text:
Classification of containers
Below are main types of containers used for transportation of cargo, and their characteristics.
Below are main types of containers used for transportation of cargo, and their characteristics.
|Our services
We specialise in railway transportation of perishable cargo in refrigerated containers, transportation of bulk chemical and food products in tank containers, bulk cargo in specialised bulk containers, container transportations, transportation of outsized cargo and wheel equipment, and project cargo.
We ensure full escorting of the cargo we were entrusted: we prepare and implement optimal transportation scheme and itinerary, we arrange customs and sanitary formalities, execution of cargo documents, organisation of stevedore works, if necessary, we organise intermediate storage of cargo in warehouses and insurance.
Company offers railway tariff payment services for the cargo transported in the territory of the Baltic States, Russian Federation, Kazakhstan, countries of the Central Asia and other countries-members of CIS and the European Union.
We are pleased to offer all our customers regular container train service, being the operator on the route from port of Ust-Luga - Moscow - port of Ust-Luga, with the subsequent delivery from the rail terminal in Moscow to customer's door and return of the empty container to the port of Ust Luga. This service allows you to send a container from two terminals in the port of Ust Luga - ULCT and South IPC-2.
SUNGATE pool of containers consists of 300 40' HC refrigerated containers. Containers of the leading global manufacturers allow maintaining any necessary regime during cargo transportation.
The rolling stock of the company SUNGATE includes 300 fitting platforms and 30 diesel power generating train cars.
Safety of cargo, and above all - safety of refrigerated cargo is ensured during transportation by high reliability of the equipment.
SUNGATE offers couplers for transportation of refrigerated containers for rent.
This form is intended for entry of the information required for transportation rate calculation.
This form is used to entry of information required for place bookings in the container train.
SIA SUNGATE was founded in Riga in 1992 and it has been successfully working in the market of international transport services for over 20 years, combining the opportunities of maritime, railway and road transport, stevedore services and transport document execution.
Reliable partnership is one of the main principles in SUNGATE work. Our company works with professional and top-ranked leaders in their sectors.
|all partners
|Container train to Vorsino terminal!
|TransRussia 2014
|Transport & Logistic 2013
|TransRussia 2013


text:
Jonaven Moore will take on the steeps and deeps this winter with Jones Snowboards. The legendary Canadian snowboarder has been at the forefront of all-mountain riding for over 15 years, but continues to progress big mountain snowboarding from his home in British Columbia to the jagged peaks of Alaska. Jones Snowboards is thrilled to have Moore's expertise in developing and pushing the limits of the boards, which will arrive in stores fall 2010.
"Jonaven is not only one of my favorite people to go into the mountains with, but also a rider that pushes my riding. He's an obvious match for Jones," says Jeremy Jones, Owner of Jones Snowboards. "To have his high level of riding representing the brand and his invaluable insight in designing the boards is an incredible honor."
Jones Snowboards will introduce four models in the brand's inaugural season. Moore will be instrumental in helping to design and extensively testing the brand's preeminent all-mountain, powder and split boards. A start in the freestyle world at age 10 with halfpipe and boardercross wins is still evident today in Standard, Absinthe and Teton Gravity Research films where Moore's style seamlessly fuses freestyle with big mountain terrain.
"Most freeride snowboards are either way too heavy to truly perform or are so light-duty that I need to bring replacements for them on a trip," says Jonaven Moore. "Jeremy has drive and skill like few other people, so being invited to join a team that would focus on building boards for the mountains is a no-brainer. It's an amazing opportunity to design both a solid board with Jones and a high-performance split-version."
For the last few years, Moore, like Jones, has spent more and more time hiking around on his own steam in the mountains. This winter Moore is focusing almost all of his time on snow for the filming of Deeper. He'll be travelling deep into British Columbia's backcountry between Squamish and Whistler on the west end, and Revelstoke and the Rockies to the east. Jones boards will be tested extensively by the team in Alaska this spring.
With prototypes already in production, Jones Snowboards will make their first appearance at SIA and ISPO in January 2010. Expect worldwide distribution starting in the 2010-2011 winter season. Learn more about Jones Snowboards at jonessnowboards.com .
Preview Deeper now at TetonGravity.com.

subset: commoncrawl


text:
As the first step in the decommissioning of sasCommunity.org the site has been converted to read-only mode.
Here are some tips for How to share your SAS knowledge with your professional network.
Presentations Talk:Marje Papers and Presentations
Marje, your pages look great!
- The preceeding comment was inadvertently added to the page Talk:Marje Papers and Presentations by NancyWilson at 15:54 10 October 2013.
Dear Marje,
Thanks for creating a presentations index and QR code. Don't forget to let people know about your index when you are presenting. We have created a sample slide that you might want to include in your presentation. You can paste your QR code into the blue box, and people can scan it. You can find the slide here:
We can create a set of stickers containing your QR code and page address for you to distribute. Please let us know by Friday, March 21st if you are interested in this, and we can get it to you at SAS Global Forum.
Also, watch for an electronic poster in the demo room!
For additional or personalized help please contact the sasCommunity.org Advisory Board


text:
Recording Vocals, November 2002
For our annual look at vocal-recording techniques, we chose four
stylistically different recent CDs and talked with the engineers about
the gear and methods they used to capture the singers. This time
around, we looked in on album sessions with rock titan David Bowie,
up-and-coming chart-topper Avril Lavigne, the talented and
sophisticated singer/songwriter Duncan Sheik and the incomparable soul
vocal group Boyz II Men.
Tony Visconti
David Bowie's Heathen
Engineer: Tony Visconti
The partnership between David Bowie and producer/engineer Tony
Visconti dates back to the late '60s and encompasses so many of the
legendary singer's greatest works, including Young Americans,
Low, Heroes, the magnificent live album Stage and
many others. Bowie's latest is called Heathen, and many fans
agree that it is his strongest collection of songs in many years;
perhaps not coincidentally, it marks the first time Bowie and Visconti
have collaborated on a full album in more than two decades. If
anything, Bowie is an even better singer today than he was during the
earlier decade-plus he worked with Visconti. And both remain committed
to taking chances in the studio: Heathen is loaded with
brilliant and unusual instrumental and vocal touches; it's quite a tour
de force all the way around.
"He's truly a great singer," Visconti says."That
has never changed. During the Low, Heroes, Lodger and Scary
Monsters period, he would often write lyrics and sometimes melody
right on mic! And that writing session would be the master vocal take,
as well. He'd ask me to roll the tape, he'd sing two lines, then he'd
pause, work out another two lines and ask me to punch them in. At the
end of, say, an hour of this, he'd ask to double-track certain lines,
and voila! We'd have a lead vocal. I would often stand next to
him and sing backups to those vocals. In the end, it would sound so
incredibly rehearsed, but it wasn't. Other artists I've worked with had
to try out this method when I told them about it, but it would backfire
— after 10 hours of nonproductive writing and singing. I guess
only Bowie can work this way. His mind is mercurial, and his vocal
chops are first-class!
"We did a bit of that on Heathen, although he worked
out most of his lyrics before he attempted a master vocal,"
Visconti continues."The daunting thing was, sometimes he'd want
to change one line or word a month later and, hopefully, we could match
the levels and EQ so that it would sound seamless. Nonlinear digital
recording made this easier, but EQs and compression levels can easily
get nudged over the course of two months."
Visconti says that the basic vocal chain on the album consisted of
Bowie's own Manley Gold Reference Mic into an Avalon mic pre, into an
LA-3A compressor and a Focusrite Red EQ, then into an Apogee 8000 A/D
converter and a G4 Mac running Logic Audio. "I started recording
vocals on analog, as I did with all of the drums [16-track at 15 ips
with Dolby SR, or 30 ips with no noise reduction — I consider it
to be the ultimate tape format," Visconti says, but the lock-up
became tedious, so we stayed in the digital realm — 24-bit,
44.1k]. On one song, 'I Took a Trip on a Gemini
Spacecraft,' I used a Shure SM57 to get a rockier sound, but I
later regretted that because the Manley spoiled me rotten. It's such a
sweet mic, very musical in the midrange. The Manley mic vocals just
leapt out of the mixes, whilst the 57 needed lots of EQ, compression
and, ultimately, de-essing to get it above the mix."
The CD was cut mostly at Allaire Studios, a gorgeous residential
facility on the grounds of a 1920s mountain estate two hours north of
Manhattan, and posted and mixed at Philip Glass' Looking Glass Studios
in Manhattan. (For more on that studio, see last month's "Coast
to Coast" section.) Because he both recorded and mixed the album,
Visconti looked toward the end result and conceptualized effects as he
went, rather than waited until the final mix to lay everything on. And
he was not above using some of his tried-and-true techniques on the
album, either.
"On some tracks, like 'Sunday' and 'I Would
Be Your Slave,' we decided to resurrect the 'Heroes'
vocal sound that some of your readers might recall when I've described
it before," Visconti says. "You need a big studio, and
Allaire's room is huge and not treated — other than a few carpets
and tapestries judiciously placed on the floors and walls. The pitched
ceiling is about 35 feet high, and the floor is something like
25×40 feet. The way we did it, the main mic was augmented by two
more, placed about 12 feet and 30 feet from David. The two distant mics
were probably Neumann U87s but going through Drawmer noise gates. I
carefully adjusted the thresholds of the gates to open when David sang
above a certain volume. The mic at 12 feet would open when he sang
mezzoforte, and the mic at 30 feet would only open when he sang
fortissimo. Of course, the mic at 12 feet would be open then,
too. I put the distant mics in omni mode to catch more of the
reflections off of the walls and ceiling rather than David's direct
"No other special effects were used during the recording.
David likes some reverb in his headphones when he sings. He's very much
a two-take singer and comping is a breeze because of that. If he
doesn't get it entirely in two takes, he will punch in the necessary
line, word or even syllable. He is so slick and confident; plus, his
voice is possibly the most sonorous voice I've ever recorded, rich in
overtones and sheer power!He sings bang-on in-tune, so Antares is
almost wasted on him. But I must confess to fixing a little
unintentional wiggle during the mixes because he wasn't available to
fix it.
"On the mix, I use the usual effects on his vocal," he
continues."That is, some slapback when called for, some reverb
— usually a rich Lexicon program — and the occasional
pitch-shifted delay to make an almost automatic double-tracking [ADT]
effect. I've been using these effects on his vocals as long as I've
been working with him, since 1968.
"Slapback, since Elvis' day, gives a menacing sound, like a
pagan god standing on a monolith in a valley. Flanging and chorusing
seem to impart an air of mystery and a kind of druggy feeling for the
lyrics — okay, I admit to surviving the '60s and '70s, and none
of my children are mutants!Reverb just makes a vocal sound powerful and
authoritative when the vocal is loud and confident. Reverb on a light
or whispered vocal just sounds sexy. Then-there are some really freaky
things you can do with pitch shifting, octave dividing, but they are
for very specific uses. I am always guided by the lyric and the emotion
of the song and singer. And I try to use special effects in an emphatic
context, not just for the sake of making a weird sound."
Scott Spock
Photo: Richard Elen
Avril Lavigne's Let Go
Engineer: Scott Spock
When the red-hot songwriting/production team The Matrix —
that's Lauren Christy, Graham Edwards and Scott Spock — was first
approached about contributing a song to the debut album of an unknown
Canadian teenager named Avril Lavigne, "Initially, we were told
she was going to be kind of like Faith Hill," says Spock with a
chuckle. "She came in and sat on the couch, and we played her
this song we'd written that was along the lines of a Faith Hill track,
and she was not happy. She said, 'I don't want to do this;
I want to rock!' We didn't know that she was this skater,
punky type of girl. So we said, 'Okay, let's come up with a
premise, then you come back tomorrow and we'll write a song. She came
in the next day and we wrote 'Complicated.' Boom!
L.A. [Antonio "L.A." Reid, president of Arista Records]
heard it and said, 'Yeah, that's the direction,' and he
sent her back to work with us for a month."
The fruit of their labor was six songs, five of which appear on
Lavigne's multi-Platinum debut album Let Go, including the hits
"Complicated" and "Sk8er Boi," and the
projected next single, the ballad "I'm With You." For The
Matrix, it's just the latest triumph in a career that's shooting into a
higher orbit every day. Other top artists they've worked with include
Christina Aguilera, the Backstreet Boys, Ricky Martin, Nick Carter and
Liz Phair. All three Matrix members helped write and sing on the tunes
they did with Lavigne, and Spock was the principal engineer. Tom
Lord-Alge mixed their songs, though Spock's less-polished mix of
"Complicated" has also received significant airplay.
Whenever possible, The Matrix like to eschew conventional recording
studios in favor of working in rented houses, where they set up their
Pro Tools rigs (they have four) and synths. Their work with Lavigne
took place in a comfortable house — dubbed Decoy Studios —
in an L.A. suburb known as Valley Village. "It works out
great," Spock says, "because vocalists come in and they're
very relaxed. They don't even realize that when they get on the mic,
it's probably going to be on the record. With Avril, I think she
thought she was cutting the demo of a song. The comfort level is very
high working this way, and she's not standing in a $2,500-a-day studio
and thinking, 'Oh, my God, there's the engineer and this
million-dollar board, and I've gotta sing this right 'cause it's going
on the record!' She came in, she was really relaxed, and she
nailed it. 'Okay, Avril, that sounds good.' 'It does?
Though he generally likes to do as much work as he can within his
Pro Tools system and using native plug-ins — including
compression and EQ — Spock also admits to a fondness for some
vintage gear. "I'm a big advocate of recording to Neve
1272s," he says. "All of the guitars on
'Complicated' are through those. When I did the vocals, I
was trying a Manley Voxbox at the time, and I really fell in love with
it and wanted to use it on a few things. But I felt Avril sounded best
through the 1272 and the Distressor. There was something in her voice
that was malleable with the track going that way." Spock adds,
"I'm also heavily into Apogee AD8000 [A/D converters]. They add
so much depth to a recording. To me, it's like night and
Lavigne was set up in a wood-paneled room that had padding on three
of the four walls and sang complete takes against the largely finished
instrumental tracks through a Neumann U87. She generally sang five or
six takes of each song, "and probably 90 percent of what was
finally used came from the first or second takes," Spock says.
The Matrix contributed some backing vocals, though more often than not,
the shimmering blend is dominated by Lavigne herself — or so it
"She's such a talent," Spock says. "Sometimes you
need to really layer things to make someone sound good, but when you
work with Avril, who has this amazing voice, if you want to thicken it
out in the chorus, what I usually do is group the backgrounds together
and EQ the hell out of them to exactly that one frequency that will add
a little depth to the lead vocal without getting in the way, so you
feel it but don't hear it. There's maybe three-part harmony on the
chorus, but when you listen to it, it just sounds like her. I recorded
Lauren [Christy] in the background in places, and there might be Graham
[Edwards] and myself on a lower part, but heavily EQ'd. I took the
group and used Filterbank — you dial in whatever frequency you
want, so I EQ it really tight, so what I'm doing is pulling out
specific frequencies that Avril has and just building in bits of low
end and bits of high midrange to get the depth that I need in the
Spock concludes, "The more talent somebody has, the easier
they are to work with usually, especially singers. And the less
talented they are, the more insecure they are. 'The mics aren't
right.' 'The headphones sound weird.' You get a lot
of that from insecure singers. That's something you have to deal with
being a producer. And, fortunately, I didn't have to with Avril. She
was really great, really enthusiastic."
Michael Tudor
Duncan Sheik's Daylight
Engineer: Michael Tudor
Duncan Sheik is a difficult artist to classify. The New York-based
singer/songwriter specializes in an elegant, intelligent, introspective
pop that straddles folk, rock and even alternative styles, sometimes
all within the same song. His aesthetic was no doubt affected by his
early '90s work with producer Rupert Hine. Sheik's newest album,
Daylight, finds him working with producer Patrick Leonard, and
that turns out to be a good match, too; he's retained the tasteful rock
backings and occasional lush orchestrations but added all sorts of
interesting sonic and electronic touches. Sheik's vocals — smooth
but with a hint of sandpaper in places — are always out front;
Leonard understands that Sheik's singing carries the album and defines
his persona. The thoughtful and imaginative final mix was by veteran
producer/engineer Kevin Killen, so it was quite a team effort all
"Duncan is an artist who really has a very thorough sense of
production compared to most other artists I've worked with," says
Michael Tudor, who engineered the exquisite-sounding Daylight
album and is perhaps best known for his radio remixes of the Moby hits
"Southside" and "We Are All Made of Stars."
"He has recording techniques that he likes and a good aesthetic
for gear and so on. So working with him is really a collaborative
thing, because he'll have ideas about what microphones or preamps he
wants to use. My preference is generally to get the vocal through a
Neve pre; I'm not even picky about what it is — something old, I
guess. Duncan likes to use an 1176 for compression, and then normally,
I'll throw some more compression on monitoring so he can have in his
cans a real in-his-face kind of sound, as opposed to that sort of
far-away sound that you sometimes get in a vocal booth, which is kind
of distracting when you're really trying to throw yourself into a vocal
The vocals for Daylight were cut in a few different studios,
beginning at Capitol Studio A in Hollywood, where the basics were
recorded. "We did some scratch vocals that turned into keepers
there," says Tudor, who is based in New York and co-owns TMF
Studios near Union Square. "Initially, we had him set up in a
large iso booth with his acoustic guitar, some amps and a vocal mic so
he could play and sing along while the band did their thing. But then
when it was time to do a vocal overdub, he wanted to go out into the
main room, which is really big — something like 60×60 with a
40- or 50-foot ceiling — acoustically, it's a beautifully
designed room. I'm very loose about experimenting with things, so we
set up a mic right in the middle of the room, and, vibewise, it was
just perfect. You didn't even pick up that much room tone even though
it's this massive space; it was nice and elegant and not over-the-top.
At that point, we were using his mic, which is this Mojave Audio tube
mic that Dave Royer designed. It's based on a U47, but it looks kind of
like a C-12. So that was the mic we used for most of the vocals. Some
of the vocals were also recorded on a Telefunken 251, which I
understand is a somewhat interesting choice because it's sort of picky
about what voices it likes. A U47 is a little more forgiving; you can
put any voice into that microphone. But Duncan's voice really showed
off well with that microphone [the Telefunken], and he really liked
singing through that."
The album was tracked to 2-inch Studer. "But we had Logic
Audio in sync the whole time," Tudor says. "And after
basics, we transferred the analog tracks into Logic and overdubbed
against that."
After the Capitol sessions, the action moved to Leonard's
now-defunct Johnny Yuma studio in Santa Monica, Calif., to Cello (where
Leonard now has a room) and to Sheik's own personal studio, which Tudor
says "is an excellent recording space, with a nice analog Calrec
console and some other nice equipment. It's a really great environment
to work in." Tudor says that Sheik is working on vocals at home;
he favors the Mojave mic through a Telefunken V72 preamp and the 1176
"Usually," Tudor says, "Duncan's lead vocal parts
were sessions of their own, because in a lot of ways, it's the most
important element in the track, and singing it is not just a matter of
singing it. He has to come up with a concept for the performance and
the delivery and the tone and all that. He likes to perform the song
all the way through, though the finished vocal might be big chunks from
maybe three different takes.
"With him, the vocal usually solidifies itself over a few
takes. Generally, we'll put the song up, get some levels, get him
situated with the vibe. I always spend a lot of time trying to make the
singer real comfortable so that they're in a good place mentally. Then
he'll do a couple of takes just to warm up and get a sense of the
thing. Four or five takes into it, he starts to deliver some really
great performances. And they'll change from take to take, as they
should, ultimately, because it's about being in the moment of the song.
So then the comping becomes a performance issue more than anything
else. You're looking for the most powerful and appropriate
interpretation of a given part of a song.
"The important thing with singers is, you want to give them a
sense that they're there in the studio with you to explore and express
themselves and that it's going to come from them rather than from me or
anyone else telling them what to do."
Boyz II Men's Full Circle
Engineer: James Porte
James Porte is young enough that he idolized Boyz II Men years
before he had a chance to work with them. "I loved that first
album [Cooleyhighharmony]," he says. "I remember
driving around in my Isuzu Impulse playing the Boyz II Men cassette
really loud when I was in high school. So it was cool to get to work
with them now — knowing their legend — and getting to hear
what they can do in the studio."
Born in Liberia but raised mostly in Tennessee (where he attended
Middle Tennessee State's excellent recording program), Porte moved to
New York City a few years ago and landed a job as a manager at the Hit
Factory and picked up some engineering work along the way. He's done
remix work with The Trackmasters and worked with a number of artists on
his own, but the eight tracks (out of 14) he engineered on Boyz II
Men's latest, Full Circle, are probably his best and
highest-profile work to date. When we spoke, he had just begun work in
Miami with Lauryn Hill.
The first surprise about Boyz II Men, who are certainly in the
pantheon of great vocal ensembles, is that they record individually
rather than as a group. "They never sang together," says
Porte, who tracked their vocals in two different rooms at the Hit
Factory: studios 1 and 4, each of which is equipped with SSL 9000 J
consoles. "We did everything separately. They start off with one
guy going in and singing the melody. The next guy will come in —
it's almost like it's tag team — and do the harmony or another
part. Or somebody may do two parts when they're in there. But it's
usually not something they've rehearsed. They know their voices, and
they know exactly what to do. It was very relaxed. They wouldn't even
be sitting in the studio waiting and listening to what the other person
was doing. They'd be recording in another room or just waiting for
their turn. 'Okay, let me hear what he just did. Cool. Let's
go!' And they'd go in and be on it right away. It was
Porte says that all four of the Boyz — Wanya Morris, Nathan
Morris, Shawn Stockman and Michael McCary — are "very
open-minded, and they're into the latest technology, as well as the
old-school technology. They were totally into trying different
microphones. If it was a more aggressive song, they wanted to use an
edgier microphone. If it was a pretty ballad, they wanted to use
something that had some smoothness to it.
"What we did was try to find a mic that covered the dynamic
range and frequency response of pretty much everyone," Porte
continues, "and what we found worked really for us was the
Neumann M149 because it covered the bass range and Shawn on the pretty
top-end harmony. It's a really warm mic; it adds a nice body to the
voice. Plus, it has enough air on the top end that it's a cool sound.
We also used a vintage C-12, which has a lot of top end but not as
bright as the [Sony] C880G, which we also tried out. That was actually
used on the Babyface song ["The Color of Love"], because it
works well on that more pop style because it's very open and
transparent. But it wasn't as good for the edgier stuff we were doing.
The C-12 was used mostly on the more laid-back or lush
Porte tracked the Boyz to a 48-channel Pro Tools setup, "and I
had it hooked up to an Aardvark Aardsync to try to enhance the clocking
of the whole system. Whenever possible, we tried to use the Apogee
AD8000 converters. The two preamps we used the most were the Avalon M2
dual-channel and a Martech. The Martech is great for anything —
clean and transparent, but also with some warmth."
The rich, creamy stacks of background vocals proved to be the most
challenging element of the project for Porte. On several songs, there
are four tracks of each backing vocal part, and one — "I'll
Show You" — has six tracks of each harmony. "We did
six parts, six stacks, and the harmonies are so intricate on that song
it almost sounds like a Take 6 record," Porte says. "The
vocal producer on that one, J. Moss, was a real stickler; we did that
song for three days. But it's got 24 tracks of backgrounds and then
leads on top of that — probably 36 tracks of vocals. It was
"But the thing with them is that they blend so well with each
other, it doesn't sound like that many tracks. Sometimes it sounds like
one person, it's so thick and so tight. At the same time, they make
everything they do their own. If Shawn sings something, he makes it
Shawn. If Nate sings something, he makes it Nate, and so on."
Because he was not going to be mixing the project, Porte didn't have
to think too much about effects on the vocals, but he did have his hand
in a couple of interesting sonic touches. He reveals that on
"Roll Wit Me," the robotic voice was achieved using the Pro
Tools AutoTune function: "Then, when it came time to mix, they
used the AutoTune mixed with another effect to be a little less
clichéd and to create something a little different, because that
whole AutoTune sound is getting a little played out." And the
telephone vocal sound on "I'm Okay, You're Okay" came from
a Q10 plug-in. "The Q10 is a little dark, so you have to brighten
it up a little bit," Porte says. "As with anything, you
have to tweak until you get the best sound for that song."


text:
The longest-tenured Bronco has been bumped from the starting lineup.
Ben Hamilton, who has been with team since he was drafted in 2001, has been replaced at left guard by Russ Hochstein, who was acquired in August in a trade with New England.
Hochstein was with the first-team during the portion of Wednesday's practice that was open to the media.
Should the move stick through the rest of the week, Hamilton will miss his first start in which he is healthy since 2002. He did not play at all in 2007 because of a concussion.


text:
In a shocking move, the Association of Zoos and Aquariums (AZA) reportedly approved a request by the San Antonio Zoo to keep a 53-year-old female Asian elephant named Lucky in isolation. Lucky is now the only solitary female elephant in an AZA-accredited zoo in the U.S. The zoo's director told the media that Lucky will remain at the zoo until she dies. The zoo's other elephant, Queenie, died in March.
No elephant should ever be held in solitary confinement. Female elephants are profoundly social – they live in matriarchal, multi-generational herds in the wild that include sisters, aunts, nieces, and nephews.
The AZA's own guidelines require that elephants are housed in groups of three, yet the AZA is inexplicably sanctioning the San Antonio Zoo's cruel decision to keep Lucky alone. This is the third variance the AZA has given to the zoo in a decade to house Lucky alone, despite pleas from IDA and our members to deny the unreasonable (and inhumane) requests and instead send Lucky to a facility that can meet her physical and social needs.
You can learn more and sign the petition at the IDA site.


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text:
Jan. 12, 2007
Friday may be Jan. 12 on the calendar, but it is going to feel like March on Belmont Boulevard.
The Lipscomb Bisons visit the Curb Event Center tonight at 6:30 for the first round of the "Battle of the Boulevard" for this season. The game is being televised live on CSS.
The last time the two teams met on the court the Atlantic Sun Championship was on the line. The Bisons fell short in that game by a score of 74-69 in overtime. Belmont claimed the A-Sun's automatic NCAA berth. The Bisons were invited to participate in the National Invitation Tournament. The last seven games between the two teams have been decided in overtime.
But this is a new season and a new game. Lipscomb assistant coach Hubie Smith has scouted Belmont and he has concerns.
"We've to make sure Belmont doesn't get open 3-point shots in transition," Smith said. "We have to out-rebound them. They have out-rebounded teams by about four a game. We have to make sure their post guys don't hurt inside because they are bigger than we are."
Smith stressed the Bisons have to be patient on offense.
"We have to make sure they guard us," Smith said. "Belmont is solid. They don't give up a lot of easy shots."
The Bisons are 4-2 in the conference. Belmont is 6-0 in the A-Sun
As in most A-Sun games the best defensive effort will probably be rewarded with the victory.
"With teams like Belmont that are complicated offensively you have to guard all five spots," Lipscomb coach Scott Sanderson said.
Another key for the Bisons will be production from the role players on team which include everyone except forward Eddie Ard and guards Trey Williams and Brian Fisk.
"Eddie, Trey and Brian are the three guys we count on every game," Sanderson said, "If two of those guys have a good night the chance of winnings pretty good. If all three have a good night we have a really good chance of winning. If only one of them has a good night and our role players don't step up then we have tendency to struggle."
Sanderson has met with the seven players he is counting on in addition to Ard, Williams and Fisk.
"We got those seven guys together individually, and as a group," Sanderson said. "We explained their roles to them. The roles are very difficult. Their margin of error is very small. And it is hard to play when your margin of error is every small.
"Our role players have to do the right things defensively. They have to make their open shots. They have to be able to rebound the basketball. They have to do something that is productive. They can't afford to make a couple of mistakes and stay in the game.
Guard LaKory Daniels is coming off of a 14-point, five-rebound game, both career highs.
"LaKory is getting back to the form we saw late in the year last season," Sanderson said. "He is playing a lot more time and playing with a lot more confidence. We have started him the last two games."
Guard Michael Lusk is also coming off a career high 17 points against Stetson, but he t
"People don't understand the value of Lusk because he is so good defensively, but offensively he has taken a back seat to Eddie, Trey and Brian. Lusk has to attack the basket, shoot the open threes and play with confidence."
Sanderson also is looking for more consistent contributions from forward Michael Teller and center Jason Hopkins.
"Michael Teller can jump up and make threes," Sanderson said. "And he is a good rebounder."
Sanderson also wants to see improvements in the team's defensive statistics.
"Our team defense, as good as it has been, has room for improvement," Sanderson said. "Our goal is to hold teams below 40 percent.
"Teams are shooting 42 percent against us. Some people might say that's not a lot of difference. But every game in our league is a one or two point game. Forty-two percent instead of 40 percent is like three extra baskets for the opponent. If we hold people below 40 percent we have a chance to win a lot of games."
Ard has been the hottest player offensively for the Bisons. In his last six games he is averaging 22.8 points per game. He has 25 points in two games in that string and 24 points in three.
"We are seeing the Eddie Ard of old," Sanderson said. "The amazing thing about it is he had 25 points against Stetson on 12 shots. He had 24 against Mercer on 12 shots. A lot of times for a player to get that many points he has to shoot 18 or 19 times.
"He is getting quality shots. The thing is we need to get him even more shots. If we can get him five or six more good shots he might get 30 a game."
The No. 1 goal for the Bisons this season is win the league. Two years ago the Bisons had to win four games in a row at home to qualify for the conference tournament. Last year we had to win the last two games at home to win our league and we did.
"This year our team has its back against the wall again a little bit," Sanderson said. "We really have to focus on one game at a time. We can still control what is going on, but we have to win."


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Lyrics:First verseThe flowers are all budding, Each bird builds his nest, Our love is in its springtime, Let's build with the rest, For you are my sweetheart, And why should we wait? When love is in its springtime, Each heart seeks its mate.RefrainSweetheart, Sweetheart, you are my dearest one Fairer, Fairer than springtime's flowers can be. Sweetheart, Sweetheart, you are my nearest one, Sweetheart, you are the world to me! Sweetheart.Second verseThe white snow flakes are falling, Birds sing sweet no more, But love, it still is calling, Fondly as of yore, For you're still my sweetheart, My love still is true, In winter or in summer, My sweetheart that's you.(Refrain)
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pphinney necesitaba un nuevo diseño de otro y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 38 diseños de 10 diseñadores freelance.
Our software company is looking to update the progress indicators that let users know that processes are occurring in the background. For example, loading, copying, installing, updating, etc.
We are looking for a simple and modern animated progress indicator that demonstrates to the user that actions are occurring in the background.
Web and Desktop software for the Enterprise software.
The progress indicator must be animated and indicate numerically how much of the process has completed.
As stated above the progress indicator should be modern, but, appropriate for an Enterprise application. This means that it is not too flashy, but should inform the user that something is occurring in response to their input.
The overall dimensions of the animation should not exceed 3.5" x .75" Delivery of the final rendering should be either animated .gif, .swf. The .psd must also be included.


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We are your Africa Safari Experts!
Our specialist tour consultants all live in Cape Town and travel regularly in Southern Africa to hand select the hotels, safari lodges and specials we recommend to you. We can therefore offer you an African safari holiday that is beyond your imagination. Contact us for expert African safari & African safari tours advice and an itinerary tailored to your holiday needs.


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When we talk about web design, many people mistake it for something else. They think web site design is the same as web development. It's not. Development is the process of writing and refining the code that makes a web site function in the way that it does.
In the context of creating and producing a web site, design carries a far broader meaning. It can mean layout, colour, typography, the content area, images, social media integration and so on. This can be confusing to many people, so a good way to remember is a web designer is like a decorator and a developer is like a house builder. One person has to design and decorate the house and a different person has to builds it. Thinking about it in this way is far easier to remember.
In this article we'll discuss three major web design elements and explain why making them work together helps create a strong, coherent website that appeals to its visitors and offers them a positive browsing experience.
Central to any truly high-quality site are strong writing and editorial skills. The visual elements of a web site are important, but even the most professionally designed, beautiful site can be undone by bad writing and ineffective, poorly edited copy.
Good web site design must include professional copy writing and editing. Content that informs, persuades and calls a visitor to action is invaluable for online success.
Given that visual presentation forms such a huge part of the web browsing experience, graphic design is obviously another significant part of a strong website. Good-quality graphic design revolves around a deep understanding of spacing, grouping, proportion, balance, imagery, contrast and colour.
When paired with creative, dynamic copy, striking and original graphic design can really add style and substance to a site's appearance, lifting it from being just another page a visitor skims past to one they find engaging and appealing.
A good web site design should also inherently lend itself to quick, effective search engine optimisation. From code to copy, call-to-action to "contact us", a site must demonstrate to search engine spiders that it is genuine, fresh and relevant to what users are looking for.
Well-written, carefully chosen words, creative, intelligent graphic design and images and search engine-friendly code and content. These are just a few factors in good web site design. But done right, they can do good things for traffic, bounce rates and overall user experience.


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Hi guys, I have a topic I think everyone on the boards can help with. So lately I've been doing this AI class, and as a term project, we've been asked to create basically a Smess player (Smess being a dumbed down version of chess). Here's an explanation of the game if you're interested :
Anyhow, the idea here is that I have to create a player that will compete against the players of other people in the class. Further, it is all being done in Java, so I'm not gonna be asking for any code or nothing from you guys.
However, what you could help me with is heuristics, aka what makes a move good and what makes a move bad. I like to think that most people here have probably played chess at least once or twice in their lives, and it is from that experience that I would like to draw. A good heuristic in chess is likely to be a good heuristic in Smess.
So, basically, the question is : when you guys were playing chess, what was your thought process ? What made you decide what good moves were and what bad moves were ? How did you decide ?
Get the idea ? All sharing would be greatly appreciated, and it would be my pleasure to give credit to where it is due if I use anything that has been suggested here.
Thanks in advance.


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An ambulance service has responded to criticism of its chief executive's "banker-style" salary by claiming he is saving the taxpayer £130,000 a year.
West Midlands Ambulance Service said Anthony Marsh, who was appointed interim head of East of England Ambulance Service at the start of 2014, is being paid £232,000 to run both organisations.
In its statement, West Midlands Ambulance Service said Mr Marsh is "doing the job of two chief executives" and works at least 70 hours each week.
The statement read: "Mr Marsh's substantive position is that of chief executive of West Midlands Ambulance Service.
"He is also chief executive of East of England Ambulance Service. For the combined work his salary has been increased by £50,000, saving the taxpayer approximately £130,000 on the cost of having a substantive chief executive in each ambulance trust.
"For 2014-15, Anthony Marsh's total salary for his work at West Midlands Ambulance Service and East of England Ambulance Service is £232,226."
The total salary includes a £50,000 "uplift" payment agreed after Mr Marsh was appointed as head of the East of England service in January.
Mr Marsh's salary has been criticised by West Bromwich East MP Tom Watson, who is calling on ministers to intervene.
The Labour MP told the Wolverhampton Express and Star: "He is receiving banker-style top-ups to his huge salary whilst taxpayers are struggling to pay their monthly bills.
"It's not fair, it's not right and ministers should stop it."
Mr Marsh, who has led the West Midlands service since 2006, is now responsible for a combined workforce of almost 9,000 staff dealing with a daily workload of around 6,000 emergency calls.
Covering a combined area of more than 12,000sq miles, the two regions are served by 11 chief fire officers and 10 chief constables.
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Aleksander Borejko Chodźko (August 30, 1804 – December 27, 1891) was a Polish poet, Slavist, and Iranologist.
He was born in Krzywicze in the Polish-Lithuanian Commonwealth, and attended the University of Vilnius (member of the Filaret Association) and the Institute of Oriental Studies that was attached to the Ministry of Foreign Affaires of the Russian Empire in Saint-Petersburg.
From 1830 until… (more)


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MENOMONIE, Wis. (October 27, 2012) - UW-Stout's offense struggled to find a rhythm all afternoon and UW-River Falls delivered the big plays when they needed them, resulting in a 24-14 road win for the Falcons, Saturday afternoon at Don and Nona Williams Stadium.
River Falls (2-6, 2-3 WIAC) scored their first points on the game's opening drive. On the 12-play, 72-yard drive, the Falcons saw just two third downs, the first of which they converted to avoid a three-and-out. Stout (3-5, 1-4 WIAC) was able to hold them to a field goal, but fell into an early deficit nonetheless.
The offense did not start out hot, either, as Michael Blizel (Sr, Sturgeon Bay) threw an interception on their first offensive play of the game. River Falls could not capitalize on the turnover, and the teams traded punts - seven total drives in a row - for the next 15 minutes of gametime. Ricky Marteney (Jr, Greenfield) knotted up the score with a field goal that culminated a drive started in River Falls territory after Stout forced and recovered a Falcon fumble.
With 49 seconds remaining in the half, Stout got the ball on their own 36 yard line, looking to grab their first lead of the game heading into the locker rooms. They did just that when Marteney hit a 39 yard field goal to cap off a 42-yard, eight play drive. Blizel was 4-for-5 with completions of 14, 12, 9, and 6 yards to quickly drive the offense into Marteney's range.
The third quarter was owned by the Falcons. On the second play from scrimmage, Stout coughed up the ball after a 10-yard pass play, and River Falls took over at midfield. After that, in the three drives that ended in the third quarter, Stout punted twice and took a big loss on fourth down on another play that looked to be a punt.
Meanwhile, River Falls enjoyed two touchdown drives, both of which started in Stout territory. The first drive went 30 yards in seven plays, ending with a Ryan Kusilek pass to Jon Manke for a 13-yard score. After forcing a punt, the Falcons took over at the Stout 41. This time, Kusilek hit Jake Ryan for a 14-yard touchdown on third down to put his team up 17-6 heading into the final quarter.
Stout got things going late in the third when Blizel hit Mike Gervenak (Sr, Baxter, Minn.) for a 40-yard completion to begin their only scoring drive of the game. Josh Peterson (Sr, Cedar Grove) refused to go down on a big 11-yard gain on third-and-10, that extended the drive early on. Facing a fourth-and-one on River Falls' 15, Stout elected to go for the touchdown rather than a field goal attempt. Blizel hit an unfamiliar Jamie Rohrig (So, Owatonna, Minn.), who usually lines up on the defensive line, for a nine yard catch and run, setting up an Eric Brown (Sr, St. Paul, Minn.) touchdown on the next play.
After forcing a fumble on River Falls' next drive, Stout was in great position to tie or take the lead, starting their drive in Falcon territory. Brown picked up a crucial first down on third-and-eight to avoid a three-and-out. Then Blizel connected with Peterson for another 11-yard play, which brough the offense into the red zone for the third time of the evening. River Falls came up with a sack, however, one of seven on the evening, to push Stout to the 28 yard line, where they would attempt a 45 yard field goal. Marteney could not go a perfect 3-for-3, as he missed the game-tying field goal wide left.
The dagger came with under four minutes to go when Charles Dixon made a 49-yard reception on third down that set up River Falls' final score.
Third down told the story of the game, as both Falcon touchdowns and their 49-yard dagger at the end were all on third down. Stout was just 4-of-18 on third down attempts.
Blizel finished the game 19-of-35 for 219 yards and was sacked five times before the fifth one cued backup Hank Kujak (So, Blair) to come in and finish the game. In six dropbacks, Kujak was sacked twice, but did complete a 41 yard pass to Trevor Morning (Jr, Bloomer). Peterson was Stout's leading receiver with six catches for 53 yards. Brown rushed for 24 yards on 10 carries, while Tanner Kuehn (So, Fairchild) picked up 14 yards on eight carries.
On the defensive side of the ball, Tyler Naatz (So, Menomonie) and Spencer Adler (Jr, Little Chute) continued to rack up the tackles, as they have both done all season. Naatz led the way with 15, five of which were unassisted, while Adler led with six solos, 14 total. Cornerback Billy Rosenthal (Sr, Wyoming, Minn.) recorded three pass break ups and nine tackles.
For the Falcons, Kusilek ended 18-of-30 for 223 yards and was sacked just once. John Schimenz carried the ball 27 times for a total of 69 yards including his touchdown that sealed the win.
Stout will travel to UW-Platteville next Saturday, Nov. 3, before returning home, Nov. 10, to host UW-Oshkosh in their final game of the season.
Sluggish offense results in loss to River Falls
|UW-River Falls (2-6)
|UW-Stout (3-5)
MENOMONIE, Wis. (October 27, 2012) - UW-Stout's offense struggled to find a rhythm all afternoon and UW-River Falls delivered the big plays when they needed them, resulting in a 24-14 road win for the Falcons, Saturday afternoon at Don and Nona Williams Stadium.


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BRASELTON, Ga. –– Joseph Barr of Versailles, Ky., was named a second-team Rolex Junior All-American by the American Junior Golf Association Monday, thus joining an esteemed collection of current and former top-level junior golfers from around the world.
Barr, 18, is a senior at Woodford County High School. His 2007 season included four top-10 finishes, including a win at the Bubba Conlee National Junior and three top-10 AJGA finishes. Barr finished third at the Houchens Industries Junior Open and tied for third at the HP Boys Junior Championship. He also finished tied for seventh at the Natural Resource Partners Bluegrass Junior. Ranked No. 26 in the final 2007 Polo Golf Rankings, Barr has verbally committed to continue his golf career as a Kentucky Wildcat in the fall of 2008.
Introduced by the AJGA in 1978, the Rolex Junior All-America Teams annually recognize those players who have established themselves as the world's premier junior golfers. This year's selections distinguished themselves through their outstanding play in 76 national events, 54 of which were conducted by the AJGA. The Rolex Junior All-America Teams were determined exclusively through the Polo Golf Rankings (as of Oct. 10).
The teams are comprised of 96 junior golfers, ages 12-18, from 23 states and three foreign countries. These standouts will be honored at the Rolex Junior All-America Awards Banquet Nov. 18 at The Grande Ballroom at Ginn Reunion Resort in Reunion, Fla.
Former Rolex Junior All-Americans comprise the top players on both the PGA and LPGA Tours. Of the PGA TOUR's current top-10 money leaders, Tiger Woods, Phil Mickelson, Rory Sabbatini, Jim Furyk and Sergio Garcia were all Rolex Junior All-Americans. On the LPGA Tour, Paula Creamer, Cristie Kerr, Morgan Pressel, Angela Park and Brittany Lincicome were named Rolex Junior All-Americans as junior golfers before working their way to the top of the pay-for-play ranks. Other notable professional AJGA alumni who help make up the list of past Rolex Junior All-Americans include Mark Calcavecchia, Woody Austin, Scott Verplank, Hunter Mahan, Stacy Prammanasudh, Sherri Steinhauer and Christina Kim.
Rolex, a supporter of the AJGA since 1983, became an AJGA Premier Partner in 2004. The distinguished timepiece maker is the proprietor of the Rolex Junior Players of the Year, Rolex Junior All-America Teams and the Rolex Junior All-America Awards Banquet. Rolex also sponsors the Rolex Tournament of Champions and Rolex Girls Junior Championship, two of the AJGA's most competitive major championships. As a Premier Partner, Rolex is the Founding Partner to the Achieving Competitive Excellence (ACE) Grant program and an Official Partner of the biennial PING Junior Solheim Cup.
The American Junior Golf Association is a 501(c)(3) nonprofit organization dedicated to the overall growth and development of young men and women who aspire to earn college golf scholarships through competitive junior golf. The AJGA, the largest Association of its kind, has an annual junior membership (boys and girls ages 12-18) of more than 5,000 junior golfers from 49 states and 30 foreign countries.
For more information, please contact Jenny Evans in the AJGA Communications Department at (770) 868-4200,
firstname.lastname@example.com or visit the AJGA's Web site at ajga.org.
Boys First Team
Bud Cauley, Jacksonville, Fla.
Jae Han Chun, Ansung-City, South Korea
David Chung, Fayetteville, N.C.
Spencer Cole, Greer, S.C.
Wesley Graham, Port Orange, Fla.
Cody Gribble, Dallas, Texas
Luke Guthrie, Quincy, Ill.
Morgan Hoffmann, Saddlebrook, N.J.
Sihwan Kim, Buena Park, Calif.
Gregor Main, Danville, Calif.
Peter Uihlein, Bradenton, Fla.
Cory Whitsett, Houston, Texas
Boys Second Team
Joseph Barr, Versailles, Ky.
Austin Cody, North Charleston, S.C.
Sean Dale, Jacksonville, Fla.
Mu Hu, Shen Zhen, China
Mark Johnson, Tulsa, Okla.
Alex Kang, Oak Park, Calif.
Alex Shi Yup Kim, Fullerton, Calif.
Lion Kim, Lake Mary, Fla.
Scott Langley, St. Louis, Mo.
Anthony Paolucci, Dallas, Texas
Ramsey Sahyoun, Reseda, Calif.
Sang Yi, Carrollton, Texas
Boys Honorable Mention
Bo Andrews, Raleigh, N.C.
Sean Brannan, Hollidaysburg, Pa.
Sam Braver, Roswell, Ga.
Jacob Burger, Orangeburg, S.C.
Sam Chien, San Diego, Calif.
John Hahn, Kent, Ohio
Hunter Hamrick, Montgomery, Ala.
Zeyu He, Shen Zhen, China
Michael Jae Woo Im, Fullerton, Calif.
Josh Jones, The Colony, Texas
Chan Kim, Chandler, Ariz.
Brooks Koepka, Wellington, Fla.
William Kropp, Edmond, Okla.
Hyun Seok Lim, Fullerton, Calif.
Jace Long, Dixon, Mo.
Brinson Paolini, Virginia Beach, Va.
John Peterson, Fort Worth, Texas
John Popeck, Washington, Pa.
Patrick Reed, Baton Rouge, La.
David Sanders, Mount Laurel, N.J.
Geoffrey Shaw, Edmond, Okla.
Taylor Travis, Fremont, Calif.
Adam Wennerstrom, Austin, Texas
Andrew Yun, Tacoma, Wash.
Girls First Team
Courtney Ellenbogen, Blacksburg, Va.
Mina Harigae, Monterey, Calif.
Vicky Hurst, Melbourne, Fla.
Jennifer Johnson, La Quinta, Calif.
Ayaka Kaneko, Honolulu, Hawaii
Taylore Karle, Scottsdale, Ariz.
Kimberly Kim, Pahoa, Hawaii
Stephanie Kono, Honolulu, Hawaii
Kristen Park, Buena Park, Calif.
Jane Rah, Torrance, Calif.
Alexis Thompson, Coral Springs, Fla.
Allie White, Lancaster, Ohio
Girls Second Team
Sarah Brown, Phillipsburg, N.J.
Sydney Burlison, Salinas, Calif.
Cydney Clanton, Charlotte, N.C.
Brianna Do, Lakewood, Calif.
Danielle Frasier, Encinitas, Calif.
Megan Grehan, Mamaroneck, N.Y.
Isabelle Lendl, Bradenton, Fla.
Tiffany Lua, Rowland Heights, Calif.
Mary Michael Maggio, Conway, Ark.
Rachel Morris, Carlsbad, Calif.
Michelle Shin, Cape Coral, Fla.
Julie Yang, Phoenix, Ariz.
Girls Honorable Mention
Marina Alex, Wayne, N.J.
Elisa Aoki, Bradenton, Fla.
Kyndall Ardoin, Gibsland, La.
Doris Chen, Bradenton, Fla.
Won Joo Choi, Temecula, Calif.
Lindy Duncan, Daytona Beach, Fla.
Rebecca Durham, St. Simons Island, Ga.
Austin Ernst, Seneca, S.C.
Evan Jensen, Belleair, Fla.
Mitsuki Katahira, Wheaton, Ill.
Stacey Kim, Columbus, Ga.
Diane Kwon, Fremont, Calif.
Lee Lopez, Whittier, Calif.
Lisa McCloskey, Montgomery, Texas
Sarah Salvo, Glendale, Calif.
Haley Sanders, Rogers, Ark.
Milena Savich, Carmel, Ind.
Natalie Sheary, West Hartford, Conn.
Kelly Shon, Port Washington, N.Y.
Jaclyn Sweeney, Bradenton, Fla.
Stephanie Wagstaff, Asheville, N.C.
Jessica Wallace, Langley, B.C.
Kristina Wong, Bradenton, Fla.
Cheyenne Woods, Phoenix, Ariz.


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CAMBRIDGE, Mass. – MIT had six athletes earn a spot in the National Football Foundation's (NFF) Hampshire Honor Society. For the second year in a row, the Engineers paced the New England Football Conference (NEFC) among the programs that submitted a nomination.
Representing the Engineers on the list was Brian Doyle, Kyle Johnson, Derek Li, Jonathan Smith, Will Vega-Brown, and Michael Yurkerwich. To qualify, an athlete must have been a starter or significant substitute during his last year of athletic eligibility and achieved a 3.2 grade point average on a 4.0 scale throughout his entire course of study.
Although MIT's inductees received their first accolades from the NFF, they had previously garnered academic plaudits at the regional and national levels from a variety of organizations. All six were named to the NEFC All-Academic Team while Doyle was also selected as the league's Hal Chalmers Scholar-Athlete of the Year. In addition, both Doyle and Vega-Brown earned CoSIDA/Capital One Academic All-America First Team honors.


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Chance to run away with East escaping Braves
NEW YORK -- The most powerful force in the race for the National League East title appears to be inertia.
The first-place Braves refuse to make the kind of run that would put the division away. All the while, the Nationals and Phillies refuse to make them pay for it.View Full Game Coverage
NEW YORK -- The most powerful force in the race for the National League East title appears to be inertia.
The first-place Braves refuse to make the kind of run that would put the division away. All the while, the Nationals and Phillies refuse to make them pay for it.View Full Game Coverage
So in late July, the division stands almost exactly where it was in early June -- with Atlanta holding a seven-game lead while Washington and Philadelphia pursue. A 4-1 loss to the Mets on Tuesday kept the Braves from taking a season-high eight-game division lead, as the Phillies and Nats both lost.
"We missed an opportunity there," said starter Kris Medlen, who took the loss.
It's hard to know what to make of the division-leading Braves, a team that looked like a contender for best team in baseball not that long ago.
They're clearly in command of the NL East, with the only winning record and by far the best run differential. But they're still 12 games over .500, just like they were 48 games into the season. They've been spinning their wheels for nearly two months, not losing ground, but not gaining any, either.
"You go through your peaks and valleys," manager Fredi Gonzalez said, "and hopefully your peaks are a lot longer than your valleys. ... I think we still have a lot of good baseball left."
Gonzalez emphasized that the lull doesn't worry him. He pointed to the Dodgers, who struggled early before taking off in recent weeks. And it's true that very few teams go a full season without any uninspiring stretches. At some point, though, it's worth wondering when an uninspiring stretch is something more.
"You always want to play better," Gonzalez said. "That's just the way the game is at times. But I just look at it one game at a time. I don't get myself caught up in looking forward or looking back. You just put the blinders on and keep going."
Tuesday's loss followed an uplifting late-inning win on Monday, and thus it was emblematic of Atlanta's recent fortunes. The Braves have avoided lengthy freefalls, but since the beginning of June, they've been utterly unable to get any traction.
Atlanta is 6-6 in the past 12 games, 13-13 in the past 26. A four-game winning streak in late June and early July was immediately followed by four losses in five games.
With the way the Nationals and Phillies have played, Atlanta should have run away with the division already. Instead, the margin remains just close enough to allow those teams to dream -- and perhaps to add talent before the non-waiver Trade Deadline.
The question is which Braves team is the real thing: the one that stormed to a 37-22 record in early June, or the one that's been under .500 since. It's certainly worth noting that they've dealt with some significant injuries, especially on the offensive side. And they're getting a pitching infusion with the arrival of Alex Wood and the return of Brandon Beachy from injury.
All signs indicate that Atlanta should be about to get hot. Then again, the schedule set up perfectly for a hot streak in recent weeks, and it didn't happen. Thirty of the Braves' past 37 games came against teams currently below .500, and they went 17-20 in those games.
The natural tendency is to blame at least some of the inconsistency on Atlanta's all-or-nothing offensive style. Yet the Braves are actually fourth in the NL in on-base percentage, and a passable ninth in batting average. They don't just hit home runs.
It's a little bit of everything. On Monday they scored two runs and won. Two days earlier, they scored six runs and lost.
"We feel comfortable," said shortstop Andrelton Simmons, who homered on Tuesday. "We feel all right. We come to the field every day knowing how good we are. We know we're not a small-ball type of team, but at the same time we try to execute whenever we get a chance. But we've got to get better at it."
The upcoming schedule, like recent results, is a good news/bad news proposition. The Braves will have plenty of chances to step on the throats of their rivals over the season's final 10 weeks. Then again, that also means plenty of chances for those chasing teams to gain ground directly.
Of Atlanta's final 62 games, 13 come against the Phillies and nine against the Nationals. That's more than a third of the Braves' remaining games against the two teams closest to them in the standings. Get hot, and they win the division in the walk. Keep shuffling, and this race could yet get interesting.
For his part, Gonzalez continues to emphasize keeping things simple.
"I don't look at anything other than, our goal is to try to win series," he said. "I've been preaching that since day one. ... If you do that, I think at the end of the year you're in pretty good position. We'll leave it at that."
Matthew Leach is a national reporter for MLB.com. Read his blog, Obviously, You're Not a Golfer and follow him on Twitter at @MatthewHLeach.


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bsmith necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 408 diseños de 67 diseñadores freelance.
Smith-Arch Construction
We are a partnership of succesful contractors taking our services to the next level by joining forces. We do a lot of custom remodeling (basements, bathrooms, kitchens, decks, additions, fire and water restoration) and are starting to branch into the commercial arena as well. We want to set ourselves apart from the "handyman" type of companies and take on the appearance of a professional construction firm that has a large team of skilled professionals. We are very experienced and knowledgeable in our field and it shows in our work and management of our jobs. We focus on our customers and the small and large details of our jobs. The high level of service we provide shows that we listen to what was wanted/needed. When working in someone's house we make it a point to be as clean as possible as to respect their home and living spaces. Our company is a one-stop shop with the capabilities to build a house from the ground up and complete every step in between. Class A advanced building license/bonded/insured. We can handle design/build projects, custom remodeling, insurance restoration, and large commercial jobs.
Currently working in the northern VA area not far from DC, but willing to travel for large jobs.
Our target audience we would like to focus on are the larger residential jobs and commercial arena, possibly getting into some government contracts.
Target audiences have been normal residential customers with remodeling jobs; landlords and property management groups; larger general contractors looking to subcontract out an entire job; commercial work on office buildings, clubhouses, and work areas.
While wanting to be professional, we want to be careful not to come across too fancy or high-end since we still want to take on the normal bathroom remodel at the same time we are doing a total rebuild or large commercial job.
- Professional logo that looks clean and organized
- Logo to be versatile so it can be used on company signs, shirts, website
- Bold, eye-catching colors that don't look cheesy
- Not opposed to having an animal mascot or some other symbol
- Tools CAN be used within the logo, but most I have run across seem unorganized or appear limiting of all the services that are offered.
- Avoid using a symbol of a "house" since we want to be seen as a residential AND commercial. But a structure can be used.
- Be creative, show us something different than the normal "framed house" or "hammer" logo that mediocre construction companies use
- DO NOT be scared by any of these guidelines. If what you have looks good then we may not care if you break some rules
- Need to be in computer rendered format (ie... Photoshop, illustrator, ESP)
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I am on 2.0.0.svn25 (Build 3002). Regardless which tool I am using, I cannot add instruments to the database.
I have created the DB and I see it being created.
Whenever a ADD DB_INSTRUMENTS .... is issued I get an OK, however, I cannot see the newly created instrument.
I have tried directories, files, SFZ, SF2, GIG all to no avail.
Any clues?


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You know how we say that grains [1] exist on a spectrum of suitability, from "really bad" wheat to "not so terrible" rice? Well, what about the rest of 'em? They may be the most commonly consumed (and thus encountered) grains, but wheat and rice aren't the only grains on the spectrum. Since I get a lot of email about oats, I figured they were a good choice for this post. Besides – though I was (and still mostly am) content to toss the lot of them on the "do not eat" pile, I think we're better served by more nuanced positions regarding grains [2]. Hence, my rice [3] post. Hence, my post on traditionally prepared grains [4]. And hence, today's post on oats. Not everyone can avoid all grains at all times, and not everyone wants to avoid all grains at all times. For those situations, it makes sense to have a game plan, a way to "rank" foods.
Today, we'll go over the various incarnations of the oat, along with any potential nutritional upsides or downsides. But first, what is an oat?
The common oat is a cereal grain, the seed of a species of grass called Avena sativa. Its ancient ancestor, Avena sterilis, was native to the Fertile Crescent in the Near East, but domesticated oats do best in cool, moist climates like regions of Europe and the United States. They first appeared [5] in Swiss caves dated to the Bronze Age, and they remain a staple food crop in Scotland. The "whole grain" form of an oat is called a groat (the picture up above depicts whole oat groats) and is rarely sold as-is, except maybe as horse feed. Instead, they're sold either as steel-cut, rolled, or instant oats.
Steel-cut oats are whole groats chopped into several pieces. Some of the bran flakes off, but some is retained. Steel-cut oats take longer to cook, contain the most nutrients (and antinutrients [6] like phytic acid), and taste nuttier than conventional oats.
Rolled oats are steamed groats that have literally been rolled out and flattened, with the bran discarded. When most people think of "oats," they're thinking of rolled oats.
Instant oats are rolled, steamed, and precooked oats. They're essentially the same as rolled oats, only often accompanied by sugary flavorings and rendered immediately edible by the addition of hot liquid.
The main problems with oats are the phytic acid and the avenin, a protein in the prolamine family (along with gluten from wheat, rye, and barley, and zein, from corn). As far as phytic acid (or phytate) goes, oats contain less than corn and brown rice but about the same amount as wheat. As you know from previous posts, phytate has the tendency to bind minerals and prevent their absorption. So, even if a grain is rich in minerals, the presence of phytate prevents their full absorption. Ingestion is not absorption, remember. As I understand it, you can, however, reduce or eliminate phytate by lactic fermentation [7]. I'm not sure the degree to which phytate can be deactivated, but one study [8] does show that consuming oats that underwent lactic fermentation resulted in increased iron absorption rather than reduced. Another source [9] claims that simple soaking isn't enough, since oats contain no phytase, which breaks down phytate. Instead, you'd have to incorporate a phytase-containing flour to do the work; a couple tablespoons of buckwheat appear to be an effective choice for that. Combining both lactic acid bacteria (whey, kefir, or yogurt), companion flour (buckwheat), water, and a warm room should take care of most of the phytate… but that's a lot of work!
Avenin appears to have some of the same problems as gluten in certain sensitive individuals, although it doesn't appear as if the problem is widespread or as serious [10]. Kids with celiac disease produced oat avenin antibodies [11] at a higher rate than kids without celiac, but neither group was on a gluten-free diet. When you put celiacs on a gluten-free diet, they don't appear to show higher levels of avenin antibodies [12]. It looks like once you remove gluten, other, potentially damaging proteins become far less dangerous. One study did find that some celiacs "failed" an oats challenge. Celiac patients ate certified gluten-free oats (quick note: oats are often cross-contaminated with gluten, so if you're going to experiment with oats, make sure they're certified gluten-free), and several showed signs of intestinal permeability [13], with one patient suffering all-out villous atrophy, or breakdown of the intestinal villi [14]. A few out of nineteen patients doesn't sound too bad, but it shows that there's a potential for cross-reactivity.
Why do oats get so much praise from health organizations, particularly from the American Heart Association (whose coat of arms boxes of Quaker Oats proudly display)?
Well, oats contain a specific type of soluble fiber called beta-glucan that increases bile acid excretion [15]. As bile acid is excreted, so too is any serum cholesterol that's bound up in the bile [16]. The effect is a significant reduction in serum cholesterol. In rats with a genetic defect in the LDL receptor gene – their ability to clear LDL from the blood is severely hampered – there's some evidence that oat bran is protective against atherosclerosis [17]. Of course, the very same type of LDL-receptor-defective mice get similar protection from a diet high in yellow and green vegetables [18], so it's not as if oat bran is a magical substance. Like other prebiotic [19] fibers, oat bran also increases butyrate production (in pigs [20], at least), which is a beneficial short-chain fatty acid produced by fermentation of fibers by gut flora with a host of nice effects [21]. Overall, I think these studies show that soluble fiber that comes in food form is a good thing to have, but I'm not sure they show that said fiber needs to come from oats.
Oats also appear to have a decent nutrient profile, although one wonders how bioavailable those minerals are without proper processing. A 100 gram serving of oats contains:
- 389 calories
- 16.9 grams protein
- 66 grams carbohydrate
- 10.6 grams fiber (with just under half soluble)
- 7 grams fat (about half PUFA and half MUFA)
- 4.72 mg iron
- 177 mg magnesium
- 3.97 mg zinc
- 0.6 mg copper
- 4.9 mg manganese
Oatmeal is a perfect example of the essentially tasteless, but oddly comforting food that's difficult to give up (judging from all the emails I get). It's tough to explain, because it's not like oatmeal is particularly delicious. It's bland, unless you really dress it up. No, I suspect it's more than taste. I myself have fond childhood memories of big warm bowls of oat porridge steaming on the breakfast table. I'd add brown sugar, dig in, and head out to adventure through blustery New England mornings with a brick of pulverized oats in my happy belly. The nostalgia persists today, even though I don't eat the stuff and have no real desire to do so. Heck, seeing Wilfred Brimley's diabetes awareness TV spots still makes me think of those bowls of oatmeal and all the playing they fueled. Maybe it's a combination of nostalgia and physical satiation?
Still, since I had some steel-cut oats laying around the house from a past houseguest who absolutely needed his oats, I decided to give them a shot. To self-experiment. To – gasp! – willingly and deliberately eat some whole grains. McCann's Irish oats, they were. Raw, not steamed, and of presumably high quality. I'd been researching this post, and I came across an interesting thread [22] on Paleohacks in which a recipe for baked oatmeal was described. Go ahead and check it out. I followed it exactly, soaking the oats in an acidic medium (Greek yogurt [23]) and adding the buckwheat [24] flour, which I made a special trip to the store for. When it was done cooking, I added a bunch of blueberries and some grass-fed butter [25], a touch of salt [26] and a few shakes of cinnamon [27], and the Paleohacks poster was right: it did make the kitchen smell great. I sat down to eat my bowl. I'd been on a long hike [28] that morning and I had done some heavy lifting [29] as it baked, so I felt like I was as ready as I'd ever be.
It was… okay. The liberal amount of butter I added quickly disappeared without a trace, and I had to stop myself from adding more because that would have been the rest of the stick. The berries and cinnamon looked and smelled great, but they were swallowed by the blandness. I even added a tablespoon of honey but couldn't taste it. It was satisfying in the sense that it provided bulk in my stomach. A half hour after, I felt kinda off. It's hard to describe. A spacey, detached feeling? Slightly drugged? However you want to describe it, it didn't feel right. Only lasted half an hour or so, though. My digestion was fine (hat tip to Jack Kronk and his Paleohacks recipe for getting that part right), and I never felt bloated besides the initial "brick in the stomach" feeling.
That's my take on oats. Better than wheat, worse (and more work to improve) than rice. I won't be eating them because I frankly don't enjoy them, there are numerous other food options that are superior to oats, and I don't dig the weird headspace they gave me, but I'll admit that they aren't as bad as wheat. If I want starch, I'll go for some sweet potatoes [30].
What about you folks? Do you eat oats? Would you be willing to soak, ferment, and cook them? Let me know how it works, or worked, out for you!


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- 3 bedroom, Semi-Detached House
- James Counsell Way, Stoke Gifford, Bristol, BS34
Friendly, professional and award winning. Our services help thousands of people move every year.
A business with a unique heritage, we combine the resources of a large organisation with the personal touch of an independent business so that you can enjoy the best possible experience.
Are you interested in buying a property in Winterbourne? The South Gloucestershire town is located 7.4 miles north-east of Bristol city centre, at the south-west extremity of the Cotswold Hills.
The large village offers residents the best of both worlds, lying in the heart of beautiful countryside, but with good transport links to the major centres of Bristol and Bath.
So, could Winterbourne be the perfect area for you? Read on to find out.
For its size, Winterbourne is well served by local transport links, making it a good place to settle for commuters. From local bus stations you can travel to central Bristol in 20 minutes. Bristol Parkway is less than 3 miles away which has direct links to central Bristol, Bath, London and the rest of the UK.
Additionally, bus services run to a number of other towns/villages within South Gloucestershire, including Badminton, Charfield, Chipping Sodbury, Downend, Emersons Green, Filton, Fishponds, Frenchay, Hanham, Kingswood, Pucklechurch, Mangotsfield, Old Sodbury, Staple Hill, Thornbury, Tormarton, Westerleigh, Wick, Wotton under Edge and Yate.
If you fancy eating or drinking out, there are a number of good pubs and restaurants in Winterbourne and neighbouring Frampton Cottrell. In Winterbourne itself, you'll find the George and Dragon, the Swan and the Mason's Arms. In recent years, a number of the village's pubs have become restaurants; two of which now serve Indian cuisine.
In nearby Frampton Cottrell, there is also range of coffee shops and pubs, including The Rising Sun, part of The Great Western Brewing Company in Hambrook and The Globe.
Alternatively, you can head into central Bath or Bristol where you'll be spoilt for choice.
Winterbourne is surrounded by countryside, perfect for taking walks and picnics. Also, less than 4 miles away in Bradley Stoke you will find the Bradley Stoke leisure centre; Active Bradley Stoke.
If the sun shines in Winterbourne, you're spoilt for choice when it comes to open spaces in and around the area. Winterbourne is surrounded by countryside, with Bradley Brook and the River Frome meeting just south of the village. Local parks in the town include Whiteshill common.
If the heavens open, Winterbourne has a local library as well as the Riding Leisure and Learning centre which hosts activities and classes. There are also options for coffee shops and activities in neighbouring Frampton Cottrell and Bradley Stoke.
You can, of course, head into Bristol which is only a 20 minute drive. Bristol offers world-class indoor attractions such as Bristol Aquarium and the SS Great Britain. Bath is a 45 mins drive from Winterbourne and also has a number of attractions including its famous Roman Baths and Cathedral.
Winterbourne contains branches of the Co-op and Tesco Express, Natwest and St Peter's Hospice. The attributes of a typical English village also remain, with a bakery, butcher and Post Office serving the community. There is also a local chemist, optician, hairdressers and a library.
Winterbourne is 3.4 miles away from Bradley Stoke which hosts a range of shops including Tesco Extra, Boots, Argos and Bradley Stoke Leisure Centre. You can also travel into central Bristol for further shopping and eating facilities such as Cabot Circus or The Mall at Cribbs Causeway.
There are several parks and sports clubs in Winterbourne, including Whiteshill common and the Bristol and West Hockey club. Winterbourne also hosts a local Library and Riding Leisure and Learning centre which has a range of classes for adults. The Greenfield club hosts children's activities in and around the school summer holidays. Less than 4 miles away in Hambrook you can also find Bristol Golf Centre, which includes Pirate Bay Adventure golf for children.
Less than 10 miles away in Bristol, you'll find numerous entertainment venues such as the Bristol Hippodrome, which hosts some of the UKs biggest theatre shows, as well as household names such as Michael McIntyre, and Colston Hall, an impressive concert venue.
There are plenty of amenities in the local area. Doctor's surgeries include Frome Valley Health ltd and the Frome Valley Medical centre. Winterbourne also has a local Vets - Winterbourne Veterinary Clinic and a couple of dental practices including Apple dental and Flaxpit dental practice. There is also other local amenities such as Spoilt Hair and Beauty and a local pharmacy.
There is free local parking in Winterbourne, on Flaxpits lane. There is also Stoke Gifford Park and ride only 2.4 miles away if you didn't want to drive into Central Bristol.
Winterbourne contains several schools. The main primary schools are Elm Park and St Michael's primary school, with most students going on to attend the nearby secondary school: The Ridings Winterbourne International Academy.
To find out more about buying or renting a property in Winterbourne, call or visit the local Andrews branch.
Photo credit:
Arpingstone, via Wikimedia Commons
Bristol Parkway
Filton Abbeywood
Filton High School New Road, Bristol BS34 8QT
Bradley Stoke Community School Fiddlers Wood Lane, Bristol BS32 9BS
Patchway Community College Hempton Lane, Bristol BS32 4AJ
Downend Comprehensive School Westerleigh Road, Bristol BS16 6XA
Bailey's Court Primary School Breaches Gate, Bristol BS32 8AZ
St Mary's Catholic Primary School Webbs Wood Road, Bristol BS32 8EJ
Hambrook Primary School Moorend Road, Bristol BS16 1SJ
Little Stoke Primary School Little Stoke Lane, Bristol BS34 6HY
Meadowbrook Primary School Three Brooks Lane, Bristol BS32 8TA
Stoke Gifford Pre School Poplar Rooms, Bristol BS34 8PE
St Michaels Church Pre School Old School Rooms, Bristol BS34 8PD
Play Pitch Pre School Baileys Court Activity Centre, Bristol BS32 8BH
The Covey Pre School Unit 4 Baileys Court, Bradley Stoke South BS32 8EJ
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The President's Obamacare Speech: 3 Key Takeaways
President Barack Obama spoke publicly on Monday about the problems that millions of Americans have experienced with the health insurance exchanges established under the Affordable Care Act, commonly known as Obamacare. Here are three important takeaways from his remarks for investors.
1. 85% of Americans don't need to sign up
One of the first statements out of Obama's mouth was that 85% of Americans who have health insurance coverage through their employers, Medicare, or Medicaid don't have to sign up through the federal or state exchanges. This is a key point that is easy to forget. However, don't think for a minute that Obamacare isn't impacting these individuals.
Investors should watch how the health reform legislation is directly and indirectly affecting the business landscape, including those who don't have to purchase insurance through the exchanges. One important trend to note is the growth of private health insurance exchanges.
Aon , for example, operates private health exchanges through its Aon Hewitt division. The company's research found that 44% of employers could move to private exchanges within the next three to five years. This is a shift that should cause investors to sit up and take notice. Aon could be a stock to watch as this trend unfolds.
2. It's not just a website
While Obama talked about a "tech surge" to fix problems plaguing the Obamacare federal exchange website, Healthcare.gov, he also explained that "it's not just a website." His point was that there are other ways to sign up for health insurance, including over the phone.
The president's comment is correct in an even larger way. Obamacare could fundamentally change how millions of Americans access health care. There are multiple ways that this could benefit private companies.
Pharmacy retailers should benefit as individuals gain health insurance that allows them to purchase prescription drugs that were unaffordable to them in the past. Rite Aid could be a stock to watch for investors interested in that angle. The company has made a remarkable turnaround over the last year, including setting an all-time record for EBITDA last quarter. Rite Aid could keep its momentum going thanks in part to the "more-than-a-website" law.
3. No sugar coating
Acknowledging the myriad difficulties experienced by users, President Obama said that there's "no sugarcoating" the problems. Sure, the president attempted to put as positive of a spin as possible on what's happened, insisting that "the product [i.e., the health insurance itself] is good." However, that's what you would expect of any politician speaking about his or her major legislative achievement.
From an investing standpoint, it makes sense to not sugarcoat the overall impact of Obamacare. Some stocks could suffer from the Obamacare rollout. WellPoint , for example, could encounter higher medical costs -- and lower profits -- if one of the company's key rivals proves to be correct.
UnitedHealth CEO Stephen Hemsley warned earlier this year that the initial enrollees coming through the Obamacare exchanges could have pent-up medical demand. Because of this fear, UnitedHealth and some other big insurers opted to stay away from most of the state exchanges.
WellPoint, however, jumped aboard exchanges in every state where the company operates. That bet could pay off if many Americans enroll in its plans and Hemsley's concern doesn't pan out. However, if the UnitedHealth CEO turns out to be right, WellPoint's bottom line could suffer. For his part, the president tried to help companies like WellPoint by encouraging young individuals to sign up, stating that the plans "are not just for old folks like me."
No excuse
Obama confessed that he was frustrated and that there was "no excuse for the problems." However, he said the federal government was "doing everything we can possibly do" to get the websites working properly.
Whatever your take on the controversial health reform legislation, it's smart to do everything you can to invest in a way to profit from the major changes under way. With one of the biggest changes happening as we watch to a sector that comprises nearly one-fifth of the nation's economy, there's no excuse for missing out.
An easy first step
Do you know how the changes in the health care law will affect you and your portfolio? If not, we can help: The Motley Fool has compiled a special new report filled with Everything You Need to Know About Obamacare. This report is a free offer from us to help you get educated on this important subject. Please click here to access your free copy.
The article The President's Obamacare Speech: 3 Key Takeaways originally appeared on Fool.com.Fool contributor Keith Speights has no position in any stocks mentioned. The Motley Fool recommends Aon, UnitedHealth Group, and WellPoint. The Motley Fool owns shares of Aon and WellPoint. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.
Copyright © 1995 - 2013 The Motley Fool, LLC. All rights reserved. The Motley Fool has a disclosure policy.


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» You are here: Home » Erotic Furniture, Swings & Machines
Illinois residents will be charged 8.00% sales tax.
This website is intented solely for viewing and purchasing by an adult audience. If you are under 18 years old (21 years old in some states) we ask you to leave this website. Please do.All models are 18 years of age or older.


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|Mobile Site
|eMail Author
|Caption Comp
|Monthly Poll
|Sudden Death
|Colour Key
|Cookie Usage
What's new - Mar 2002
|Three new entries on the alpha quadrant other species pages, all from Enterprise. Also from Enterprise, a new image of the Andorians goes up onto the Andorian species entry.
|A few new entries on the additional ships page go up today. Some people have reported problems loading this page, so please let me know if you have trouble and I will do my best to get it fixed. I suspect some of the trouble comes from the size of the page, and in the next week or so this page is going to be split into subpages to see if that fixes it.
|A full entry for the Denobulans - Phlox's species from Enterprise. We don't know much about them yet, so it's a short one. We've also added a few minor species from Enterprise.
|Size Comparison
|A new and original image of the D7 goes up to replace the fairly poor one that was there before. Also the Romulan science ship has been added.
|A new full entry goes up for the Romulan version of the Klingon D7 battlecruiser. Also, a few ships have gone onto the additional ships page. The Romulan science/scout, previously a single entry, has now been split into two separate entries.
|A new article on when the Romulans obtained warp drive has been added.
| Full entries for the Vulcan Surak class ship from "Breakingthe Ice", the Y class freighter from "Fortunate Son" and theSS Enterprise as seen on the TMP recreadtion deck have gone up today, all withspecially created size comparison images. All have also been added to the new lineage timeline section. Additionally, you can now jump to the lineage timelineby just clicking on the "Commissioned" label in the specs table of any ship or station on the site.
Also, I've created a small page expanding on what is involved in the minor/standard/majorrefits mentioned in the specs chart for each class. This is somehwat speculative,but in fact many of the tasks listed for each refit have been mentioned or seenon the shows themselvess.
|The Lineage page has been expanded into a two part section. The old lineage page is there, but we have also added a section which shows the Trek ship timeline, with the service lives of all major ship classes shown to scale next to one another.
That's all for today, but there are going to be some interesting mid-weekupdates over the next few days, so keep an eye out for them.
|Episode Guide
|The Enterprise guide has been brought up to date. I am stillnot impressed.
|A light week this week, just a few additions to the lists andepisodeguides. I didn't get to see this week's Enterprise, so it willbe a double episodeupdate next week.
|Copyright Graham Kennedy
|Page views : 7,841
|Last updated : 24 Mar 2002


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When editorial writers sat down 70 years ago to write tributes to those who died in war, they had no idea that D-Day, the Allied invasion of Normandy and the key to ending World War II in Europe, was a week away.
In those days, Memorial Day was celebrated May 30 no matter what day of the week it fell on. The Uniform Holidays Act, passed by Congress in 1968 and implemented in 1971, moved Memorial Day from a fixed date to the last Monday in May.
Below are editorials published in 1944 from two Rockford newspapers. Original grammar, spelling, capitalization and punctuation was retained.
They died for us
Today we celebrate another Memorial day in the midst of war. The list of those who have fallen lengthens. Their resting places are in many lands, in many seas. Leaving us, each took his portion of what we are as a nation; in death, he made it part of the place where he fell, of the place where he sleeps. Because of these dead we cannot give way to cynicism, to despair of hope, to lack of faith in what we asked them to die for.
We have laid our sons to rest in alien soil not with aggressive aim, nor with selfish purpose, nor proud self-will, but to strike down what we held evil and what they themselves knew was evil to the degree that their own lives were shields they raised against evil so that it might not come upon us. And thus we have given our sons in all our wars, not aggressively, but in faith that the sacrifice would right the wrong.
Those who have gone from us to die, each with his portion of that most sacred flame of our nationhood, the upholding of the right as God gives us to see the right are, wherever they lie, spiritual hostages. We have given those hostages in order that no cynical gain, no selfish personal ambition, no despair for humanity or righteousness shall keep us from spiritually reclaiming each plot where the dead lie, under whatever alien skies.
And does this dream seem far and unachievable, clouded with complexities and doubt, seamed with divisions and cross-purposes? It was what we asked them to die for.
— Rockford Morning Star, Tuesday, May 30, 1944
Holiday for all states
Even the young men and women among us can recall the years when civil war veterans appeared at school assemblies and marched or rode in Memorial day parades. Now in the whole country there is only a handful of men who fought for preservation of the union in 1861-65.
When the civil war veterans were still with us in large numbers and participated actively in Memorial day exercises the holiday was regarded mainly as a tribute to the departed warriors of the war between the states.
As ranks of union veterans thinned, however, Memorial day developed a broader significance. It came to be recognized more and more as a day for tribute to all war dead. In Rockford, for example, there was organized five years ago the In Memoriam association, which plans the Memorial day observance on that basis. Veterans and descendants of veterans of all wars are represented on it.
After the present war ends, there will be a wish to have a holiday applying to all states to honor those who gave their lives on the battlefield of the world. That should be Memorial day, May 30, now observed in 42 of the 48 states.
Federal action should not be necessary to accomplish this. The six states, five of which are in the deep south, that do not now set aside May 30 for decoration of graves could determine to do so. They need not hesitate because of any sectional feeling carried over from the civil war because in the north the holiday is associated as much with the Spanish-American and the two world wars as with the strife between the states.
Fifty years ago, even 25 years ago, such a suggestion would not have taken well in either north or south. But time and association dilute prejudice and ill-feeling. When the boys come home from this war, in which Illinois soldiers are fighting next to Alabamans, Wisconsin troops next to Georgians, there should be no remaining bars to a 48-state Memorial day on May 30.
— Rockford Register Republic, Tuesday, May 30, 1944.


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Subaru unveils "Orange And Black" edition Subaru WRX and Subaru WRX STI at SEMA. They're special because they're Black… and Orange.
We guess they don't want people to get distracted from the new tuned BRZ models.
The Special Edition line-up is limited to just 200 WRX sedans and 100 WRX STI sedans. For a true custom look, the WRX Special Edition features the dark interior trim from the WRX STI, including a black headliner. The Special Edition orange interior is also applied to the stitching on the seats, doors and shift boot, and custom orange trimmed floor mats. The WRX STI also features front fog lamps. - Subaru PR


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Arts North
Months of Operation
June 1 - October 24
Hours Of Operation
28571 Cabot Trail, Cape North, Cabot Trail
Designed, constructed and managed by professional artisans, Arts North has, since its founding in 1978, adhered to its "Cape Breton only" philosophy, maintaining only two overriding criteria for inclusion in its retail display. Work exhibited and retailed through Arts North must:
• Be produced on Cape Breton Island by artists and artisans residing on the Island;
• Be of a quality high enough to pass examination by the artisans who make up the Arts North selection committee
Displayed for retail sale in the gallery are works in:
• Stoneware pottery
• Silver
• Fibre, including knitting, quilting, hooking, weaving, canvas floorcloths,
• Wood
• Basketry
• Prints,
• Glass
• And other media as may be added to the collection from time to time
With Arts North's 20+ artisans based throughout Cape Breton, it's not surprising that an environmental theme runs through the collection of work retailed in the gallery. Pottery with whale, shorebird, moose and marine figures, hooked mats depicting mountain-to-ocean scenes from the northern tip of the island, jewellery combining silver and driftwood or beach glass, floor cloths and quilts with floral or wildlife designs, framed wildflower prints… all grace the walls. shelves and floors of the gallery's post and beam interior space.
As a service to visitors, items purchased at Arts North may be shipped home, as worldwide shipping is offered. A selection of items may be seen at www.arts-north.com
Gallery hours are 9-6 daily, June through October. Visa, Mastercard and Debit are accepted.
Facilities / Services
Limited accessibility
Detailed Information
This property accepts Mastercard, Visa, Debit card.