quality control and information completion processes need to be in place if retailers want their product information to be better than the competition's.
Great PIM comes from the customer's point of view. When designing product information, the customer is the ultimate guide. Immersing oneself in their situation, and investing time and the combined brain power of category experts to think about anything they may want to know – it may the make or break of a sale.
That's one recent example in one product category. But the PIM problem can be seen across every retail category and on virtually every retail website or mobile app.
To brands and retailers that get it right, multichannel product information management is a secret advantage. It's also the best way to leap out of the product comparison tables and into the shopping carts.
Imagine the wall mount is there and helps to convince the mainly male target group. Which information is needed to tailor digital marketing to different personas and target groups, depending on teams, nations, locations or what information can help to personalize marketing to people which are maybe not keen on football. What would attract them?
What do you think? Did you find the right large-screen TV for World Cup watching? The World Cup shows everyday PIM malpractice. We'd love to hear about your most sought-after but least-found television attribute! (And for more on the importance of product information, check out our ebook "The Informed Purchase Journey.")


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Squarespace, a big New York website builder, says it's chosen Portland for a major customer-service office to open this spring. The company plans to hire dozens of employees this year and "hundreds" within the next few years.
The Oregonian reported last month that Squarespace was scouting Portland sites and had posted job listings that indicated the company might put a big customer care operation in the city. Chief operating officer Jesse Hertzberg was in Portland last week to see prospective offices in person, and confirmed Squarespace had settled on Portland.
"We plan on growing this operation very quickly. I think we'll be 80 people by the end of the year," he said, and a few hundred in the next few years.
Squarespace opened a customer-service office in Dublin, Ireland last summer, to supplement existing customer care operations in the New York office. Hertzberg said the company considered several cities in the Pacific time zone, narrowing the list to Seattle, Portland and Las Vegas.
Seattle and Portland seemed the best cultural fit, he said, and Portland won out in part because operating costs are lower, and in part because the competition is a little less fierce for skilled workers.
Squarespace is the latest in a long string of tech businesses to choose Oregon for a remote site. Intel, Hewlett-Packard Co. and Xerox have long operated in the Silicon Forest.
In recent years a new generation of company has set up offices here, too – notably eBay, Salesforce.com and San Francisco startup New Relic. Another San Francisco startup, Airbnb, is also scouting Portland locations for a customer-service outpost and has job listings posted.
"We've got this great ecosystem, and we've got a really strong base of talent that allows these companies to grow," said Jared Wiener, business development coordinator with the Portland Development Commission.
In addition, he said, Portland stands out for its proximity to tech hubs in Seattle and the Bay Area, and a comparatively low cost of doing business.
The PDC first connected with Squarespace through Bill Lynch, Jive Software co-founder and now the agency's volunteer entrepreneur-in-residence. Lynch's wife Jenn, a Portland venture capitalist, went to business school with Hertzberg.
So the PDC is helping Squarespace scout locations; Wiener said they've discussed incentive programs, too, which could help Squarespace customize whatever location it chooses.
The new Squarespace office will open in temporary quarters in March or April, according to Hertzberg, and move to a larger site shortly afterward. He said Squarespace is looking seriously at three downtown locations for a long-term lease, sites that reflect the urban character of the company's headquarters in the trendy SoHo neighborhood in lower Manhattan.
The biggest challenge has been finding a place that can accommodate the company's planned growth. Squarespace will open need about 10,000 to 15,000 square feet initially, but plans to grow to 30,000 to 50,000 square feet in short order.
Rapid growth has been a problem for some of Portland's homegrown startups, too. Vacancy is low, and landlords are willing to wait on long-term tenants.
Companies including Jama Software and Elemental Technologies have spread their employees among multiple sites while searching for a single space that could accommodate their growing workforces.
Telecom company Integra announced last year that it will move to the former Hewlett-Packard Co. campus in Vancouver, consolidating its employees into a single facility after years of having workers scattered among three buildings in the Lloyd District.
But Squarespace is also exactly the kind of tenant that Portland's biggest landlords are trying to land as law firms and financial services companies, the real-estate market's traditional heavyweights, are in contraction mode. And tech companies, especially those coming from New York or San Francisco, are usually willing to pay top dollar by Portland standards.
That has some of Portland's flashiest office towers tearing out ceiling tiles and corner offices to try and recreate the feel of a repurposed warehouse.
"I refuse to even go inside," Hertzberg said. "We're looking for something unique."
Hertzberg is primarily looking at downtown turn-of-the-century or midcentury office towers. He's also toured properties in the Pearl District, but said there's little available that matched the company's aesthetic.
Squarespace will hire a director and manager to run the Portland office and oversee a staff that Hertzberg hopes will replicate the diverse backgrounds of the company's customer-service employees in New York.
"We hire on personality," he said, often pulling from the retail industry or from creative jobs.
"Our office in New York is full of writers and musicians and artists and photographers," he said. "There's a lot of that here."
Squarespace's technology builds and hosts websites, but Hertzberg said prospective employees don't need technical skills.
"The training is pretty comprehensive," Hertzberg said. "You don't need to have a CS (computer science) background. You don't need to know JavaScript. We will teach you a lot."
Clarification: This article has been updated to note that Squarespace's Dublin office opened last summer.


text:
Mumbai should slap an entertainment tax surcharge on the rest of India. Whether from box office or botox office, its celebrities have been working overtime to serve an important social agenda. They have diverted attention from such potentially disruptive issues as racist pigs, swine flu, and BJP rats deserting the sinking lotus. Thank heaven for big girls with big rocks, and big boys with big uhmm.
And, btw, don't miss the irony of a Shiney getting tarnished at the same time as the demolition of the party which gave us 'India Shining'. In both cases, it was an in-house operation.
Sheetal's bling became just a blip on our attention as soon as her bail took the interest out of her story. After all, what use a high-life crime without the low-life grime? But not to worry. Mumbai entertainers are regular troupers. As soon as one rises out of the mess, another falls with twice the thud.
So, Sheetal's saga may have become as flat as last night's Bubbly, but a Bunty in Shiney armour has galloped into the breach. Like 'Radio Mirchi sunney waley', our mirch-masala merchants ensure that the greedy janata is kept 'always khush'. And, you can count on them to have their make up on even when they lose face.
Perhaps the next blockbuster will be 'Sheetal & Shiney'. It would have all the elements of a super-hit formula. Only one has sex and violence, but both are riddled with the tantalising 'Did She or Didn't He?' Both stories are rife with family drama. And the courtroom variety won't be lacking either because, while one party for sure got cheap thrills, both need expensive lawyers.
For all the love-to-hate stigma attached to Page Three, it certainly pollinates the imagination. In fact, its butterflies don't leave much to that entity. They let it all hang out so that our tongues can salivatingly do likewise. Don't scoff at them. Thank them instead for a twofold favour. They allow us to get away from the humdrum reality of beds unmade and bills unpaid, and to escape into a sanctimonious smugness.
In fact, the undeodorised janata is spoilt for choice every time there is a celebrity outbreak. Take the Shiney scandal. This pop-porn has come in a trio of flavours: caramel, butter, and hot 'n' sour. There's the three-handkerchief heartstring-puller of his stand-by-my-man wife, the makhkhan-won't-melt-in-our-mouths injured innocence of the industry, and the searing atrocity itself. Befitting our multiplex culture you can even have a combo of all three.
Secondly, it has provided the public with n number of choices on what to get enraged about. You can pick from a) violence against any woman; b) exploiting a vulnerable woman; c) violating the sanctity of a marriage; d) turning the casting couch into one's own living-room sofa. You can hook your outrage on gender or class or both.
And, finally, if you choose to be snooty rather than sensitive, you won't ask "How could he do this to a maid" but "How could he do this with a maid?" Such snobbery would apply whether it was rape or consensual sex. Yes, there are as many different ways of letting down your class as there are of revealing that you have none at all.
* * *
Alec Smart said, "Why do passengers love Mamata more than Lalu? Because she's going to provide every sweet while he didn't even serve Rabri."


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Tuesday, September 26, 2017
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Burned: Kevin Garnet Tells Craig Sager To Burn His Ugly a$$ Suit!
Kevin Garnett Tells Craig Sager To Burn His Suit (ALL STAR 2009)
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This new, regular feature on NHLNumbers will share interesting stats-related posts from around the web almost every day.
Welcome to edition number five of the rebooted Number Chains. In this space you will be able to find the best analytical hockey writing from around the internet on a close-to-daily basis. Subject matter will include statistical evaluation, financial analysis, contractual issues, and (sometimes) closely-related tangential works. If you have something you would like to submit for a future edition (your writing or that of someone else) feel free to send it to me via Twitter @JoshL1220 or leave a comment.
Happy Halloween. Our semi-daily look at analytical hockey writing begins with a week old piece from draglikepull at Pension Plan Puppets. The post analyzes the negotiating tactics of Gary Bettman in his negotiations with the CBC during the last Hockey Night In Canada negotiations and compares the situation to that of the current lockout. His ultimate conclusion is somewhat comforting, if not frustrating:
This is how Bettman negotiates: he always acts like he's prepared to walk away right until the final possible moment. Even if he knows he's prepared to make concessions he fights to gain more anyway because it's always worth the shot that the other side will cave. But in the HNIC negotiations with the CBC, Bettman came down on the asking price of the deal and gave in on most of the tertiary considerations. And that's a lot like what the NHL's CBA negotiations are looking like right now too. I think there will be a deal in place before November is done. We'll likely have NHL hockey by December.
The last part seems questionable at this point, but the meat of the article gives enlightening perspective to this entire charade. More lockout news, statistical analysis, and laughing at Houston after the jump.
* Puck Daddy brings us two posts today. The first is a further evidence that the city of Houston should never get a hockey team. They apparently stop selling beer at Aeros games after the third period so no one will have alcohol with them during the fourth period. Interesting strategy, for sure. Puck Daddy also got NHL fans to complain about the lockout in full force. What we learned is that Puck Daddy readers are both very artistic with pumpkins and wordy.
*On Tuesday the players received their escrow checks for last season.The payments breakdown as such:
The escrow payments amount to about $80,000 for every million dollars a player earned—before deductions. For example, New York Rangers forward Brad Richards grossed approximately $960,000 after being the league's highest-paid player last season.
* Rob Vollman published his final piece projecting points for the Maple Leafs at The Leafs Nation.
* Corey Pronman's latest at Hockey Prospectus lists the top 50 players under the age of 23.
* Finally Jesse Spector considers the seemingly crazy idea that a rebel league could spring up during the lockout made of actual NHL teams rebelling against the NHL. It's pretty long, but well worth your time.
Follow Josh and NHLNumbers today.


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Each day at 4 p.m., the trawlers come back, alive with giant bass, mackerel and squirming eels, at the end of a food chain that links family dinner tables to poisons in the sea.
SETE, France − Each day at 4 p.m., the trawlers come back, alive with giant bass, mackerel and squirming eels, at the end of a food chain that links family dinner tables to poisons in the sea.
Besides mercury which can damage the brains of fetuses and young children and can affect healthy adults, there are PCBs, dioxins and flame retardants with unknown long-term effects.
It is the same from ancient Mediterranean towns like Sete to big city docks in Asia, America's Gulf ports, or harbors in seemingly pristine Nordic waters. Industrial waste permeates every ocean.
Although rich in omega-3 fatty acids vital to the heart and brain, many fish contain toxins that build up over time in the human body.
And as this paradox worsens, scientists express alarm at what they call inadequate government warnings, lax attitudes toward fishing industries, and insufficient data to assess the risks.
The problem is that authorities are caught between wanting to inform the public while not damaging consumer confidence in a healthy food source, says Sandrine Blanchemanche, a sociologist with France's prestigious National Institute for Agronomic Studies.
"People overreact to these things, so you have to be careful," she said. "You don't want large numbers giving up the benefits of fish while you damage the whole fishing sector for no reason."
But marine biologists, toxicologists and physicians interviewed by The Associated Press on three continents share an all but unanimous view: better public knowledge is essential.
Jane Hightower, a San Francisco internist whose 2002 study of mercury in her patients brought the issue to wide public attention, said she is still uncovering what she calls shocking new evidence.
"We are just starting to realize as physicians the effects of this chemical soup we live in," she told The AP. "We really have to ask, why are we poisoning ourselves?"
She called some areas especially troubling because of contamination trapped by ocean currents. "The Mediterranean is a toilet that no one has bothered to flush," Hightower said.
The crisis transcends borders. Three-quarters of fish eaten in America and Europe are imported, often from countries with no controls. Authorities on both sides of the Atlantic make only minimal spot checks.
"Pollution is a worldwide problem, and our fish comes from around the world," said Kate Mahaffey, toxins expert at the U.S. Environmental Protection Agency. "No one is immune."
With contaminants in fish, she warned, "there is a very narrow range between levels with no effects, subtle effects and severe effects."
At its extreme, Mahaffey said, mercury poisoning causes an illness similar to cerebral palsy.
"As we find out more and more about mercury, we see health effects that have not been taken into account," she said. Studies continue into the impact of PCBs and dioxins, she added. "We just don't know."
Specialists accuse commercial fishing interests of minimizing the threat and using their political clout to oppose broader studies or warning labels.
Industry associations routinely reject such charges. But most of the world's catch comes from independent small fishermen and trawlers which easily evade international control.
"Information is scarce, and there is little interest in getting more," said Sergi Tudela, a Worldwide Fund for Wildlife (WWF) fisheries expert based in Barcelona, Spain.
Governments tend to be more preoccupied with protecting national quotas against efforts to curb catches and preserve fish stocks, and are reluctant to spend the large sums necessary to test adequate samples in open waters.
Even when data is convincing, experts say, action falls short. Despite the clear risk from such long-lived large fish as swordfish, shark and types of tuna, public warnings are often not spelled out.
Smaller fish rich in fat can also be hazardous, although they are seldom flagged. Norwegian researchers say Baltic Sea herring carry up to 10 times as much contaminant as salmon. A growing trend toward fish-farming adds new dangers, according to the specialists. Some European operators still feed Baltic herring and other suspect cheap fish to farmed salmon, they say.
Most experts laud the work of the EPA's Mahaffey who in April published a study of 1,709 American women. She found blood mercury concentrations were seven times higher among women who ate at least nine fish or shellfish meals a month than among those who ate no seafood at all.
Mahaffey calculated that more than 300,000 babies born each year in the United States "may have been exposed in utero" to methyl mercury concentrations higher than those considered to be without increased risk of adverse neurodevelopmental effects."
Hightower likened the fight to post alerts at fish counters and on some canned tuna to the controversy over warning labels on tobacco.
"These conflict of interest issues have been with us forever," she said. "It always comes down to science versus industry. People have a right to know and the right to ignore. That is informed consent."
California's Proposition 65 enforces labeling of potential risks, but warnings are less clear in other states and absent entirely in most other countries.
The European Union offers guidelines to consumers on a complex Web site, but policy is left to its 25 member states. Britain and France, among others, set recommendations. But none posts warnings.
There's far too little data on which to base advisories, said Daniel Cossa, senior marine scientist at Ifremer, the official French agency for oceanic studies.
In a 1994 paper, he demonstrated that methyl mercury has permeated the world's oceans and that 5 percent of it ended up in fish.
About half of the mercury occurs naturally, he said. But the rest, along with PCBs and dioxins, comes from factories and other dumping. He urged governments to keep a closer watch.
A decade later, Cossa said in an interview that very little monitoring is done. "It is a matter of resources," he said. "We don't have them."
Last April, the U.S. Food and Drug Administration finally coordinated its warnings on fish with more stringent EPA guidelines. But Vas Aposhian, a University of Arizona toxicologist, quit the FDA's advisory panel, charging that its advisories fell short of the risk and that not enough controls were in place.
"The FDA is falling down on its job of protecting young women and children," he said from Tucson. He said FDA inspectors spot-check only a tiny sampling of fish imported into the United States.
Twenty percent of seafood consumed in America is canned tuna, a cheap source of protein, Aposhian said. He said some panel members wanted albacore tuna on the list of fish to avoid but industry pressure blocked them. Instead, the FDA sanctioned six ounces a week of albacore.
After the FDA announced its new guidelines, Richard Wiles of the Environmental Working Group, an advocacy and investigative organization, told the San Francisco Chronicle: "If American women follow the FDA's advice and eat a can of albacore tuna a week, a bad situation will be made far, far worse."
In Europe, other specialists offered a similar analysis, noting that a salade nicoise or a tuna sandwich were common campus fare.
David Acheson, FDA director of food safety, told the AP, "We have to make decisions with data and resources we have, and we do a lot." But, he added, "As a scientist, I would love to have more data."
The FDA warns consumers off shark, swordfish, king mackerel and tilefish. It advises no more than 12 ounces a week, or two average meals, of fish low in mercury, including salmon, light canned tuna, pollock (in fish sticks) and shrimp.
In Brussels, EU spokeswoman Catherine Bunyan echoed Acheson's remarks. Although authorities regard fish safety as vital and checks are made, she said, all food must be monitored with limited resources.
She noted recent warnings by the EU's Rapid Alert System, including cadmium found in swordfish from Indonesia and high levels of mercury in swordfish from Ghana.
Environmentalists argue that rather than demonstrating a security network, such cases suggest many more tainted fish enter the EU undetected.
Dangerous pockets of pollution go unnoticed, said WWF's Marek Esmark in Norway. Fish is too important to be cut from diets, she said, but consumers must know their risks.
"Eat your fish," she concluded, "but insist on labeling."
WWF's Sergi Tudela wishes the industry would help scientists restore confidence in their catch, but said small fleets don't take the long view. "It'd be nice if they checked for contaminants, but that's not the real world. That's science fiction."
In Sete, the conflicts are apparent along the ancient docks. Trawler crews rush to pile their fish into bins for "la criee," a colorful old-style fish auction.
"Nothing is wrong with our fish — it's all perfectly healthy," said Tony Courtesol, skipper of the 170-ton Antoine Rachel, summarizing the view of a dozen fishermen interviewed.
But Claude Alzieu, a specialist in pollutants at Sete's Ifremer station, took a different view.
"I'm ready to believe what the fishermen say," he put it, "but we should really know for sure. Even if it were sure, it is normal to keep checking. The truth is we just don't have enough evidence."
Mort Rosenblum, Associated Press
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Long ago lingerie was to be felt and not seen. It was bland and boring. The Honeydew Intimates Collection changed all of this. Full of bursts of color, wild prints and distinct designs, Honeydew products don't let a woman staring into her lingerie collection get bored. The Honeydew collection is a mix of functional, flirty and frisky whether putting on a bra under work clothes or throwing on a new pair of panties for a night out. Being girly never felt so good.
Honeydew was created by Benny Zafrani in Los Angeles in 2002. Zafrani started the line after many years in the fashion market with this family who owned and operated an intimates apparel line. He joined forces with his family to design a line of lingerie that defied the classic nude, black and white lingerie of yesterday. Though Honeydew has become a household name in the world of fashion, the company has stayed true to its roots. Zafrani's father, Motty is in charge of manufacturing, his mother, Riki is an editor at the company, and his brothers and extended family members work for the company as well. Keeping Honeydew playful, colorful and fashionable is the main goal for the Zafrani family. The family-owned business must be doing some right as Honeydew is now a presence in the global fashion market. The collection is now sold in over 2,200 retail locations and many online retailers.
Honeydew's signature item is the rumba boyshort panty with brightly colored ruffles. Sure to bring back the ruffled, frilly feeling of childhood, the luminous panties are not only bursting with color, but with comfort and elegance. The Honeydew collection is comprised of lace, nylon and soft fabrics in bras, panties, camis, loungewear and sleepwear. Nothing in the Honeydew collection can be called boring. This is one reason why so many celebrities are jumping on the Honeydew bandwagon. Drew Barrymore, Paris Hilton, Halle Berry and Jessica Simpson are just a few celebrities who enjoy the refreshing experience of a Honeydew intimate. The collection has been featured in fashion magazines like InStyle, Redbook, Shape and Vanity Fair.
Honeydew customers say they love the look of the ruffled panties that throws them back to childhood, but gives them a push of sexiness. Most say the pieces in the collection give them a sense of happiness from the bright colors and styles, but the best part is they are still comfortable and able to wear everyday clothing. Playful while being classic is what most customers love about wearing Honeydew lingerie. Customers warn you won't be able to buy or own just one piece because Honeydew is just too addicting.
Honeydew knows the modern woman isn't boring. She can be classic while still being bright and colorful. Honeydew boyshort panties combined with a cami designed in whimsical prints is just something that should be in every woman's lingerie drawer for that feeling of fun. The Honeydew collection promises to fill this woman's lingerie drawer with pieces that will make her feel classy, sexy and comfortable at the same time.


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Hmmm. The stock market is having a pretty good rally today. I heard John Steele Gordon predict months ago that if Romney won, the market would boom starting the next day. But markets anticipate: the rally would have started several weeks ago if Romney had a big lead. Maybe it starts today instead? I notice that defense stocks and some medical device stocks (both hurt by a second Obama term) are up a lot this morning. Some coal stocks are up modestly.
Could be nothing but usual market behavior. Watch the close two and half hours from now. In the meantime, a few more images to tide us over until the polls close and the counting (and recounting?) begins:


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Summer Stereographer Interview Series: THE GREAT GATSBY's Jeff Amaral
Our Summer Stereographer Series this year has a great list of the world's best stereographers and technicians and our goal is to enlighten you about the modern stereographer, his/her role in major tentpole productions, new technology and expert advice for the up and coming new generation of 3D creators. Be sure to check out all our interviews right here.
Next on tap for our series is Jeff Amaral who has had his hands in many 3D silos including being a leading Stereographer and 3D Producing Engineer with the 3ality Technica team that made global broadcast history with the first live 3DTV transmissions in 2008-09. He was also Key 3D Engineer and Stereographer: Satellite Unit on THE GREAT GATSBY and Stereographer: Splinter Unit on X-MEN: DAYS OF FUTURE PAST.
As an avid 3D Filmmaker, Jeff brings both a creative and technical passion to 3D cinema. In addition to over 20 years of feature film production experience, Jeff has been actively working in S3D Cinema since 1999 and he helped create the 2005 IMAX / Playtone documentary MAGNIFICENT DESOLATION for Executive Producer Tom Hanks.
After traveling the world to help launch the first live S3D Broadcasts in 5 additional countries, Jeff has created compelling S3D imagery for numerous live music, sports, television, and IMAX clients. Most recently, Jeff has helped pioneer the use of digital twin-camera systems for native stereo 3D imaging on the feature films THE AMAZING SPIDER-MAN, THE GREAT GATSBY, and XMEN: DAYS OF FUTURE PAST.
I appreciate your help with this series Jeff - thanks for helping out! What's your favorite 3D movie and why?
Jeff Amaral: My pleasure Jim! I was thrilled in 2004 when I saw POLAR EXPRESS in 3D as the first IMAX feature length film. Directed by Bob Zemekis, the film is a thoughtful, adult meditation on faith in modern times, balanced with a thrilling, immersive 3D adventure for kids. That picture, a performance capture, native stereo CGI film for kids, really tried to take full advantage of the emerging language of 3D Cinema.
You are transported into the world of a young boy, and embark on a quest to find out if Santa exists. A giant train arrives into your snow-filled cinema. You sink beneath the words on a page as if to get a different perspective and question what's been written there. During the journey, you get to feel what it's like to run with the wolves, to soar with an eagle, and hurtle toward certain doom on the top of a speeding locomotive. Fantastic.
From what I've seen lately, the real progress in the evolution of the language of 3D Cinema is being driven forward by the independent 3D film community. For example, Wim Wenders 3D documentary PINA is an awesome contribution to the global dialogue of this medium.
I truly hope that more great directors will consider exploring live action 3D for dramas and non-VFX explosion movies. I'm looking forward to seeing Wenders' upcoming 3D drama EVERYTHING WILL BE FINE.
Explain your thoughts on the native 3D vs. the 3D post-conversion debate as it stands with today's technology?
JA: There isn't a debate. Native is far superior. So superior, in fact, that anyone discussing the "debate" isn't interested in picture quality at all, nor in serving the eyes or hearts of their audience.
Post Conversions are great to help fill in the gaps in the current state of native stereo cinematography, but it's not an option for an entire live action film, GRAVITY notwithstanding.
Here's how I see it: While it may be true that a 2d picture is worth a thousand words, a 3D picture is worth a library. It's simply more information contained in the frame, a massive amount more. Over 100 years later, I can still step into a native stereo 3D photo from China shot in 1900 like I am time-travelling; it still moves me into a deep emotional connection with the subject across a century of time. That feeling doesn't exist with any of the current 3D post-conversion processes.
3D post Conversions are a series of paper-dolls cut out and strung together with dark fuzzy gaps in between. It's an easy studio marketing solution to justify an up-charge, but as might be expected, the audience has already tired of such over-processed product, and it's slowing the evolution of the language of the 3D Cinema Medium to a crawl.
TOP two questions for Directors and DP's when the studio offers 3D post-conversion as a total solution:
A. How can we let some poor VFX kid chained to a box destroy our academy award winning actress' face for a large percentage of our global audience?
B. If we can use the greater information contained in the 3D frame to reach an audience with a deeper emotional impact, a deeper understanding than we previously were able to...would filmmakers of integrity would want anything less for their audience?
What do you make of the negative comments that Seamus McGarvey has made regarding 3D?
JA: This is the bleeding edge of the language of storytelling, and it's not for the faint of heart.
I have such great respect for cinematographers such as Allen Daviau, Simon Duggan, Newton Thomas Sigel, and Benoit Debie who in spite of the technical challenges of native 3D shooting, were willing to dig into the medium and explore what is possible out here on the frontier.
Of course I've also dealt with a number of older cinematographers that were downright scared about the change to digital, let alone native stereo 3D. All I can offer to them is don't be scared, be BRAVE. You can help write the language of this rapidly evolving medium.
How do you position China now on the world cinema stage now that they have ~20,000 3D screens in place and growing?
JA: Reportedly there's a billion people that have been trapped under Marxist national identity stories for a very long time. The people there are probably desperate to get as much information as quickly as possible to help them grow out of their trap. What will they do when they realize who they truly are and what will they want from the west? I have no idea, but I believe strongly that the only answer for any tyranny is education. Screening 3D large format educational films alongside movies of multi-cultural superheroes battling against tyranny and oppression may well be the best way to foster change there. For my part, the day that AI WEIWEI wants to make a 3D movie, I'm going to help make it happen.
What brought you to 3D in the first place? (chance, study, interest, etc)
JA: I was raised in New England, and when I was 7 years old my mother gave me my first Viewmaster, brought home from a trip out to California. I started out with the 3 reel sets from the Universal Studios Backlot Tour, Knotts Berry Farm, and a collection of awesome Peanuts Cartoon dioramas. For example, the Snoopy and the Red Baron series were real model planes and puppets, shot on miniature sets and lit with strong, super-saturate colors. I'm fairly certain that they led me directly into a lifelong pursuit of theatre and cinema lighting, which grew into 3D Photography. The next thing I knew, I was living in California and making 3D movies. So I guess it's true, I can actually blame my mother.
Well thanks to your mother, the world is enjoying better 3D! What is your preferred set up on set? (camera, rig, lens, etc)
JA: My preferred set up always starts with smart people, committed to the work. I try to hire the right team, and not get attached to which hammer they choose to use. That said, I've had a number of no hassle shoots with teams that were fluent with 3ality Technica gear.
Are there any new stereoscopic technologies coming out in the field that has your interest?
JA: Yes, but I'm really looking forward to the day that my handheld will have the power to document the entire data set of a "what if" scene that we have staged, and stream the story as we go to multiple venues around the globe.
When working with optics, do you find there is disparity between how long it takes to make a 2D lens change verses a modern 3D set up?
JA: There is no longer an on-set difference worth mentioning, because a good camera team is a good camera team, whether working in 2D or 3D. Forgive me for speaking plainly, but that kind of question only applies to FLAT FILMMAKERS, trying to wrap their brains around changing the way they have always done things.
How long should it take to do a lens change? A better question might be 'How many shots do you really need to tell the story correctly in 3D?' There is such a greater emotional impact in a 3D shot that you may find that you get away with far fewer shots. Might our creative time be better spent handcrafting each frame and sculpting the performances? I realize that I might be old-fashioned, but why would I waste our precious time together with the hustle and bustle of counting how many set-ups a day we get, or getting shots that we don't need?
If you have worked with 3D conversions as a stereography adviser on set, how are the general interactions with the cinematographer and director as opposed to a native 3D production?
JA: I love it! It's like 1st contact with an alien species, or perhaps preaching to the heathen in the wilderness. A delicate dance to be sure, but most of us are great movie lovers and so far it's been easy to find common ground.
What would be your favorite shot for 3D and why?
JA: I can't wait to see Tilda Swinton in 3D, the way she creates a character's body language is like cold water magically brought forth into the dying desert of the flatlanders.
Obviously 3D has matured since the late 2000's both in technology and expertise. What credentials / experience would you mention that helps separate you from the field and brings you to the top of the industry?
JA: Anyone can learn to use the gear, but it takes time to learn how to see. I bring something to the medium that very few people have, a genuine love and respect for 3D Cinema and the history that brought us here. I grew up in the theatre and then transitioned into flat cinema; For me, 3D Cinema is the ultimate marriage of those two very different worlds, and I'm an enthusiastic proponent of the best of both. If you are a lover of storytelling, and you care about how your stories affect the planet, then I want to help you reach your audience with the greatest possible emotional impact.
What education would you recommend to up and coming stereographers / cinematographers in today's world?
JA: Ask yourself the question, What makes a 3D image different from a 2D image? You might start looking for the answer in the US Library of Congress Stereoview archives, by screening all the films in 3D from the 1950's onward, and by patronizing a proper Theatre. I encourage students to consider the language of 3D from the perspective of both theatrical and cinematic history. There are many things that have never been seen on-screen nor said from the stage, this is an opportunity to write yourself into the history books.
Great point! Do you have a post-production software preference for working with the stereo images to do any fine tuning you need to do?
JA: The tool is only as good as the operator. That said, I've been very impressed by both Mistika and DaVinci operators.
How important is resolution? Would more pixels be more important for stereo 3D? Higher dynamic range? HFR?
JA: Yes, More is better, always. More information is what we are after in the pursuit of truth in the frame. In the future, it's silly to have something like film grain blocking me from seeing what's really happening in the story; it's fun and nostalgic for sure, and sometimes it can be used to great artistic success for a story, but these are exceptions not the rule. For my part, I'll never again watch the big game on my grandfather's tube TV.
Are there any specialty filters that you find enhance the stereo images? How about specialty filters that you have found should never be used?
JA: I appreciate that DP's often come attached to their old bag of tricks, and it's true that specialty Filters and FLAT cinematography can be spectacular, but they're tools developed over decades for an essentially different medium. In 2014, stereo matched lenses are just becoming readily accessible, but we still have to hunt through the bins at the rental house to find an acceptably matched set of basic ND Filters. That said, if you have a great in-camera idea that enhances a story point in some unique way, let's test it.
Split focus diopters are a popular tool in 2D. Do you think a director looking for an effect like that can get that in stereo 3D?
JA: Sure, but I suspect that even De Palma would agree that you shouldn't bring a knife to a gun fight? For my part, there is a danger in framing the discussion of contemporary stereo 3D content in relation to outdated special or visual effects. It is a different medium, a different LANGUAGE, that's not quite THEATRE nor FLAT CINEMA. There are many tools that have been created to fulfill goals in FLAT CINEMA. Why would you want to restrict the advanced storytelling capabilities of the STEREO 3D medium by saddling it with a boat anchor like split focus diopter shots? That was cutting edge 40 years ago. Don't get me wrong, if you want to cut one into your movie as an homage to your favorite director, then by all means we'll find the best way to do it. It'll be fun.
Open mic: What is the biggest challenge that you'd like to openly discuss about today's 3D?
JA: Cutting up the movie up into a ridiculous FLAT TYRANNY of 2 second shots. It's completely the opposite of the 3D aesthetic. The whole point of a 3D picture is that I can look at it longer, there just so much more to see. I can grok the content of a 2D image in the blink of an eye! Perhaps that's one of the reasons why we cut so fast in 2D these days? But seriously, if Gene Kelly's got legs, why are we cutting him up into little tiny pieces? I want to see him dance.
I usually encourage Directors & Editors to watch Gene Kelly in the Three Musketeers. Well before martial arts movies, it's a first rate example of amazing sword-fighting skill, grace and athleticism. That movie is joy of wide frames and long takes, and the opportunity to see the real guy do all this amazing stuff. I'm a true fan of Johnny Depp's work, but I can't even watch the pirate movies today because I can't see the sword-fights at all through the blur of edits. Either the actors do the fighting or the pictures do it. I prefer to see the actors.
Open Mic: What are you happiest about in the 3D field?
JA: That there are still people out there making amazing 3D content without a thought of financial or logistical concerns. They are passionate about the stories they tell, and they have found that 3D can enhance that story's impact.
If there was one thing you could change about the industry what would it be?
JA: I do wish we could move a little faster from idea to eyeballs. Proper Bio Feedback for the direction of our species is fast becoming an endangered beast, and If we intend to hold up a mirror to nature we had best get busy.
What stories can be told in 3D that can't be told via 2D?
JA: My late 3D Guru, Ray Zone, in his book 3D REVOLUTION wrote "stereography presents to the storyteller an expanded narrative palette with subtler and more seductive tools to invoke belief". I'm really interested in expanding the 3D Cinema language palette by exploring flat thinking vs. multi-dimensional thinking, and finding ways to show the difference in Z-Space. If you recall, the world used to be flat. Then some humans started thinking about the question and lo and behold the world is actually round.
For example, in Zemekis' POLAR EXPRESS, 3D makes it possible to literally sink to the opposite side of words printed on a page, when considering the opposite side of the story. That's very interesting to me.
If they ever make a movie version of WICKED, the ultimate 2D-to-3D dissolve would take place when the story of the wicked witch intersects with our well known story of Dorothy. It would reference the B&W-to-Color dissolve in the Wizard of Oz, but when we consider the wicked witch as the hero of her own story, our understanding of the original story expands beyond 2D Propaganda and into Dimensionality. That's the stuff of cinema history.
There must be a proper 3D movie that's coming, the "PLEASANTVILLE" of 2D & 3D if you will. I can't wait to work with those kids. It's going to be blast.
Thanks so much for your time on this Jeff! We appreciate it a great deal and thank you for your work that you are doing on movies like THE GREAT GATSBY. I thoroughly enjoyed seeing the classic tale so wonderfully brought to 3D screens.
Stay tuned for our next interview in the Summer Stereographer Series coming soon!


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Get free wifi codes! Stuck without internet? Where are you? The airport, a sporting even? No worries! Check out our free wifi codes and get free wifi anywhere in the world!
We are going to be updating this blog with free wifi codes from across the US. Get FREE wifi at any airport!


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CAPE CANAVERAL, Florida (Reuters) - Lockheed Martin Corp (LMT.N) has won a rare commercial contract for launch services on its unmanned Atlas 5 rocket, officials said on Thursday.
The customer is the government of Mexico, which will pay Lockheed Martin Commercial Launch Services an undisclosed amount to fly its Morelos 3 communications satellite in 2015.
"I'm sure it was a very competitive offer," said Lockheed Martin spokeswoman Joan Underwood.
The company also has commercial contracts with DigitalGlobe Inc DGI.N for two Atlas 5 launches to fly its WorldView 3 and GeoEye2 satellites.
The last commercial Atlas launch was for Intelsat Corp INTHBT.UL in November 2009, Underwood said.
The primary customer for Atlas 5, as well as Delta 4 rockets, is the U.S. military. Both boosters are manufactured by United Launch Alliance, a partnership of Lockheed Martin and Boeing Co (BA.N).
Until privately owned Space Exploration Technologies began selling commercial launches on its Falcon boosters, satellite owners and operators took most of their business to Europe, Russia and other countries.
The California-based firm, known as SpaceX, has a contract with NASA to fly cargo to the International Space Station, as well as a backlog of more than 40 other Falcon rocket flights on its manifest for commercial customers and foreign governments.
SpaceX is working to break United Launch Alliance's virtual monopoly on flying military satellites as well.
Lockheed Martin, meanwhile, sees a growing future in the commercial launch world.
(Corrects name in paragraph 2 to Morelos from Moralos)
Editing by Kevin Gray and Stephen Coates


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Graphical Editing Framework
The Graphical Editing Framework (GEF) project provides technology to realize rich graphical editors and views for the Eclipse Workbench. It bundles three components:
- Draw2d (org.eclipse.draw2d) - A layout and rendering toolkit for displaying graphics on an SWT Canvas.
- GEF (org.eclipse.gef) - An interactive MVC framework built on top of Draw2d, which fosters the implementation of rich graphical editors for the Eclipse Workbench.
- Zest (org.eclipse.zest) - A visualization toolkit based on Draw2d, which enables implementation of graphical views for the Eclipse Workbench.
While the main GEF website contains the bulk of information regarding the GEF project, the type of information more appropriately hosted on a wiki is (or will be) found here, such as: FAQs, tutorials, requirements, discussions, etc.
Current Status
GEF is a mature project with stable API, which is bound to Eclipse API retention policy. To develop innovations without interfering with the GEF 3.x development stream, we have started to work on a provisional GEF 4.0 branch (see Bug #347636). More information can be found here.
Information for Consumers (Developers)
- New and Noteworthy: 3.7 (stable) , 3.8 (development)
- Reference Documentation
- Articles, Tutorials, Slides
- Examples
- Draw2d/GEF Developer FAQ
- Draw2d/GEF Troubleshooting Guide


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This Liturgical Vestment, used in the Eucharistic Service is made up of superior Metallic Brocade Fabric with Cross designs with matching satin fabric linings. The Orphreys are made of fine quality silver braids with metallic designs on both the sides of the Vestment.The sleeves are not attached inside the underarm . The Vestment set comes with a matching Stole. The deacon's stole measures 56″ and is adorned with cross at the back of the neck ,the stole is attached with the applique of silver cross and beautiful fringes at both the ends.
VESTMENT: Width – 28″ from end to end
Height – 42 ″ from Shoulder to Hem
STOLE: 48″from neck to bottom / 112 ″ from end to end
MANIPLE: 18 inches (46 cm from end to end)
LINED: The inside of the chasuble is lined with purple Satin Fabric. This makes the chasuble a bit heavier and is recommended for Cold Climate areas or where the Eucharistic service is held in closed air-conditioned places.
UNLINED: There is no lining available for this Chasuble and it is lighter and is recommended for hot and humid climate places.


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Name: Apple iPad with Retina display and Wi-Fi
What it is: Apple's signature tablet with the lightning connector, Bluetooth 4.0 and the ahh-inspiring Retina display with 3.1 million pixels that make images seem lifelike and text look crisp. Its A6X chip is twice as fast as previous-generation chips and offers twice the graphics performance without shortening the battery life. More than 300,000 apps have been uniquely designed for the iPad, and countless iPhone apps also soar on the device. The Wi-Fi onboard is as much as twice as fast as the Wi-Fi on any previous-generation iPad. The iSight camera includes autofocus and face detection, and it has a five-element lens and can shoot 5 MP photos and 1080p HD video. The FaceTime HD Camera can shoot 1.2 MP photos and 720p HD video. The built-in rechargeable lithium battery provides as much as 10 hours of power for web surfing, video watching, etc.
The good: As a solo traveler, I finally have a travel companion who doesn't snore, lets me choose the movies and the music, and doesn't need recharging as often as my iPhone. The Retina display is so brilliant that I prefer my iPad to my older iMac for watching movies. I am so spoiled by the touch screen that I sometimes forget and touch the screen of my iMac to jump to the next email — and I realize, my iMac is no iPad. The iPad's large, brilliant screen often helps me compose a better shot for a still or a video. I paid extra for 64 GB of storage, so my iPad weighs more than 1.44 pounds, but I haven't run out of space for apps or movies yet.
The bad: I wish there was either a SIM card slot or a USB port to easily upload photos. On most trips, I still have to pack a laptop to act as a conduit for images because my camera doesn't have built-in Wi-Fi.
Cost: Starts at $499 (16 GB + Wi-Fi) or $629 (16 GB + Wi-Fi and cellular)
Available from: apple.com, bestbuy.com, walmart.com and macmall.com.


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Serves: Makes 8 servings
- Quiche Filling:
- 1 recipe Flaky Pie Dough (recipe follows)
- 1 tablespoon canola or vegetable oil
- 2 tablespoons (¼ stick) unsalted butter
- 2 medium leeks, white and light green parts only, cut into 1/8-inch thick rounds
- ¾ cup heavy cream
- ¾ cup whole milk
- 3 large eggs
- 1 teaspoon kosher salt
- ¾ teaspoon freshly ground black pepper
- 8 ounces ham (or bacon if preferred), cut into ¼-inch pieces
- 4 ounces grated Parmesan cheese
- 4 tablespoons chopped Italian flat-leaf parsley
- Flaky Pie Dough:
- 1 stick cold unsalted butter, cut into ½-inch pieces
- 3 to 4 tablespoons cold water
- 1¼ cups unbleached all-purpose flour
- 1½ teaspoons sugar (omit for a savory crust)
- ¼ teaspoon salt
Procedures:Quiche is the perfect choice for brunch since you can serve it warm or room temperature. Make the pie dough a few days in advance and chill, or you can make it weeks in advance and freeze it. The quiche can even be baked without a crust if you wish. Just butter a tart pan and sprinkle with additional grated Parmesan cheese, add filling ingredients and pour custard over the top. Bake in a water bath until custard sets, about 1 hour.
To prepare crust for baking: preheat oven to 375 degrees. Generously flour a work surface and place chilled dough disk on the flour. Dust the top of the dough with flour. Using a rolling pin, roll dough into a circle, turning and flipping the dough as needed with a bench scraper to prevent sticking, until the circle measures 14 inches wide and 1/8 inch thick. Starting at one edge, roll the dough around the rolling pin and lay it gently into a 9-inch quiche or tart pan with 2-inch sides. Unroll the dough and adjust as need so dough circle is centered over the pan. Carefully lift the edges of the dough and allow it to fall into the pan, pressing the dough gently into the corners. Trim excess dough flush to the top of the pan, reserving excess dough. Chill unbaked crust for at least 30 minutes before baking.
To bake quiche crust: line the chilled crust with aluminum foil, pressing the foil firmly into the corners. Fill the pan with pie weights, making sure the weights reach up the sides to the rim of the pan. Bake the shell for 20 to 22 minutes, or until the foil pulls easily away from the dough. Remove the pan from the oven and carefully lift out the foil and weights from the shell, setting them aside to cool. Return the pan to the oven and continue baking the crust for another 8 to 10 minutes. Remove the pan from the oven and check for cracks in the crust. Patch cracks as needed with a small amount of reserved dough. Return the pan to the oven and bake 10 to 15 minutes longer, until crust golden brown. Transfer pan to a rack and cool crust slightly. Lower the oven temperature to 350 degrees.
Heat oil and butter in a large skillet over medium-low heat. Add leeks and cook, stirring occasionally, until softened, about 7 to 9 minutes. With a slotted spoon, transfer leeks to a medium mixing bowl and allow to cool.
In a large mixing bowl, whisk together heavy cream, milk, and eggs. Season with salt and pepper. Set aside.
Scatter leeks, chopped ham, Parmesan cheese, and parsley across the bottom of the crust. Carefully pour the cream mixture into the crust and gently stir to evenly distribute the filling ingredients.
Set the quiche pan on a baking sheet and place in preheated oven. Bake for 40 to 45 minutes, or until a paring knife inserted into the center comes out clean. Let quiche cool for 10 minutes and serve warm, or allow quiche to cool completely and serve at room temperature.
Flaky Pie Dough:Place the butter pieces in a bowl or on a plate and freeze for at least 20 minutes. Refrigerate the water in a small measuring cup until needed.
Mix the dough: Place the flour, sugar, and salt in the bowl of the food processor. Process for 10 seconds to blend the ingredients. Add the frozen butter pieces and pulse 6 to 10 times (in 1-second bursts), until the butter and flour mixture looks like crushed crackers and peas.
Immediately transfer the butter-flour mixture to the large bowl. Sprinkle a tablespoon of the cold water over the mixture and fluff it in, then add another, and another, until 3 tablespoons have been added. Continue to fluff and stir 10 or 12 times. It will not be a cohesive dough at this point but a bowl of shaggy crumbs and clumps of dough. Before bringing the dough together, you need to test it for the correct moisture content. Take a handful of the mixture and squeeze firmly. Open your hand. If the clump falls apart and looks dry, remove any large, moist clumps from the bowl then add more water, one teaspoon at a time, sprinkling it over the top of the mixture and immediately stirring or mixing it in. Test again before adding any more water. Repeat, if needed. The dough is done when it holds together (even if a few small pieces fall off). If the butter feels soft and squishy, refrigerate before continuing. If the butter is still cold and firm, continue to the next step. (Note: Adding the liquid may also be done on low speed in a stand mixer fitted with the paddle attachment-add three-fourths of the liquid, test for moistness, then add the remaining liquid if needed.)
Knead and chill the dough: Turn the dough onto a work surface and knead gently 3 to 6 times. If it won't come together and looks very dry, return it to the bowl and add another teaspoon or two of water (one at a time), mixing in as above, and try again. Flatten the dough into a 6- or 7-inch disk, wrap in plastic or parchment paper, and refrigerate for 30 minutes. This allows time for the dough to hydrate fully and for the butter to firm up again.
Roll the dough: If the dough has been refrigerated for more than 30 minutes, it may be very firm and hard and will crack if you try to roll it. Let it sit on the counter for 10 to 15 minutes until it is malleable but still cold. Dust your work surface generously with flour and set the disk on the flour. Dust the top with flour. Roll, turning the dough, until you've got a 14- to 15-inch circle about ⅛ inch thick. If at any point the dough becomes warm and sticky, gently fold it into quarters, unfold it onto a baking sheet and refrigerate for 15 minutes, or until the butter is firm again.
If a crack or hole forms while rolling, brush any flour away and patch the area.
Transfer the dough: Fold the dough circle into quarters, brushing off any excess flour as you fold. Put the point of the folded dough in the center of the pie pan, tart pan, or baking sheet and unfold the dough, lifting it slightly as necessary to ease it into the crevices of the pan. Do not stretch or pull the dough, which can cause thin spots, holes, and/or shrinkage during baking.
Trim the dough: Use a pair of kitchen scissors to trim the dough so it overhangs the edge of the pan by 1 inch. Fold the overhanging dough under itself around the pan edge, then crimp or form a decorative border. Chill for 30 minutes before baking.
Storing: The dough can be wrapped in plastic and refrigerated for up to 2 days, or double-wrapped in plastic, slipped into a freezer bag, and frozen for up to 1 month.


text: Except for a reference to a low-cost clock kit which should prove useful... http://www.tapr.org/tapr/html/Ftac2.html For those of you in the NASA world, this was developed by Tom Clark of GSFC fame and history (VLBI program). I've seen data indicating 5ns short term and 15ns long term stability with 5ns bias using SiRF receivers... gerry Eugen Leitl wrote: > This is getting too off-topic, so this should be the last post. > ---------- Forwarded message ---------- > Date: Thu, 13 Mar 2003 18:57:33 -0800 (PST) > From: Chris Albertson <chrisalbertson90278 at yahoo.com> > To: Eugen Leitl <eugen at leitl.org>, discuss-gnuradio at gnu.org > Subject: Re: [Discuss-gnuradio] synchronizing sound cards in a cluster (fwd) > > > This is to long, skip to last paragraph. > > I notice on your sig line you are at JPL. I'm cross town at > The Aerospace Corporation. I think the way they handle this problem > is to get a time souce and have it broadcast time signals on the > network. The systems would pick up these UDP packets and mix them into > the analog samples. > > You could also use NTP to keep the PC clocks in sync to the "few micro > second" level. NTP would work very well, to the microsecond level > if you could distribute a pulse per second signal to each PC. ... > My opinion is the sooner a stable clock gets mixed with your data > the better. More of their paths will be the same. but also the harder > to do. The best an hardest is to mix a time code signal with the analog > data before it is sampled. Worst case is to distribute the clock over > Ethernet, use that to keep you local clock in sync using ntpd and then > mix the clock with the data using software in the PC to read from the > sound card and local close alternatly. Botom line is, your sampled data > has to be mixed with a clock. > > > --- Eugen Leitl <eugen at leitl.org> wrote: > >>---------- Forwarded message ---------- >>Date: Thu, 13 Mar 2003 11:56:19 -0800 >>From: Jim Lux <James.P.Lux at jpl.nasa.gov> >>To: beowulf at beowulf.org >>Subject: synchronizing sound cards in a cluster >> >>Anybody have any good ideas on how to synchronize the sampling from >>multiple sound cards in a cluster using Ethernet as the interconnect. >>The >>application would grab data from the sound card (notionally at 100 >>ksamples/second total, for two channels) and do a ton of signal >>processing. At some point in the processing, the streams of data >>need to >>be shared between processors (i.e. to do beamforming), and so, needs >>to be >>time registered. >>The bandwidth isn't a real challenge here (with, say, 16 processors, >>that's >>only about 32 Mbps total), nor is latency, but synchronization is. >> >>One can fairly easily synchronize to a millisecond over Ethernet, but >>this >>application needs sync to, at worst, 1 sample time (20 microseconds) >>although order of a microsecond would be nice. -- Gerry Creager -- gerry.creager at tamu.edu Network Engineering -- AATLT, Texas A&M University Cell: 979.229.5301 Office: 979.458.4020 FAX: 979.847.8578 Page: 979.228.0173 Office: 903A Eller Bldg, TAMU, College Station, TX 77843


text:
Political scientists Sidney Verba, Kay Lehman Schlozman, and Henry E. Brady were recently honored in Orlando for their book Voice and Equality. The book and its authors won the 2012 American Association for Public Opinion Research Book Award, recognizing influential scholarly works that inspire critical thinking on the topic of public opinion. Their extensive survey analysis demonstrated that some citizens have a greater voice in political matters than others, and that this disparity arises due to unequal access to education and other crucial resources. The civic imbalance is most lop-sided in situations where participating requires monetary donations as opposed to sacrificing one's time.
In short, the book concludes:
… [M]eaningful democratic participation requires that the voices of citizens be clear, loud, and equal: clear so that public officials know what citizens want and need, loud so that officials have an incentive to pay attention to what they hear, and equal so that the democratic ideal of equal responsiveness to the preferences and interests of all is not violated. Our analysis of voluntary activity in American politics suggests that the public's voice is often loud, sometimes clear, but rarely equal.


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Thursday, August 12
This week's Creature Feature
This week's creature Feature is a movie that'll really bug you - it's a story about a high rise building with a major ant infestation. These ants aren't just any old ants though - they're radioactive killer ants!
It's called GLASS TRAP and believe me, it ain't no Empire of the Ants - schlocky fun Fred Olen Ray style. It stars C. Thomas Howell, the Soul man himself, and a horde of enlarged and enraged ants.
I tell ya, something about this movie just crawls all over me...
Subscribe to: Post Comments (Atom)


text: On Thu, Jul 30, 2009 at 8:18 AM, Smith, Brian<brs at admin.usf.edu> wrote: > Hi, All, > > I've been re-evaluating our existing InfiniBand fabric design for our HPC systems since I've been tasked with determining how we will add more systems in the future as more and more researchers opt to add capacity to our central system. We've already gotten to the point where we've used up all available ports on the 144 port SilverStorm 9120 chassis that we have and we need to expand capacity. One option that we've been floating around -- that I'm not particularly fond of, btw -- is to purchase a second chassis and link them together over 24 ports, two per spline. While a good deal of our workload would be ok with 5:1 blocking and 6 hops (3 across each chassis), I've determined that, for the money, we're definitely not getting the best solution. > > The plan that I've put together involves using the SilverStorm as the core in a spine-leaf design. We'll go ahead and purchase a batch of 24 port QDR switches, two for each rack, to connect our 156 existing nodes (with up to 50 additional on the way). Each leaf will have 6 links back to the spine for 3:1 blocking and 5 hops (2 for the leafs, 3 for the spine). This will allow us to scale the fabric out to 432 total nodes before having to purchase another spine switch. At that point, half of the six uplinks will go to the first spine, half to the second. In theory, it looks like we can scale this design -- with future plans to migrate to a 288 port chassis -- to quite a large number of nodes. Also, just to address this up front, we have a very generic workload, with a mix of md, abinitio, cfd, fem, blast, rf, etc. > > If the good folks on this list would be kind enough to give me your input regarding these options or possibly propose a third (or forth) option, I'd very much appreciate it. > > Brian Smith I think the hop count is a smaller design issue than cable length for QDR. Cable length and the physical layout of hosts in the machine room may prove to be the critical issue in your design. Also since routing is static some seemingly obvious assumptions about routing, links, cross sectional bandwidth and blocking can be non-obvious. Also less obvious to a group like this is your storage, job mix and batch system. For example in a single rack with a pair of QDR 24 port switches. You might wish to have two or three links connecting those 24 port switches directly at QDR rates. Then the remaining three or four links would connect (DDR?) back to the 144 switch. If the batch system was 'rack aware' jobs that could run on a single rack would and jobs that had ranks scattered about would see a lightly loaded central switch. Adding QDR to the mix as you scale out to 400+ nodes using newer multi core processor nodes could be fun. When you knock on vendor doors ask about optical links... QDR optical links may let you reach beyond some classic fabrics layouts as your machine room and cpu core count grows. -- NiftyOMPI T o m M i t c h e l l


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The Orange Coast College football team (3-1), off to its best start since 2009, has jumped to the No. 8 ranking in Southern California, No. 17 in the state and No. 30 in one national poll.
Coach Mike Taylor's Pirates upset Palomar, then ranked No. 5 in Southern California and No. 13 in the state, 35-28, on Saturday in the Southern Conference opener at OCC.
The Pirates are ranked No. 30 in the nation by JCGridiron.com.
OCC plays Grossmont (3-1), ranked No. 5 in Southern California and No. 13 in the state, on Saturday at 1 p.m. in El Cajon.
— Barry Faulkner
Lions' Licciardi honored
Vanguard freshman men's soccer goalie Luca Licciardi has been named Golden State Athletic Conference Defensive Player of the Week after shutting out Cal State San Marcos on Saturday.
Licciardi had two saves in a 1-0 nonconference overtime triumph and also allowed only one goal in the Lions' 1-0 nonconference loss to Lindsey Wilson, ranked No. 1 in the NAIA, on Sept. 14.
Vanguard entered Wednesday's GSAC-opening contest at Westmont with a 2-5-1 record.
— From staff reports
Mikulak an innovator
The International Gymnastics Federation has approved naming a pommel horse skill after Corona del Mar High graduate Sam Mikulak.
Mikulak, a junior at the University of Michigan who represented the United States at the London Olympic Games, became the first gymnast to perform the "Mikulak" in an FIG sanctioned competition, during the men's qualification round in London.
The skill is a double-scissor with a hop from one end of the horse to the other. It begins with forward leg swings and a half turn of the body, but ends with backward leg swings.
"I just pushed an old skill to the limits and just made it more exciting and a little bit more interesting," Mikulak said in a statement. "Having that skill in the books forever is something that I can look back on and say that I made a difference in the world of gymnastics."
Mikulak is scheduled to open the NCAA season on Dec. 8.
— From staff reports
OCC makes jump
The Orange Coast College women's volleyball team moved up five spots to the No. 2 ranking in the California Community College Women's Volleyball Coaches Assn. state poll released Monday.
Coach Chuck Cutenese's Pirates (5-0) swept then-No. 3-ranked Pasadena City College on Sept. 19.
Los Angeles Pierce (13-0) is ranked No. 1.
— From staff reports
UCI schedule set
UC Irvine will open the 2013 baseball season on Feb. 15 against Baylor, the first of four teams that played in the NCAA postseason on a schedule that includes 12 of the Anteaters' first 13 games at home.
UCI, coming off a 31-25 season in which it did not make the 64-team NCAA Regional field for the first time in seven seasons, plays a three-game, season-opening series with Baylor.
UCLA, which played in the College World Series the last two seasons under former UCI coach John Savage, visits UCI on April 16 and plays host to Coach Mike Gillespie's 'Eaters on April 30.
San Diego, another NCAA Regional team in 2011, has home-and-home dates with UCI, which also faces 2011 Big West Conference champion Cal State Fullerton at home May 23-25.
After playing three with Baylor, UCI hosts Cal in a four-game series that includes a Feb. 23 doubleheader.
UCI visits Loyola Marymount on Feb. 26, before returning home for a four-game set with Portland (another Saturday doubleheader included) and a Tuesday clash with visiting Cal State Fullerton.
UCI's 34-game home schedule also includes Nebraska (March 15-18) and Hawaii (April 5-7), as well as Big West foes Cal State Northridge (April 12-14), UC Davis (April 26-28), Cal Poly San Luis Obispo (May 10-12) and Long Beach State (May 23-25).
UCI opens conference play with a three-game series at UC Riverside (March 28-30).
USC visits Anteater Ballpark on May 7 and plays host to the 'Eaters on April 2.
UCI returns 18 lettermen, led by first-team all-conference pitcher Andrew Thurman, who will be a junior.
— From staff reports


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Type: Enhancement
Status: Open
Priority: Major
Resolution: Unresolved
Affects Version/s: None
Fix Version/s: None
Component/s: None
Patch:Code and Test
This should work as expected, for example:
(Integer. 1N)
Probably for BigInt, BigInteger, and BigDecimal.
Method to look at is c.l.Reflector.paramArgTypeMatch, per Rich in irc.
Questions posed on the clojure-dev list around how this impacts bit-shift-left: http://groups.google.com/group/clojure-dev/browse_thread/thread/2191cbf0048d8ca6
Patch on CLJ-445 fixes this as well.
This patch fails a test around bit-shifting a BigInt: `(bit-shift-left 1N 10000)`. The reason is that the patch changes the dispatch of (BigInt, Long) from (Object, Object) to (long, int).
Clearly this can't be applied (unless another change makes it possible), but I'm putting it up as a start of the conversation.
My comment from the mailing list:
If the test breaks it likely means Numbers.shiftLeft(long,int) was
selected over Numbers.shiftLeft(Object,Object). Given that 1N is an
Object (one that can exceed the size of a long), the method selection
is incorrect, thus the patch is broken.
The suggestion of "simply" modifying paramArgTypeMatch is not sufficient since the mechanism for preferring one method over another lives in Compiler, and isn't smart enough to make these sorts of decisions.
The suggestion of "simply" modifying paramArgTypeMatch is not sufficient since the mechanism for preferring one method over another lives in Compiler, and isn't smart enough to make these sorts of decisions.
Considering moving this out of Release.next - soliciting comments from Chas.
I'm afraid I don't have any particular insight into the issues involved at this point. I ran into the problem originally noted a while back, and opened the ticket at Rich's suggestion. I'm sorry if the text of the ticket led anyone down unfruitful paths…
The issues relating to bitshift are moot since the decision was made that bit-shifts are only for 32/64 bit values.
Still a valid issue, but de-prioritized as per Rich.
Alex, would you mind attaching it with a unique file name? I know that JIRA lets us create multiple attachments with the same file name, and I know we can tell them apart by date and the account of the person who uploaded the attachment, but giving them the same name only seems to invite confusion.