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AUSTIN — Agriculture Commissioner Todd Staples, one of four Republicans running for lieutenant governor, is already coming under fire from opponents for voting as a state senator in 2001 to approve a bill allowing those in the country illegally to pay in-state tuition.
Staples, however, has another immigration-related vote from the same year that could also haunt him on the campaign trail: giving the OK to a bill that would have made it easier for undocumented immigrants to get a Texas driver license.
Late in the 2001 session, Staples joined 28 other senators to approve legislation that would have allowed the Department of Public Safety to accept foreign birth certificates or foreign passports as valid proof of identification to obtain a driver license. Gov. Rick Perry ended up killing the measure via veto.
In an interview, Staples said he doesn't remember voting on a bill to ease the process for immigrants in the country illegally to obtain a driver license. But he said he opposes the idea now.
"I don't remember that ever coming up," he said. "But I think it's a grave mistake, and we need to oppose offering benefits to those who knowingly and willingly violate our nation's entry laws."
The driver license issue is a political lightning rod and a pending policy question at the Legislature. Backed by an influential House Republican, a plan to give undocumented workers specialized driving permits — not actual licenses — fizzled in the lower chamber during the regular session.
It's also already surfaced as a topic in the governor's race, when Sen. Wendy Davis endorsed the policy at the Texas Tribune Festival last month — only to draw a strong rebuke from the GOP gubernatorial front-runner Greg Abbott, who likened the idea to an "Obama-style approach."
As the four GOP lite guv candidates attempt to draw contrasts on immigration topics — just look at how Sen. Dan Patrick rankled the field this week with a TV ad about in-state tuition – the driver license issue is set to be campaign fodder moving forward.
Two of Staples' opponents — Lt. Gov. David Dewhurst, who became Senate president in 2003, and Patrick — said through spokesmen that they each oppose legislation allowing illegal immigrants to get driver licenses.
The third challenger in the race, outspoken Land Commissioner Jerry Patterson, pounced on the driver license vote from 2001, noting that Staples has used immigration and border security as a focal point of his campaign (Staples also penned a book on the subject).
"There are lots of votes that happen that you're not completely aware of," said Patterson, a former state senator. "But you can't be Mr. Border Security and run around with your flak jacket on the border, flying DPS helicopters, running around with DPS on a patrol boat and present this image of Mr. Macho Border Enforcer but then you have a record that doesn't support that."
In a statement, Staples campaign manager Cody McGregor said the commissioner "opposes issuing drivers licenses to illegal immigrants and publicly opposed issuing drivers licenses to illegal immigrants when a bill to do so was in the House last session."
"The record is clear," McGregor said.
Staples is already on the defensive for voting in 2001 to allow those in the country illegally to pay in-state tuition. At a tea party debate last week, Staples said he favors repealing the tuition policy, which he argues was pitched as an education bill at the time. He echoed those sentiments again this week.
Observers note that back in 2001 immigration was nowhere near as controversial as it is today. That's why there was such broad support that session from both chambers to approve bills on in-state tuition and driver licenses for illegal immigrants. Nowadays, those same exact issues galvanize the far right.
"Now, anytime you open your mouth on immigration you potentially give your opponents in the primary an opportunity to use that against you," said Republican consultant Matt Mackowiak.
That's one of the main reasons why an effort to grant specialized drivers permits failed during the regular session, despite being pitched as a law enforcement measure and being backed by major business groups.
Lawmakers argued that a 2011 law had left undocumented immigrants who drove legally in Texas for decades unable to buy insurance, a major problem for police departments across the state. As part of the proposal — which was backed Rep. Byron Cook, R-Corsicana, and Sen. Sen. Tommy Williams, R-The Woodlands — undocumented people would have been able to get a driving permit if they passed a criminal background check, passed a driving test and submitted to being fingerprinted and photographed.
"We couldn't convince enough of our Republicans to go along with it," said Norm Adams, a staunch conservative who runs Texans for Sensible Immigration Policy, one of the main backers of the driving permit legislation. "They were afraid they'd get killed in the primaries."
Under the 2001 legislation that Perry vetoed, House Bill 396, supporters argued that "it is only fair that DPS be required to accept all foreign birth certificates as proof of identification, because the agency now accepts Canadian birth certificates," according to a legislative analysis.
More from the analysis:
"HB 396 would make it easier for all Texans to obtain driver's licenses. It would ensure that all people were treated fairly when they applied for a license, while ensuring that DPS could verify an applicant's identity.The current requirement that a person show a social security number or letter from the Social Security Administration often prevents undocumented immigrants from all countries, not just Mexico, from applying for licenses.Immigrants often deal with this problem by driving illegally without licenses and without state-required liability insurance.
This bill would help ensure the safety of Texas roads by allowing more drivers to be tested. In addition, it would have positive ripple effects for immigrants, allowing them to open bank accounts instead of having to carry large amounts of cash, which can make them robbery targets, and to use their driver's licenses for identification."
Aside from Staples, also voting for the bill were Republican Sens. Teel Bivins, Jeff Wentworth, J. E. "Buster" Brown, John Carona, Robert Duncan, Troy Fraser, Chris Harris, Tom Haywood, Mike Jackson, Jon Lindsay, Steve Ogden, Florence Shapiro and David Sibley.
Sen. Jane Nelson, R-Flower Mound, cast the sole no vote.


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I'm not sure exactly what the "Democrat'" stimulus plan will stimulate beyond the national debt. It threatens to open a deficit chasm that will make the Bush deficits look like ruts in an unpaved country road by comparison. Treasury Secretary Timothy Geithner ought to think twice about antagonizing China with accusations of currency manipulation as we are going to need them to buy up all this debt the Treasury will be issuing. But, maybe Geithner didn't really mean that and just made an honest mistake.
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Winter cleaning | Official Google Blog: "On January 4, 2013, we'll be shutting down several less popular Google Calendar features. You'll be unable to create new reservable times on your Calendar through Appointment slots, but existing Appointment slots will continue working for one year. In addition, we'll discontinue two Calendar Labs—Smart Rescheduler (we recommend Find a time view or Suggested times as alternatives) and Add gadget by URL. Finally, Check your calendar via sms and Create event via sms (GVENT)—U.S.-only features for creating and checking meetings by texting information to Google—will be discontinued today, as most users prefer mobile Calendar apps."
Now, I know that free comes at a price. And I know that for every 'free' tool you use online you should have a back-up plan. A little contingency thrown into the mix. But if your job is to see a tool for its worth in a learning and teaching context... and promote / support the way in which is might be used... and the rug gets pulled on the feature or functionality that actually makes a difference to people... then, going Google can be a frustrating experience.
|No point crying over disappearing free stuff...
Using free stuff is one thing. Depending on free stuff or imagining it'll never change is another. Maybe it's a nudge to us to continually look at what we're using and whether that needs a tweak too. But one thing's for sure. Imagining that that 'essential' tool you've found online is going to be there for the foreseeable future is going to leave you with a very sad look on your face!


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Lumidee (Feat. Chad B, Chase Manhattan, Chriss Brown) - Changing
Lumidee 'Party all week" On itunes july 31th www.Logmusic.com @thereallumidee @therealchab @darealchaseman @chrissbrown for all bookings contact Euro_V Victor "Vitin" G. email@example.com
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Home > Desktop User > Wubi on Ubuntu 8.04
Wubi on Ubuntu 8.04
April 21, 2008 Leave a comment Go to comments
Ubuntu 8.04 Hardy Heron includes the Wubi installation feature which is a brand new way for Windows users to install Ubuntu by using an .exe file. With no dedicated partition and no affect on the current bootloader users can dual boot. Select wubi .exe from the CD root folder and Ubuntu will install like any other windows application.
I'm happy to see this included with Ubuntu 8.04 Hardy Heron because it makes it that much easier for Windows users to get used to Ubuntu and other Linux distributions without affecting their current system setup.
Categories: Desktop User hardy heron, ubuntu, wubi


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Sysmex CA-620 and 660 Systems
Two options to meet your needs
Proven economy with two model configurations
Some labs need routine testing. Others need routine and specialty testing. With models custom-tailored to the needs of each, labs get the solution that fits their needs. The Sysmex CA-620 System offers clotting testing methodology for laboratories that primarily perform routine tests; the Sysmex CA-660 System offers clotting, chromogenic*, and immunologic* testing for laboratories that require a broader test menu and perform specialty testing.
Convenient system that saves you time and money
- The most economical testing solution is usually the one best tailored to your needs. With the Sysmex CA-620 for routine testing, and the CA-660 adding specialty testing, labs get exactly what they need
- The systems are so easy to learn and use that costly classroom training is not required, maximizing your personnel time and ensuring efficient workflow
- The Siemens commitment to standardized reagents, quality control, and consumables reduces waste and saves time through streamlined ordering and maintenance
- Because there's nearly a year between service visits, you can be confident in consistent uptime
Reduce hands-on time and increase walkaway ability
- Automated probe rinse eliminates manual steps
- Simultaneous analysis of results frees up time
- Increase D-Dimer throughput by 40%1
- Hand-held two-dimensional barcode reader simplifies the data entry process for ISI, control and calibrator values, lot numbers, and expiry information
- Sample barcode reader provides simplified sample ID processing and enables security and integrity of patient records
Make a big impact with the smallest footprint
- 25% less power consumption1
- Minimal consumables needed—only CA Clean I, CA Clean II, and reaction tubes
- Only one reaction tube used per test
Consistently monitor your patients, from lab to lab
- Results correlate with the entire line of Siemens hemostasis systems
- Provides confidence through standardized results
The CA-600 Systems build upon the proven technology and reliability of the Sysmex CA-500 Series Systems, thus offering peace of mind and easy integration into your laboratory.
Note: Sysmex is a registered trademark of Sysmex Corporation
Produkty, usługi i zasoby powiązane
*Offered on Sysmex CA-660 System only.
1When compared to the CA-560 System.


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Career services professionals from 28 highly selective liberal arts colleges and universities will gather at Hope College next week to plan how best to serve their institutions' students.
Career services professionals from 28 highly selective liberal arts colleges and universities will gather at Hope College next week to plan how best to serve their institutions' students.
Hope will host the Liberal Arts Careers NetWORK (LACN) Summit on Wednesday-Friday, June 13-15. The annual event, which rotates among the LACN's 28 member institutions, features two days of committee meetings, networking and planning between career services professionals, with meetings with employers on the final day.
The Liberal Arts Career NetWORK was founded in 1996 to develop and sustain innovative technological career resources and services that give students a competitive edge in the global marketplace. The LACN helps students at liberal arts colleges find internship and job opportunities, and provides a resource to help employers to find the best candidates for their openings.
The LACN provides employers with a variety of services that enhance an organizations' ability to market job vacancies, evaluate candidates and locate interns and trainees for entry-level positions. Employers can access a pool of 60,000 highly competitive students.
One of the products developed by LACN is a shared consortium database of 20,000 summer jobs and internships accessible in a password protected database. Other innovative tools produced by LACN members include "Spotlight" Web sites which contain a wealth of industry, intercultural and graduate school resources for liberal arts college students.
In addition to Hope, colleges and universities that participate in LACN include: Amherst College, Bates College, Bowdoin College, Brandeis University, Bryn Mawr and Haverford Colleges, Carleton College, Clark University, Colby College, Colgate University, College of the Holy Cross, College of Wooster, Connecticut College, Hamilton College, Hartwick College, Hobart and William Smith Colleges, Macalester College, Middlebury College, Mount Holyoke College, Oberlin College, St. Lawrence University, Skidmore College, Trinity College, Union College, Vassar College, Washington and Lee University, Wesleyan University and Wellesley College.
Additional information on the Liberal Arts Career NetWORK, activities, affiliate schools, and services for employers - including the free job and internship listing service - can be found at http://www.lacn-group.org.


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Lot 0007
Title: Chanel Black Quilted Caviar Maxi Classic Double Flap Bag
Description: Chanel Black Quilted Caviar Maxi Classic Double Flap Bag - Maxi Classic double flap bag - Black quilted caviar leather - Silver tone hardware - Front flap with signature CC turnlock closure - Falf moon back pocket - Adjustable interwoven silver tone chain link and black leather shoulder strap Interior: - Lined with burgundy leather with the "love letter" zipper compartment under the first flap - An "outer" slit pocket under the second flap - Interior compartment features two open pockets separated by "lipstick" compartment This item comes with an original dustbag, felt cover, COA card, carebook and box. Please note, these items are pre-owned and may show some signs of storage, even when unworn and unused. This is reflected within the significantly reduced price. Please refer to images and use the zoom function for more detail. Approx Depth: 10 cm Width: 33 cm Length: 23 cm Strap drop (doubled): 30 cm
Details: Details
21st Century
Condition Details
Almost in pristine condition. Very minor signs of wear to the base corner and lining. Please refer to images and use zoom function for further details.
Category: Fashion; Handbags and Purses; Shoulder Bags
Domestic: Flat-rate of $65.00 to anywhere within the contiguous U.S.
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Location: This item ships from the United Kingdom.
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Jasper52 Terms & Conditions 1. All bidders and buyers shall present satisfying documentation prior to the approval of this auction. 2. This auction contains items with "no reserve" or "reserve" pricing, as indicated in each item description. An item with "no reserve" means there is no minimum price set, so the item is guaranteed to sell regardless of what the winning bid price is. An item containing a "reserve" means that there is a minimum price that the bidding must reach to sell. 3. All property is sold "as is" and neither Jasper52 nor the listing agent makes any warranties or representation or any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, or description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice, or in the catalog, or elsewhere shall be deemed such a warranty of representation or an assumption of liability. Prospective buyers are urged to inspect those lots in which they have an interest. 4. Jasper52 will contact the winning bidders with shipping information after the auction. Buyer pays shipping cost indicated in the auction description, as well as any applicable taxes, duties or fees for items originating from outside of the buyer's home country. For buyer's outside of the Continental United States, the Jasper52 team will provide an introduction to global parcel or white glove shipping partners upon request. 5. Except as provided in paragraph 1 above, the highest bidder as determined by Jasper52 shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. 6. All merchandise purchased is payable directly to Jasper52 and must be paid for upon receipt of the invoice. Invoices are sent the day after the auction.. All merchandise must be removed from Jasper52 within fourteen business days of the auction, and in no event shall Jasper52 have any liability for any damage to property left on its premises for more than fourteen business days after the sale. If any property has not been removed within fourteen business days from the date of sale, at the option of Jasper52 (a) the merchandise may be transferred to and stored at a bonded warehouse and the purchaser agrees to pay all transfer and storage expenses, and/or (b) Jasper52 may place the merchandise in a subsequent auction, without reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 7. Acceptable forms of payment are cash, VISA, MasterCard, American Express, Discover, or wire transfers, payable in U.S. dollars. Invoice must be paid in full. Jasper52 reserves the right to hold merchandise purchased until the funds have cleared. 8. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Jasper52 may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser's breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 9. Jasper52 may, in its discretion and at purchaser's request, package and arrange for delivery as directed by the purchaser. In such event, purchaser agrees that (a) all such packaging, handling and delivery is at the sole risk of the purchaser and that Jasper52 shall have no liability for any loss or damage to such items, and (b) purchaser shall pay in advance, all packaging expenses, including labor, materials, carrier's fees and all insurance charges. Please arrange seventy-two hours in advance for collection and delivery. Jasper52 shall not be responsible for obtaining any permits or licenses on behalf of purchaser and no sale shall be cancelled or refunded for lack of purchaser's noncompliance with permitting and licensing issues. JASPER52 WILL NOT CANCEL SALE DUE TO SHIPPING. 10. A premium equal to 15% of the final bid price will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale. 12. 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Chanel Black Quilted Caviar Maxi Classic Double Flap
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Welcome to YOUR future Get Services Join Stream
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Stream Wireless Coverage Tool
This tool provides high-level estimates of our wireless coverage. Coverage is not available everywhere and this is just an estimation. Various factors like network problems, software, signal strength, wireless device, structures, buildings, weather, geography, topography, etc., will result in dropped and blocked connections, slower data speeds, or otherwise impact the quality of services.


text: Sweet justice for all those Braves and Dodgers fans who watched Jones pork up while on big contracts. And Jones says, "Sweet justice? I wanted sweet relish!" Twins win, 5-4, in extras, after Rafael Soriano and co. offered the first of many delightful late-inning implosions to come this season. [Video via Mocksession]


text: Dr. Naylor's Udder Balm has been used for years to keep goat teats and udders soft and healthy. This antiseptic ointment maintains the natural skin moisture and relieves soreness. Use it for minor cuts, bruises, chapping, skin irritation, and sunburn. Keep one by your sink to use on cracked and chapped hands. 9 oz.


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What is GroovyCart?
GroovyCart is an online shop provider which allows individuals and small businesses to build their own professional online shop. All you need to do is register and your online shop will be ready and waiting, once you have done that you can start customising your shop and adding products.
Our online shops are fully hosted so you don't need to worry about hosting or domain names, we look after all the security so you don't have to, lots of payment gateways built in so you can easily start accepting money, we give you lots of tools to market your shop.
What you get:
Feature rich:
- Automatic feed to Google Merchant.
- "Buy Me" buttons that you can put on other websites.
- Add YouTube videos to your products.
- Easily run promotial discounts on your products.
- Send out E-mail newsletters to your customers.
Sell Using:
No download!
There is nothing to download and you can administer your shop from any operating system,and administer your whole shop from a webpage.
We give you everything you need to create a professional online shop, and tools to help you market your products to help your business become a real success!


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People who love brunch complain that Palo Alto doesn't have it. The one shining light is St. Michael's Alley, proudly serving hearty and sophisticated California favorites on Saturdays and Sundays since 1993.
On regular weekends, reservations aren't accepted. You show up and wait -- up to an hour on Sundays, which has prompted some regulars to switch their allegiance to Saturday.
But for the annual brunch-oriented holidays, diners can -- and must -- make reservations. As we all know, the mother of all brunch holidays is May 11.
Easter and Mother's Day feature fixed-priced menus with mimosas, as well as seating in both the five-year-old restaurant on Homer Avenue and the 55-year-old cafe, former bakery and waiting room on Emerson Street.
Jenny Youll and Mike Sabina bought the restaurant from founder Vernon Gates 21 years ago. They bring degrees in economics, psychology and mechanical engineering to the table -- and all have proved essential.
"With three degrees, we have the basics for running a restaurant," Sabina said.
It was the usual story: Easterners come west to Palo Alto to attend Stanford University and never turn back. Buying was supposed to be a short-term project, meant to feed Youll's love of baking. Now they have two children and 37 employees, mostly long-term. The average length of service is a dozen years.
Family brunch has long been central to St. Mike's mission, starting with Youll's pancakes and evolving into lunch fare and later hours. When they expanded into the two converted condos on Homer Avenue, the plan was to add brunch when time and energy allowed. So far, they haven't. Brunch is still a weekends-only thing, served at "The Annex" on Emerson Street, with the exception of Easter and Mother's Day, when brunch is served at the Homer Avenue location, as well.
As diners will hear, children are welcome. Tables are topped with wire baskets containing condiments and crayons, as well as white butcher paper -- the better for drawing. Walls are brightened with large, food-oriented nature photographs featuring shallots, potatoes and perhaps a friendly cow. Remnants of olden days include the bar, where four people can sit, and the grandmother-evoking chandeliers.
Pastries rotate between multiple varieties of scones, morning-glory muffins, cinnamon rolls and other heavy-duty favorites from the early '70s bakery.
Generous champagne flutes ($6.75) contain soothing mimosas and Cape Codders (cranberry juice and champagne). Brunch being a convivial meal, these beverages also come in carafes ($32). The same goes for fresh orange and grapefruit juices ($3.75 a glass; $15 a carafe).
Many restaurants put out pancakes and waffles, or a fussy little menu, and call it brunch. And then they charge extra for real maple syrup. Not St. Michael's.
Enjoy that syrup on French toast made with soft bread, Belgian waffles, or four varieties of buttermilk pancakes. All run $11.
There's an egg dish to please every taste, from two eggs any style ($13 with pancakes, bacon and potatoes) to a ham-and-grilled-pineapple omelet ($16) to smoked salmon eggs Benedict ($18).
Accompanying herbed Yukon gold potato wedges are perfection: crunchy on all sides, creamy and buttery inside.
The St. Mike's omelet ($15) maintains the correct ratio of egg to insides: With each bite you get some egg (not too puffy), crispy bacon, sautéed mushrooms, melted cheddar and cream cheese. The omelet comes with a small square baking-powder biscuit.
Chilaquiles ($16) especially pleased my spice-averse companion. Strips of fresh corn tortillas were draped in scrambled eggs and ham, enlivened but not overcome by green chilies, feta cheese and tomatoes. Accompaniments come in the form of creamy avocado slices, black beans, salsa, sour cream and those great potatoes.
Brunch is a challenge for vegans, but vegetarians can run wild and gluten-free items are highlighted.
The Annex seats 50 people inside, 10 or so outside. At non-brunch times it is used a lot for private parties, from company events to 70th birthday celebrations. Mike Sabina sums it up: "Most of our customers are regulars."
The Annex at St. Michael's Alley
Lunch & Dinner: 140 Homer Ave.
Saturday & Sunday Brunch: 806 Emerson St.
Palo Alto
Lunch: Tuesday-Friday: 11:30 a.m.-2 p.m.
Dinner: Tuesday-Saturday: 5:30 p.m.-9:30 p.m.
Brunch: Saturday-Sunday: 10 a.m.-2 p.m.
Reservations: no
Website: www.stmikes.com
Credit cards: yes
Alcohol: beer and wine
Parking: street
Children: yes
Outdoor dining: yes
Party and banquet facilities: yes
Catering: no
Takeout: yes
Noise level: medium-high
Restroom cleanliness: good


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Thank you for your interest in employment opportunities at the Epilepsy Foundation. For your convenience, we will frequently update job listings available at our national office, located right outside Washington D.C. If you find a job that interests you, please email or send your cover letter/resume to the specified address.
The Epilepsy Foundation offers a competitive and comprehensive benefits package to all full-time employees. Learn more about our benefits.
Looking for directions to our national office?
Diversity Policy
The Epilepsy Foundation recognizes that in order to fulfill its mission to serve people affected by seizures it must acknowledge the diverse makeup of its clients and the people who work to fulfill the mission.
To that end the Foundation is committed to ensuring that its workplace has an inclusive environment, that maximizes the benefits of the differences of its workers and presents equal opportunities to all applicants and employees. The Foundation will work diligently to see that cultural differences are not seen as obstacles but as essential elements of each employee to be shared and acknowledged positively. Each employee will be valued and respected regardless of race, gender, religion, color, national origin, disability, sexual orientation, age, education, geographic origin, position, or grade level.
Please email or send cover letters and resumes to:
Epilepsy Foundation
Attn: Human Resources
8301 Professional Place, East
Landover, MD 20785


text:
Tina Modotti
Phaidon, Jan 10, 2006 - Art - 128 pages
An accessible, collectable book on Tina Modotti. Italian photographer Modotti (1896-1942) was a pioneer among the few women photographers of the 1920s. Having studied with Edward Weston, she soon became an outstanding photographer in her own right. Documenting the people and tumultuous politics of Mexico, her portraits, still lifes and abstract compositions combine a sophisticated sense of design with socially and politically orientated subject matter. Linked to some of the most important artistic and political developments of the twentieth century she was a significant influence on future Mexican photographers, including Manuel Alvarez Bravo and Graciela Iturbide.
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abstract image aestheticism Alvarez Bravo Antonieta Rivas Mercado art and politics artists and writers baby bandolier bohemian brief affair camera close friend composition Cuban Diego Rivera documentary image documenting Dolores Del Rio downtown Mexico City Edward Weston exhibition father film flowers frame Frida Kahlo guitar Hairy Ape Hollywood iconic Idols Behind Altars Indian women indigenous influenced International Red Aid isthmus of Tehuantepec joined the Mexican Julio Antonio Mella Labour Parade leading artists leave Mexico lived Lola Cueto Louis Bunin Machete newspaper marionette theatre Mella's assassination Mexican artists Mexican Communist Party Mexican Folkways Mexican painter Mexican press Mexican Revolution Modotti and Weston Modotti became Modotti's photography organized Orozco painter Paul O'Higgins petals political activism political content portrait post-revolutionary Puppeteer reflected Rene D'Harnoncourt Rivera Mural Robo role social sombreros Stalinist sugar cane take photographs Tehuana Tepotzotlan Tina Modotti traditional Udine Veracruz viewer Vittorio Vidali Weston's studio woman young


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Apartment with one double and alcove with bunks. Lounge with two single sofa beds and pull out bed.
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Apartment one bedroom with three singles. Lounge with double sofa bed.
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Oneida County Executive Anthony Picente, Oneida Nation Representative Ray Halbritter attending state Senate economic summit in Albany.
ALBANY -- Several government, business and Native American leaders are meeting in Albany today trying to find ways to boost the region's economy.
Oneida Nation Representative Ray Halbritter and leaders from several other New York tribes, along with Oneida County Executive Anthony Picente and regional Building Trades Representative Pat Costello are among those participating in today's economic summit to aimed at finding ways to build economic development partnerships among the state's governments and businesses.
Topics to be discussed at today's meeting of the Senate Committee on State-Native American Relations include the creation and retention of jobs, promoting local investment, strengthening government relations and building successful community partnerships.
The committee is chaired by Sen. George Maziarz (R-62).


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Despite the sluggish economy, the number of cosmetic and reconstructive surgeries performed rose from 2009 to 2010. The American Society of Plastic Surgeons reports increases in the number of cosmetic, minimally invasive, and reconstructive procedures.
Plastic surgeons were, of course, paid for those procedures. But their salaries varied by location. Salaries in the mid-Atlantic and Great Lakes regions stand out, according to the 2011 Medscape Physician Compensation Report.
The report says the median salaries in those regions are about 25 percent greater than the median — $270,000 — for all plastic surgeons in the nation.
In all other regions, the difference is no more than 10 percent above or below the median. The report says that these numbers do not seem to correlate with the number of cosmetic procedures performed, which is highest in the Western states. One contributing factor may be the wide variation in fees for cosmetic and reconstructive procedures.
In comparison, the same report highlights the median salary of internists by location. It says internists out west (California, Hawaii) had the highest median income, $188,000. By contrast, the internists in the Northeast (New York, Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, Maine), had the lowest median income, $150,000.
Source: Medscape Physician Compensation Report: 2011 Results
Source: American Society of Plastic Surgeons. Report of the 2010 Plastic Surgery Statistics


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Making an Impact: The Fletcher Human Rights Practicum Launches in Fall 2013
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In the fall of 2013, The Fletcher Human Rights Project (HRP)—the student organization devoted to human rights—launched the Human Rights Practicum, an initiative that connects current Fletcher students with international partners on substantive human rights projects. We hatched the idea […]
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Check your www.walmart.com gift card balance online
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Excerpted fromAnnie Leibovitz at Work,by Annie Leibovitz, to be published by Random House in November; © 2008 by the author.
Annie Gets Her Shot
Four of the most memorable Annie Leibovitz shots—of Mick Jagger, Demi Moore, Arnold Schwarzenegger, and Queen Elizabeth II—gain added power from the stories behind them, shedding as much light on Leibovitz's portrait-making process as on her subjects. In an excerpt from her new book, the photographer describes those experiences at the intersection of art and celebrity, from nearly losing herself in the Rolling Stones' world to touching off an ironic scandal with her Buckingham Palace session.
Arnold Newman said that photography is one percent talent and ninety-nine percent moving furniture. I think about that sometimes when we're on location and we've moved the set—the stage, the lights, the backdrop, sandbags, fans. And moved them again. And again. I just have to close my eyes to everything that's being done. The manual labor is daunting.
It didn't start out that way. In the beginning, I traveled alone. I carried my equipment and if I used a light I would set it up myself. Some people took the results as a style. A writer for American Photographer once said that the umbrella and strobe reflected in the mirror in my portrait of Jimmy Carter was a "skillfully implemented device." As I recall, I walked into the room holding the light and set it down and plugged it in and started taking pictures. I didn't think about it.
I first worked with an assistant in 1975, during the Rolling Stones tour. I wanted to photograph the band together right after the show, when they were pumped up, and I had been talking to them about this for weeks. I told them how fantastic they looked all sweaty, but I could never get them to stop for the photograph. So one night in Los Angeles I hired an assistant who helped me hang a roll of seamless paper and set up a strobe outside the stage door. They had to walk across the paper to get to their cars. When they saw it they laughed and stopped and I got four or five frames.
If I borrowed someone's studio, there would usually be an assistant there to help out, but I didn't have my own assistants on a regular basis until the magazine I worked for, Rolling Stone, moved its offices from California to New York, in 1977. I didn't hire someone full-time until I had my first studio, in 1981, and I found the new arrangement frustrating. The assistant didn't automatically see what I saw. Everyone sees things differently, and he often didn't know what to do even if he was standing next to me. I had watched Dick Avedon work and I didn't understand why it couldn't be like that. Avedon didn't have to tell his assistant where to move the light. It seemed to be done by osmosis. That came from working together for many years. Reluctantly, I had to learn to talk about the shoot before it happened, which didn't seem right. It took away the mystery.
The job description for an assistant is pretty loose. Over time, assistants have taken on roles I couldn't have envisioned when I started working. My assistants used to check out new equipment and work on lighting problems in the studio. Our last studio was in an old double garage in Chelsea. It was vast, with high ceilings. It was the studio of my dreams, but I realized that I didn't need it. My best pictures are taken on location. Anyway, the studio got too big. We had too much equipment. Things were getting out of hand. Having a studio is a little like having a fancy car. It doesn't help you take better pictures. Now I have an office in a town house in the West Village. The assistants have a room where we keep just enough equipment for a small portrait shoot. There is an area for meetings. My studio manager and the archivists have spaces. Postproduction work on the pictures is done in a design room that has several computer stations. There are a number of fully equipped photo studios in the neighborhood that we can rent. And we can set up a portable studio anywhere if we need to.
Mick Jagger
When I first worked for Rolling Stone, in the early 70s, we wouldn't photograph a band until they came to town. I hardly ever traveled. I took some pictures of the Rolling Stones when they came through San Francisco in 1971 and 1972. Truman Capote was supposed to write a story for the magazine about the 1972 tour, and the editor, Jann Wenner, said it was O.K. if I went along to two or three cities. Robert Frank was traveling with the band, making a 16-mm. film that would become Cocksucker Blues. The band had commissioned him to do it, but it was never formally released, presumably because of the drugs and sex that were filmed. Danny Seymour, Frank's friend and camera assistant, was involved in a lot of that. He died mysteriously while the film was being edited.
I was in awe of Robert Frank. He had been one of my heroes when I was a photography student at the San Francisco Art Institute. I couldn't believe that I was able to watch him work for a few days, that I was actually in the room where Robert Frank was loading his camera. He picked up my camera once. I was terrified. He held it. It was like being with God. He said to me, "You can't get every picture." That was comforting advice. You do miss things. You're attached to this machine. To its timing. Things are moving in front of you and you're supposed to capture them, but it's not always possible. Robert Frank didn't seem to be missing anything, though. He was tireless. He never stopped working.
I guess the band liked the few pictures I took then, and in 1975 Mick called and asked me if I would like to be their tour photographer. Mick is very shrewd. He seems to understand that the documentation of the band is important. He kept all of his costumes from the tours. And he's always had a photographer. Like the president or the Queen has a photographer.
I went to Jann and told him I wanted to go on the tour. He said that he couldn't guarantee that there would be a job for me when I came back, but I thought it was too good an opportunity to miss. Robert Frank had photographed the Rolling Stones and now it was my turn.
The band was rehearsing at Andy Warhol's place in Montauk, at the end of Long Island, and I went out there for a month or so, and then there was a break and the tour started in June. I was very naïve. I brought my tennis racket with me. I thought that maybe as we went from city to city I would take tennis lessons. I didn't know what I was getting myself into. They were paying me a few hundred dollars a week and I was supposed to create publicity pictures, but I only managed to get a few out the first day and that was it. I was never up during the day again. I was always with the band.
At the time, I thought that the way to get the best work was to become a chameleon. To become so much a part of what was going on that no one would notice you were there. It was unbelievably stupid of me to pick that situation to become part of. I did everything you're supposed to do when you go on tour with the Rolling Stones. It was the first time in my life that something took me over.
A rock 'n' roll tour is unnatural. You're moving through time and space too fast. The experience is extreme. There is the bigness of the performances and then the isolation and loneliness that follows. The band was like a group of lost boys, but their music saved them. It gave them a reason to exist. When they weren't on tour they didn't spend that much time together. On the road they worked. It was the first time in my life—and I'd been at Rolling Stone for five years by then—that I saw how music is made. I saw how it is produced organically. The riffs I heard in hotel rooms during the tour were the songs on the next album—"Memory Motel," "Fool to Cry."
The photograph that is emblematic of the 1975 tour for me is the one of Mick in the elevator. It was toward the end of the tour, and he was not on the ground. He was flying. From another world. He was the most beautiful object. Like a butterfly. Ethereal. After all the time on the road, his dancing was very loose. It was almost surreal. I was always aware of where Mick was. What might have seemed like a nuisance to him became a source of comfort. To know that I was somewhere nearby. It was a subject-photographer relationship of an obsessive kind. I remember him saying that I should tell him if I wanted him to be at a specific place on the stage at any point in the show, but I found that too daunting. I couldn't think of anything for him to do that he wasn't already doing.
At the end of the performances, the band would do two or three encores that had been planned. Nothing was ad-libbed. They were professional in a way I hadn't seen until then. They'd been doing it awhile. After the last encore, when everyone in the audience thought they were coming onstage again, they would get out of Dodge. Mick dumped several pails of water on his head every night as part of the show and he would leave the stage totally wet, with his eye makeup running. He wrapped himself up in towels and jumped in the car. Usually the band went straight to the plane, but we were staying in town the night I photographed him in the elevator. The picture was taken on the way up to Mick's room. He and I were alone. We were on some level out of it. Not because of drugs, but because of all that travel, and sleep deprivation, and the exertion of the performances.
I learned about power on that tour. About how people in an audience can lose a sense of themselves and melt into a frenzied, mindless mass. Mick and Keith had tremendous power both on and offstage. They would walk into a room like young gods. I found that my proximity to them lent me power also. A new kind of status. It didn't have anything to do with my work. It was power by association.
I've been on many tour buses and at many concerts, but the best photographs I've made of musicians at work were done during that Rolling Stones tour. I probably spent more time on it than on any other subject. For me, the story about the pictures is about almost losing myself, and coming back, and what it means to be deeply involved in a subject. You can get amazing work, but you've got to be careful. The thing that saved me was that I had my camera by my side. It was there to remind me who I was and what I did. It separated me from them.
Demi Moore
It's hard to imagine now, but the portrait of Demi Moore nude and pregnant on the cover of Vanity Fair was truly scandalous in 1991. Scandalous in the sense of shocking and morally offensive to some people. The first day the issue was available, it sold out on newsstands at Grand Central Station during the morning rush hour. Newsstands in other parts of the country displayed it in a white paper wrapper, as if it were a porn magazine. Several supermarket chains refused to sell it even with the wrapper. Television crews were parked outside the Vanity Fair office for days. Editorialists and pundits weighed in. A few years later, the picture was held responsible for the rise of body-hugging maternity fashions.
None of this was my intention, although it's gratifying to think that the picture helped make pregnant women feel less awkward or embarrassed about their bodies. It began as a shoot with a specific problem. Demi had a new movie coming out, and Tina Brown, who was the editor of the magazine then, wanted to put her on the cover, but Demi was seven months pregnant with her second child. Tina and I talked about how to handle this, and we decided to go for a glamorous, sexy look. Lori Goldstein, the stylist, brought diamond earrings and a 30-carat-diamond ring to the studio in Los Angeles where we were shooting. We had long gowns, including a green satin robe by Isaac Mizrahi.
Demi and I had worked together several times before, and I'd taken her wedding pictures when she married Bruce Willis, in 1987. I had said to her then that I was interested in photographing a pregnant woman, which at that point I never had. Demi called me when she was going to have their first child. Bruce was working on location in Kentucky and she had gone there to have the baby. I stopped off in Kentucky on the way back to New York from Los Angeles and took a few rolls of black-and-white film. Just for them. Demi and Bruce were not shy about documenting the pregnancy. Several friends and a man with three video cameras were in the room when their daughter was born a few weeks later.
At the cover sitting in 1991, I shot a few close-ups and some full-length portraits. Demi was by no means camouflaged for any of them. In the standing portrait published inside the magazine the green satin robe is pulled off her shoulders and it falls open to expose her belly and leg. In another picture she's wearing a black lace bra and panties. But the fully nude picture was not taken until toward the end of the shoot and was intended just for Demi. I was taking some companion photographs to the ones I had made during Demi's first pregnancy. As I was shooting, I said, "You know, this would be a great cover." It wasn't until I got back to New York and looked at the proofs that I realized that there really was a great cover photograph there. Tina agreed, although she thought that Demi would be furious if we ran it. She was surprised when Demi said yes right away. We all knew what we were doing up to a point, but none of us completely understood the ramifications.
A few months after the Demi Moore picture was published, an exhibition of my work from 1970 to 1990 opened at the International Center of Photography, in New York. The director of the center, Cornell Capa, wanted to blow the picture up and hang it in the stairwell. I wouldn't let him. It was a popular picture and it broke ground, but I don't think it's a good photograph per se. It's a magazine cover. If it were a great portrait, she wouldn't be covering her breasts. She wouldn't necessarily be looking at the camera. There are different criteria for magazine covers. They're simple. The addition of type doesn't destroy them. Sometimes they even need type. My best photographs are inside the magazine.
Arnold Schwarzenegger, Malibu, California, 1988. Photograph by Annie Leibovitz.
Arnold Schwarzenegger
I first worked with Arnold Schwarzenegger in 1975, when he was competing in the Mr. Olympia bodybuilding contest in South Africa. Arnold was 28. He'd already been Mr. Olympia five times and he was about to retire from bodybuilding. He wanted to get into films. The 1975 Mr. Olympia contest was the basis for George Butler's documentary Pumping Iron, the movie that popularized bodybuilding and introduced Arnold to a wider audience. Butler was a friend of Jann Wenner's. I don't remember exactly, but I assume that my trip to South Africa was what is now known as a press junket. I can't imagine that Rolling Stone would have paid for it. I do remember that Butler was always filming when I was trying to work.
Arnold is the center of Pumping Iron in every way. In terms of the narrative of the preparation for the contest, he is the guy everybody else has to beat, which they pretty much know they can't. As a character, he is aggressively, if charmingly, self-confident. Witty. Intelligent. Full of himself. He somehow makes what is a rather freakish scene seem almost normal, although it never seemed normal to me. Steroids were legal then. I had just spent several weeks on tour with the Rolling Stones, where Mick Jagger was the male sexual ideal. Being around all those super-pumped-up guys made me feel like Diane Arbus. It didn't help that we were in South Africa, which still had apartheid. There were separate bathrooms for blacks and whites. It was an uncomfortable situation.
Arnold was sharing a room with his friend Franco Columbu, who came in second in the final posedown. Arnold and Franco were very competitive and brotherly and I decided that I wanted to photograph them in bed. I had in mind something that was, in retrospect, along the lines of Bruce Weber. The magazine used one of the photographs of them horsing around. Standing on their heads on their pillows. It was more silly than erotic. They had their underpants on for that shot, but Arnold was also walking around naked that morning. Like most models or athletes who love their bodies, Arnold didn't mind being naked.
Two years later, when I had to photograph Dolly Parton and needed an interesting background, I asked Arnold to pose with her. She was a much bigger star than he was. Most people had never heard of him then. I was thinking of chopping off his head in the frame, but it became a moot point because Dolly kept standing in front of him and blocking him out of the picture. In the portrait, all you can see of him are his flexed arms and legs. He's furniture.
In Pumping Iron, Arnold says, "I was always dreaming about very powerful people, dictators and things like that. I was just always impressed by people who could be remembered for hundreds of years, or even, like Jesus, being, for thousands of years, remembered." Ten years later he was the Terminator. I shot him for the Vanity Fair Hall of Fame in 1988. We were shooting on the beach, and he said he had a horse, and I said, Well, bring it along, not thinking much about it. I couldn't believe it when the horse showed up. It looked like Arnold. Arnold's thigh in those white pants looks like the horse's thigh. It was not a picture that I liked right away, because it is primarily about form and I'm reluctant to have form impose the meaning on a picture. But in Arnold's case, form is also content.
Elizabeth II, Buckingham Palace, London, March 28, 2007. Photograph by Annie Leibovitz.
The Queen
In 2007, a few weeks before Queen Elizabeth visited the United States for the 400th anniversary of the founding of Jamestown, I was asked to take her portrait. I was the first American to be asked by the Palace to make an official portrait of the Queen, which was very flattering. I felt honored. I also felt that because I was an American I had an advantage over every other photographer or painter who had made a portrait of her. It was O.K. for me to be reverent. The British are conflicted about what they think of the monarch. If a British portraitist is reverent, he's perceived to be doting. I could do something traditional.
It's ironic that the sitting with the Queen became controversial. I'm rather proud of having been in control of a complicated shoot. The controversy arose about two months after the pictures were published, when the BBC claimed that the Queen had walked out while we were shooting. This was completely untrue, and although they retracted the claim and issued an apology to the Queen and to me almost immediately, the scandal had a life of its own. The story, which came to be referred to as Queengate, wouldn't die. Eventually the head of BBC One resigned over it.
When I was preparing for the shoot, I thought about using the landscape around Balmoral Castle, in Scotland. I brought this up in the very first conference call with the Palace. I said that Americans thought of the Queen as an outdoorswoman. I had been influenced by Helen Mirren's performance in The Queen and I couldn't help mentioning how much I liked her character in that film. There was a long silence on the other end of the line.
The second idea I had, after Balmoral, was to photograph the Queen on horseback. I asked where she rode and they said she went riding every Saturday at Windsor Castle. I said that I would love to see her in her riding clothes, and in a later conversation I asked if she could stop during her weekend ride and get off her horse and mount it again. That is, could I do a portrait of her in the trees. They said, No, it was not possible. She just rode the horse and came back, and, anyway, she didn't wear riding clothes anymore. A few days later they said it was going to be Buckingham Palace and no horses.
I realized that I was going to need some time on the ground for this. When we arrived in London, we went straight to the palace and were shown all the rooms, including the throne room—everywhere except the private quarters. And then we scouted the back. There was a wintery sky and the trees didn't have leaves. It was an appropriate mood for this moment in the Queen's life. There was no way, however, that she was going to stand outside in formal attire.
For a sitting like this you don't put all your eggs in one basket. You try to have as many options as possible. I kept thinking that somehow I would get the Queen outside, but I began choosing formal outfits. I narrowed the robes down to a very handsome Order of the Garter cape, but then we were told that she could wear only a white dress under it. We were lobbying for a gold dress. I was also hoping for a dress with more body to it. The Queen wears very streamlined dresses now that she's older, and I wanted her in something with more volume. But she didn't have anything like that. Finally everyone agreed that she could wear a gold-and-white dress under the Order of the Garter robe. The Queen was 80 years old. She was sturdy, but putting on and taking off a lot of heavy clothes is tiring, and she had to be dressed in layers to expedite things. The gold-white dress became the base.
I was still upset that I couldn't get her outside. It was so beautiful out there. And it wasn't cold or raining or anything. I began thinking about what Cecil Beaton had done. He brought in flowered backdrops. Beaton was big on backdrops. He made very stagy portraits. Perhaps because the pictures were made in black and white you don't notice the backdrops. They sort of go out of focus. I realized that I could do something similar digitally. I decided to photograph the garden and the trees for a backdrop.
The Palace had given us 25 minutes with the Queen, so there had to be a battle plan. I chose a grand reception room, the White Drawing Room, as the principal setting because of the light from the tall windows. Supplementary lights had been pre-set so that when the Queen moved from one spot to another all we needed to do was switch them on. We had constructed a gray canvas backdrop in an anteroom, and she was to come in there wearing the Order of the Garter robe and the dress, but no tiara. The first shot was to be made on a balcony, with the sky behind her. That sky could be digitally exchanged later for the pictures I had taken in the gardens the day before. I didn't want her to be wearing a tiara in the gardens.
The morning of the shoot, the Queen came walking down the hall very purposefully. She was definitely a force. This was all being taped by the BBC for a documentary. I would never have agreed to their being there if I felt I had any choice, but they had been following her around for months. Their microphone picked up her saying, "I've had enough of dressing like this, thank you very much," as she marched down the hall. Later, when segments of footage for the BBC were edited for a promotional film, it appeared as if the Queen were stomping out of the photo session rather than going into it. Thus the brouhaha.
The Queen was about 20 minutes late, which we thought was a little strange. When that happens, you never know if it can be made up on the other end. My five-year-old daughter, Sarah, had come with us, and she curtsied and offered the Queen flowers, and I introduced my team. At this point I was in shock. The Queen had the tiara on. That was not the plan. It was supposed to be added later. The dresser knew that. The Queen started saying, "I don't have much time. I don't have much time," and I took her to the first setup and showed her the pictures of the gardens. I think she understood what we had in mind. Then I walked her into the drawing room, probably sooner than I would have if things had been going well. She composed herself when I took some pictures.
I knew how tight everything was, especially with the loss of 20 minutes, and I asked the Queen if she would remove the tiara. (I used the word "crown," which was a faux pas.) I suggested that a less dressy look might be better. And she said, "Less dressy! What do you think this is?" I thought she was being funny. English humor. But I noticed that the dresser and everyone else who had been working with her were staying about 20 feet away from her.
We removed the big robe, and I took the picture of the Queen looking out the window, and then I said, Listen, I was a little thrown when you first came in, and I have one more picture I'd like to try, with an admiral's boat cloak. I was thinking of one of Cecil Beaton's last pictures of the Queen. A very stark and simple and strong portrait in which she's wearing a boat cloak. We went back into the anteroom, where the gray canvas backdrop had been set up, and she took off the tiara and put on the cloak. That's the shot we digitally imposed on pictures of the garden.
Right after we finished, I went up to the press secretary and said how much I loved the Queen. How feisty she was. Later I mentioned to a couple of friends that she had been a bit cranky, but it was nothing unusual. What was remarkable about the shoot, and I wrote the Queen a note about this later, was something the BBC missed: her resolve, her devotion to duty. She stayed until I said it was over. Until I said, "Thank you." We were finished a little before our allotted 25 minutes were up.
Excerpted fromAnnie Leibovitz at Work,by Annie Leibovitz, to be published by Random House in November; © 2008 by the author.
Annie Leibovitz is a Vanity Fair contributing photographer.


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By Gary Sims
Some Linux distributions, such as Mandriva Flash, are specially designed to work from flash devices. Some provide installers to get them onto thumb drives, while others can be coerced onto a USB flash drive with some simple modifications. I tested five Linux distributions -- Damn Small Linux (DSL), Puppy Linux, Pendrivelinux, Ubuntu, and Mandriva Flash -- to see how they fare running from a flash disk.
Of the five, only Ubuntu doesn't offer a native method for getting it to run from flash, while Pendrivelinux and Mandriva Flash are designed to run exclusively from flash. The five Linux distributions can be divided into two classes: the small, compact distributions (DSL and Puppy Linux), which are less than 100MB in size, and the full-blown distributions (Mandriva, Pendrivelinux, and Ubuntu).
Small is beautiful
Both DSL and Puppy Linux are small and don't have huge system requirements. DSL can run on a 468DX with only 16MB of RAM, although this feature is of dubious utility because it would be hard to find a 486DX machine that could boot from a USB device. These two distributions aim to be small yet versatile with flexible boot and install options. They're also fast, because they load the whole OS and applications into RAM.
DSL is a 50MB download and boots from a live CD. Once booted, you can install it to a USB drive using the Pendrive install application (Apps -> Tools -> USB-HDD Pendrive). The text-based installer runs in a command window. DSL detected and installed to my flash drive without any problem.
DSL is handy as a recovery tool that enables you to boot a broken machine and copy valuable data from it. It uses the lightweight JWM window manager, which should be easy to learn for those who are used to a "Start" button (labeled DSL in this case). DSL tries to be feature-rich and contains many standard types of applications, such as a music player, a couple of Web browsers, a word processor, and a spreadsheet. With the exception of Firefox, they're all specialized, small applications, but DSL is extendable using the myDSL Extension Browser. With the packages in its community repository you can add some of the more popular software to DSL, including OpenOffice.org. DSL is a marvel to look at, has potential for expansion, but it isn't as strong as some alternatives as a serious, portable desktop.
Like DSL, Puppy Linux is a small download (less than 100MB) and boots from a live CD. Once you boot the CD, you're up and running with the whole OS and file system loaded into RAM, which means that Puppy isn't always pulling files off the CD. To install to USB flash, use the Puppy universal installer, which can cope with almost any USB flash disk, regardless of whether it's unpartitioned or using the wrong boot flags. However, the downside is that the installation process can be quite complicated. The installer does a good job of trying to explain what's going on, but you will need to know how to work with disks and partitions if the need arises; for example, if the flags are wrong on a partition, the installer will fire up GParted for you to fix it rather than correct the problem automatically.
The recently released version 4.0 is a great improvement over its predecessor and using the JWM window manager it offers AbiWord 2.4.6 as a word processor, the Gnumeric 1.7.13 spreadsheet, Sylpheed 2.4.7 for email, and Mozilla SeaMonkey 1.1.8 for Web browsing and other integrated Internet applications. Puppy Linux also has a package manager called PETget that automatically connects to the official Puppy repository and offers additional software to install. Currently the 4.0 repository doesn't offer OpenOffice.org but I was able to install it from the version 3.0 repository.
One possible problem with Puppy Linux is that your data isn't immediately saved to the flash drive. As you're working, the files you create and edit are saved to memory, but that memory copy is only written to the flash disk periodically or during the shutdown process. There is also a Save button on the desktop to force a write to the flash disk. This intermittent saving can leave a window for losing files.
Pendrivelinux is both a Linux distribution for USB flash disks and a comprehensive Web site with lots of articles and information on getting Linux running from a flash disk.
Amongst the articles on the Web site are a couple on installing Pendrivelinux from Linux and from Windows. Pendrivelinux doesn't come as a live CD; instead, you need to be up and running in Windows or in Linux. The installation process involves downloading a .zip file and then making the USB flash drive bootable (either with a batch file supplied for Windows or by using syslinux on Linux). I originally tried installing it from Linux, but it wouldn't boot, so I switched to using Windows, and things went better, with one minor wrinkle. I was using Vista, and I had to run the batch file to make the USB flash disk bootable under the Administrator account. If you run it under a normal account, even one that has Administrator rights, the batch file will fail.
Pendrivelinux is comprehensive. The .zip file is just under 500MB in size. It includes many of the popular Linux programs, and such as a full KDE desktop. Based on Mandriva 2007.1 (via the folks at MCNLive), it comes with persistent file changes (using a 256MB loop file), KDE 3.5.6, and Firefox 22.214.171.124. It doesn't come with OpenOffice.org, but relies instead on KOffice. It includes support for 3-D desktop effects; with a few clicks, you can get a 3-D cube representation of your virtual desktops, wobbly windows, and transparency.
The lack of OpenOffice.org could be limiting, as KOffice's ability to import and export to popular Microsoft and OpenOffice.org file formats is limited, but otherwise, Pendrivelinux is an excellent USB flash-drive Linux distro that you could use daily.
Ubuntu doesn't come with an easy way to install it to a USB flash disk, but the Pendrivelinux Web site has an article about how you can shoehorn it onto a flash device. The fairly complicated procedure requires 21 steps. You will need to use command-line tools like syslinux, mkfs.ext2, and apt-get, so the process isn't for the novice. However, if these commands don't frighten you, then it's worth trying.
Once it's installed, you have a normal full Ubuntu system. The OS takes 750MB of your flash disk; whatever is remaining is for your files and documents. Because it's Ubuntu, you get a whole host of software, including the latest versions of GNOME, OpenOffice.Org, Firefox, and so on.
There is one problem with Ubuntu on flash, and it isn't really a technical one. Whenever I used it, I felt uneasy because I knew Ubuntu wasn't designed to run from a flash drive. After a time, my fears were realized. One time, for no apparent reason, the disk would no longer boot, and I was forced to reinstall the operating system. After the reinstall, all seemed fine, but later GNOME had problems starting, and I kept getting an error message about some files being unwritable. At that point, I gave up.
This is not a bad reflection on Ubuntu, but rather a warning about the dangers of trying to force complicated software to reside where it wasn't designed to be.
Mandriva Flash
Mandriva sells a specialized version of its Mandriva Linux One distribution called Mandriva Flash. It is an excellent Linux distribution for running from flash. However, there is one downside: you need to pay for it. It costs $69 (or €59), but what you get for your money is a 4GB USB flash disk, one month of Mandriva support, free shipping, and access to a rescue CD should you accidentally crash your USB key.
Mandriva Flash is a complete Linux desktop on a USB key. It comes with KDE 3.5.7, OpenOffice.org 2.2.1, Firefox 126.96.36.199, Skype, and Java 6. Like Pendrivelinux, it comes with the impressive 3-D desktop and a tool to help you import your Windows documents and settings. It uses the standard Mandriva RPM format for package management, which means that there are lots of additional package available on the Internet.
Using Mandriva Flash is easy, especially if you're already used to Linux. I was able to download Google's Picasa for Linux and install it without any problems. I connected my digital camera and was able to import all my photos.
Another neat trick unique to Mandriva Flash is that if you plug the USB flash disk into a Windows machine, all of your documents will be available there too. Anything you copy over to the USB key will also be available in Linux the next time you boot it, thanks to the way Mandriva use the flash disk. The first time you boot Mandriva Flash you choose how much space to use for system files and how much is reserved for user files.
The inclusion of essential software like OpenOffice.org makes Mandriva Flash a prime candidate for running Linux from a USB flash disk. You can take your OS and data with you everywhere you go.
Of the two mini distros, I found DSL more useful because of the neater user interface and simpler install process. If you're looking for a complete Linux desktop on a USB flash disk, then Mandriva Flash is the clear winner. But if you don't want to spend money for your operating system, then you should consider Pendrivelinux.


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Posted by dwsuddarth on 31 October 2009
I was at my parent's house recently and was going through some old pictures with my father. There were two which I was especially excited to find. I was fortunate in that both of them were labeled by my grandmother when she gave them to my father.
The first is of my second great-grandfather (my father's mother's paternal grandfather), William Monroe. Although I do not know too much about this line yet, I do know that William was born in Scotland and came to the United States sometime after 1880, settling in LaSalle County, Illinois.
William Monroe
The second picture is of my great-grandmother (my father's mother's mother), Elsie Belle Studebaker. Elsie was the daughter of Jacob Studebaker and Mary Jane Stilwell. Elsie was born in 1884 in LaSalle County, Illinois and married William Monroe's son, William Hart Monroe, born 1880 in Scotland. William and Elsie had 12 children, one of whom was my grandmother, Mary Ellen Monroe, born 1904 in LaSalle County, Illinois.
Elsie Belle Studebaker
Although not in the best shape (I believe they are actually photos of tintypes or ambrotypes), it is still exciting to find these pictures. I have made copies of them and have stored them in a safe place, so that future generations may also be able to enjoy them.


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Pewter City is located within the north-west of Kanto, surrounded by cliff-faces. This city has a few important areas such as a tree with rare Pokémon on it and a man who will give you the Rainbow Wing/Silver Wing.
Pewter MuseumAt the north part of the city is the Pewter Museum, inside which there are lots of artefacts. In this museum, you can convert your fossils into Pokémon. However, if you take the Enigma Stone here, it will activate Latios/Latias who will appear outside with Steven Stone.
Cameron's PhotosOn Tuesdays & Saturdays, Cameron the Cameraman will appear outside the museum and will take photos of you and your Pokémon team.On Mondays & Sundays, Cameron the Cameraman will appear in the middle of the museum and will take photos of you and your team.
GymThe Pewter City Gym is one of the gyms of the Kanto region. This gym follows a fairly linear path up to the Gym Leader with trainers located on the path. These trainers can be bypassed through a side-path until you reach the Gym Leader; Brock. Earning the Boulder Badge does not give access to any hidden moves outside of battle.
Special Moves used in :Rock Smash
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Everyone who goes on a track day seems to need somewhere between one and 147 GoPros on their car to get every angle.
But now, track day junkies, you need to make a major investment. GoPro just released the super high def Hero3 Black. It looks awesome. And damn expensive.
Current GoPro cameras can record in 1080p, which is the highest resolution currently supported by mass market televisions. But the Hero3 Black can record at the insane new 4K standard, but will also slow resolution to 15 frames per second.
The camera is smaller and lighter, which means you can fit even more of them all over your car. The Black model also has a 12 MP camera, a remote, and built in wifi. The top of the line model costs $399.99. There are other models for $199.99 and $299.99, but they cannot record 4K video and their still images have lower resolution.
Hopefully, the wealthiest car owners will fork over the money for the 4K so we can watch them shred tracks — and carbon fiber — in Method Man-high definition.


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There are many resources available to Supervisors and HR Representatives. The Civil Service Rules and Policies are established for Civil Service Departments and employees. The Human Resources Manual contains the processes for various Human Resources activities and required documents along with step by step instructions for the EBS system.
Additional resources you may need through the employee work life cycle can be found in the links and documents listed below. If you have more questions and/or issues, please feel free to contact your HR Liaison (which you can find on the Human Resources Contact Us page) or contact the Central Human Resources Department at the numbers listed on the right.
We look forward to providing whatever assistance we can to make this process successful.
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You now have the ability to change your address and phone number via the new self-service portal. Your HR Representative will be providing you with instruction on how you can access these features as well as printing your pay stub, changing your auto deposit information and W-4's. To learn how to manage these processes there is a training tool called UPK. To access this tool, click on the link below. The username and password are both "employee". If you have any issues, please contact your HR Representative or email.
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Ben Callahan II
Knob Noster, Missouri
1949 Mercury Convertible
This is Ben Callahan II with his 1949 Merc convertible in August 1955. At the time his father was working in Greenland for nine months of the year, and in March 1955, on his way home to Whittier, California, he stopped in Detroit, scouring used car lots until he found this black convertible, paying $400 for it. With a set of U.S. Royal wide whites installed, he headed for Missouri where he bought a farm, then headed home to California.
Back in Whittier, with U-Haul trailers on the Merc and the family 1951 Ford convertible, they headed for Missouri. Ben drove the Merc all the way, a big deal for a 16-year-old, taking old Route 66. Once settled in their new home, the Merc was treated to 1949 Lincoln taillights and was decked. This was later "done right" at the Ford dealership in Buffalo, Missouri, for $15. Now 74 years old, and owner of his bodyshop for 45 years, Ben still likes the Mercs, though all that's left of this one is the grille, hanging on the wall in his shop!
Bob Claytor
Los Alamitos, California
1932 Ford coupe
Following high school graduation in 1950, and a detour to Korea, Bob Claytor and his friends became actively involved with SoCal's car culture, forming various car clubs. Bob's club was the Arabs, affiliated with Russetta Timing Association, under whose jurisdiction they raced at El Mirage dry lake.
They heard about a body and frame behind a shack in Victorville, so they drove out with a trailer and dragged their prize home, a 1932 Ford five-window. The car sat in Bob's garage for a few years until a new job with the L.A. City Fire Department freed up some time and he could start on it. With parts from local wrecking yards, and dancing with the CHP and DMV, he registered the car, which has been a hot rod now for 55 years! The rearend is a 9-inch Ford that came from an East Wilmington junkyard for $25, still running the original 3.54 gears, spun by a 327 Chevy. With Fiat steering and MG bucket seats, it's seen some improvements over the years (it now runs a TH350 trans for instance) but is essentially the same car Bob was driving a half century ago!
Bob also sent us the picture of his prized plaque and trophy along with that of his coupe. Honoring his participation in the very first SCTA Bonneville Speed trials in 1949, he's a member of 1949's Bonneville Association, which regrettably has very few members left.
Jim Heiser
Archer, Florida
1932 Ford Roadster
Back in 1990 we featured Jim Heiser's 1950 Mercury, which he still owns, though much of the paint is now long gone! His latest passion is this 1932 roadster. At 11 years of age in 1952 he bought How To Build Hot Rods magazine, containing Flathead-powered 1932s and a story on Bonneville. The idea and desire to build a channeled 1932 has never left, so when he bought the remains of a long-ago channeled 1932 roadster in 1994, he started putting it back together as it might have been had he built it in 1952. Rebuilt by Rob Montgomery, the engine in Heiser's roadster has new Edelbrock heads, Fenton headers, a 1952 Rochester four-barrel, 1939 trans, and 1948 rearend with Columbia overdrive.
Since 2002 he has put 41,000 miles on it, but in 2011 he realized a lifelong dream and drove it to Bonneville Salt Flats. Good friend, Billy Rohn, accompanied Heiser in his 1932 pickup, both running Flatheads. They covered 6,500 miles in 30 days, visiting friends, museums, and car shows along the way. They also made new friends, like Skot and Terry Ingram, who were racing their Flathead-powered 1932 coupe at Bonneville. What a road trip!
Mail vintage photos of you and your hot rod, along with detailed info to: Rod & Custom Magazine, Attn: Kev Elliott/Yesterday's Young Guns, 1733 Alton Pkwy., Ste. 100, Irvine, CA 92606. Send recent photos of your current ride to Kev Elliott/Readers' Rods at the same address. Send digital images (500 KB or larger) to firstname.lastname@example.com We cannot return submitted material. Please include your phone number.


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Saturday, October 3, 2009
Look out world - here comes the iceberg!
Just yesterday Paul Nauta was interviewed in an article in "Mormon Times", and said that the 2.5 million rolls of microfilm in the Granite Mountain Vaults are being digitized and could be completed as early as next year. Do you realize what that could mean? It could mean that it may not longer take three weeks for that microfilm of the parish register from that tiny town in Germany to show up at the FHC after you ordered it - In digital form, it could be delivered overnight... maybe even in less time than it takes to locate the place on a map! Or perhaps (dare I hope it) the digitized images could be delivered right to your own home computer. Wouldn't that be incredible? Imagine stumbling across a name at 2 am, and realizing you desperately need to check the original birth or death records, and you can!
Of course what this also means is that the indexing program will want to try to catch up as well. Currently about 100,000 volunteer indexers around the world are indexing nearly a million names a day, from the microfilm collections that are being digitized. So not only are those great images available, but they are searchable as well. Anyone can volunteer - anyone with a free five minutes here or there. It doesn't take any special talent or anything. Just go to FamilySearch.org, and click on the "Indexing" tab to volunteer.
Its staggering to think of the amount of genealogical information that the LDS church is making accessible to the world - and its FREE!
2 comments:
- ronfergy said...
A welcome reminder to us all!
As someone who is helping in this indexing project, I would encourage everyone to help. It is not onerous, but sometimes the pages can be a little difficult to decipher. But we are all used to that!
Ron Ferguson (UK)
- October 3, 2009 at 2:35 PM
- Terry Thornton said...
Thanks Tami for your "Here comes the iceberg" --- it is amazing what digital information is available already and to learn that 2.5 million additional rolls of microfilm are being put into a computer-friendly format is awesome.
I can say that the work of the LDS volunteers who came to my home county in Mississippi to microfilm our chancery records (which were in sad repair) did a beautiful job --- and the Index they prepared to those old records is a primary source all to itself --- knowing that the film of all those thousands of pages will soon be available in digital format is most exciting news.
Terry Thornton
Fulton, Mississippi
- October 4, 2009 at 5:03 PM


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O'Reilly distorted Scheer on Reagan's AIDS policy; said The Factor has a "patent" on "bombast"
Research ››› ››› GABE WILDAU
Less than one week after Media Matters for America exposed FOX News Channel host Bill O'Reilly doctoring a quotation by progressive financier, philanthropist, and political activist George Soros, O'Reilly distorted another quotation -- this time by syndicated columnist Robert Scheer, whose commentary appears in the Los Angeles Times.
In an O'Reilly Factor segment decrying "left-wing ideologues" for "venting long and loud" against former President Ronald Reagan, O'Reilly read from Scheer's June 8 column criticizing Reagan's policies; O'Reilly quoted Scheer's observation that "Reagan allowed AIDS to spread for the same reason he pointedly savaged programs to help the poor." But within seconds of reading Scheer's quotation verbatim, O'Reilly began rewriting Scheer's words.
From the June 8 edition of FOX News Channel's The O'Reilly Factor:
O'REILLY: I don't mind putting the Reagan administration into perspective. ... [But] [c]alling him responsible for the AIDS epidemic? Come on, this is absurd, is it not?
Nationally syndicated Chicago Tribune columnist Clarence Page, attempted to correct O'Reilly, who took the distortion further.
O'REILLY: [W]e understand bombast here, as we have a patent on it on The Factor. OK? However, this is hateful. "Reagan spread AIDS." You know, if you had a son or daughter that died from it -- "Reagan spread it," this isn't political discourse. This is hateful, malicious garbage. And I'm tired of it.
PAGE: I believe he said Reagan was slow to stop the spread of AIDS, right?
O'Reilly re-read the quotation in response to Page but refused to acknowledge his distortion. Seconds later, he repeated it. Page tried again to correct him, but O'Reilly dismissed Page's objection as "parsing":
O'REILLY: But Mr. Page, you don't seem upset about this. We've got AIDS. We've got one guy saying that Reagan spread AIDS.
PAGE: Because I didn't hear them use that exact language. I mean the fact is...
O'REILLY: Parsing.
O'Reilly concluded the segment with a plea for "legitimate debate on facts" and a denunciation of "distort[ion]":
O'REILLY: Legitimate debate on facts is fine. Distorting for the sake of just being vicious is not.
- Posted In
- Health Care, HIV/AIDS
- Stories/Interests
- Misrepresentations of Reagan, Past Politicians
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