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They are going to be hard-pressed laying claim to that best-little-one-win-team-in-the-history-of-the-NFL title. After Sunday, any self-respect the Bears were starting to develop faded as cruelly as a desert mirage.
This was the sort of day that's hard to shake--the kind of game that defines seasons and defeats the sense of purpose that makes a team capable of ignoring its dismal record.
Who are these Bears?
After Sunday's eight-turnover disaster and 20-7 embarrassment at the hands of the Arizona Cardinals, they seem to be telling us. After six games and five defeats, particularly after 13 turnovers the last two weeks, they give us little choice. The fact that they're just as capable of challenging a playoff team as they are of wilting against mediocrity may make them an enigma. But it also takes them that much closer to a season eulogy.
"We felt like to stay in the middle echelon of the pack, we had to get this win," Bears coach Dave Wannstedt said. "Now we've dug ourselves a deeper hole."
Following last week's dramatic victory over Detroit with a game of almost no redeeming qualities Sunday continues a trend in the Wannstedt era of following big victories with even bigger losses. "We just weren't focused at the level that we need to be, and that's my responsibility to get them more focused, I guess," Wannstedt said.
This set a new standard for letdowns.
To wit: Erik Kramer threw four interceptions and fumbled once, while returner Glyn Milburn, fullback Ty Hallock and tailback Curtis Enis had a fumble apiece to render the Bears' offense moot, save for a late 79-yard touchdown pass from Kramer to Bobby Engram.
"We were never on the field long enough to break a sweat," Kramer said.
Arizona middle linebacker Ronald McKinnon, with three interceptions and 51 return yards, including 31 after scooping up a blocked punt by the Bears' Ricky Bell for a Cardinals first down, had more yardage than any of the Bears' backs and nearly eclipsed their rushing total of 66 yards.
The Bears' defense kept the outcome, if not respectable, at least close by allowing only one Arizona drive to go longer than 42 yards while getting stuck with starting field position at its own 21, 14, 33, 45 and 21. "If our defense wasn't playing like they were," said Wannstedt, "the thing could've been 70."
Meanwhile, three of Kramer's interceptions came off tips by the Cardinals' vaunted defensive line--two by Eric Swann and one by rookie Andre Wadsworth, which Kramer wrote off as an inexplicable fluke.
His offensive linemen, explaining that a three-step drop by a quarterback calls for defensive linemen to try for deflections, agreed. "Anytime you see a tipped ball, it means a defensive lineman is getting blocked," said guard Todd Perry. "He's not getting pressure on the quarterback, and that's football, that happens. But we had too many other turnovers that weren't related to that."
The Cardinals (3-3) got into the act with five turnovers and 59 yards lost to seven penalties, which only made the Bears' shortcomings more glaring. Not only could they not hold onto the ball themselves, they could not take advantage of the opportunities the Cardinals handed them.
Yet the Bears, now scoreless in the last 11 third quarters dating back to last season, clung to the notion that somehow they were absolved of complete incompetence. "The thing that really disappoints me," said Wannstedt, "is when you have a loss and the team is lined up and they have you blocked or you can't cover, then I'll stand here and say, `Hey, we weren't good enough.' But when you go out there and you turn the ball over eight times, that's not giving yourself a chance. That's the most disheartening thing to me."
Before Engram's touchdown, the closest the Bears came to the goal line was on a third-quarter drive to the Cardinals' 10 following an Arizona fumble. But that drive was squelched by a Kramer fumble following a Swann sack. Before that, the Bears had driven no farther than the Arizona 42.
Bears end Shawn Lee echoed many of his teammates' sentiments that Sunday was an aberration. "It doesn't fit," said Lee. "It's like an odd piece of the puzzle."
"The turnover situation," explained Kramer, "was a combination of them getting some tipped ball interceptions and then guys just trying to make something happen because we felt the game slipping away."
With the 4-2 Dallas Cowboys up next, a team Wannstedt warned will score 50 points against a similarly careless effort, the Bears' hopes of respectability are quickly dwindling.
"The mind-set now is beat Dallas," Jim Flanigan said. "That's the only thing we can do to get this thing going in the right direction. Obviously 4-4 is out the window. We're just going to win as many games as we possibly can and hopefully get on a roll. Stop making mistakes as a team. That's what's killing us."
After their high of last week, Sunday offered a stark contrast in outlooks. "We're 1-5 and not in very good position now," Kramer said. "We were hoping to come out of this at 2-4 and get on a roll. It beats a dead horse to say it's a damaging loss. That's obvious. It's what are we going to do from here? Are we going to fold up our tent or are we going to come out and play hungry next week?"
"I don't think one game will determine what type of team we are, especially this game," Chris Penn said. "With eight turnovers, I just don't think this is a test how good a team is."
Unfortunately for the Bears, as Perry pointed out, this is not unfamiliar territory. "We're used to this," he said. "We're used to adversity. We have a lot of character on this team. Guys will step up and they'll find a way to get this thing righted.


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UPDATE – St. Etienne Road Reopened After Dump Truck Fire In Broussard
Update: St. Etienne Road was closed for hours on Thursday.
A utilities company is working to de-energize a Broussard power line on St. Etienne Road after a dump truck ran into it, causing fire.
According to KATC:
Chief Brannon Decou said there are no injuries and the power company is working on deenergizing the line to allow fire fighters to extinguish the fire.


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This research has resulted in the establishment of a shark spotters program, in which previously unemployed persons are trained in shark spotting and identification. These people then sit on top of mountains with binoculars and a flag system. In the event of a shark arriving at a popular swimming beach a certain flag is flown and then lifeguards on the beach will call everyone out of the water if neccessary. (Obviously the system works best when the water is clean). The system has worked well in the past and logbooks of sightiongs kept by the spotters have contributed enourmously to our knowledge of the sharks distribution patterns.
After an increase in sightings over the previous several days a warning to bathers and other sea users was issued by the city's disaster risk management spokesperson at Fish Hoek Beach in False Bay on Tuesday morning. Just a few hours later what was described by eye-witnesses as a giant shark swam up to a bather in chest deep water, bit him and then let him go. The shark then turned back, grabbed the rest of him and swam off under the water. A search was conducted by several boats and a helicopter, but neither the man nor the shark has been found to date. Unfortunately in this case the shark was not seen by the spotters before the attack occured. The man's girlfriend was sitting on the beach and is currently receiving trauma counselling.
What was interesting about this case from a technology point of view is that eye witnesses were logging their observations on Twitter as the attacked happened. The authorities were being interviewed on the radio and television and commenting that there was no information to be had at that point, while at the same time numerous eye-witness accounts of the attack were appearing on Twitter and Facebook. "Holy shit, we just saw a GIGANTIC shark eat what looked like a person right in front of our house in fishhoek. Unbelievable," wrote False Bay surfer and K Bay local Gregg Coppen in the first of a flurry of tweets from his home overloooking Fish Hoek main beach. "That shark was huge. Like dinosaur huge".
Now of course the media circus has started up in earnest. Newspapers are selling like hotcakes and all the "experts" are voicing their opinions. Cage-diving and chumming is vilified and the surfers and paddlers (of which I am also one) start protesting against shark tourism, saying that it conditions great whites to human interactions. To be honest I have never supported the cage diving industry and while the authorities and researchers are quick to say that chumming does not result in increased shark attacks and behaviour modification, I'm not so sure. I guess it's one of those personal decisions, but I'm sure it's of little consolation to the victim or his girlfriend.
Edited by jtresfon, 12 January 2010 - 10:50 PM.


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In the first-ever Southern Athletic Association (SAA) game for both programs, the Centre College football team fell 33-16 to visiting Millsaps College Saturday, Sept. 29 at Farris Stadium in Danville, Ky.
Following a Millsaps punt near the end of the first quarter, the Centre offense took over on its own 26-yard line. The Colonels gained nine yards on the first three plays, but were stopped short on a fourth-down attempt and turned the ball over to the Majors.
Millsaps then drove 35 yards on nine plays with running back Mike Barthelemy capping the drive with a one-yard touchdown run on fourth-and-goal.
On the ensuing kick-off, the Majors tried a short kick, but it went out of bounds giving Centre the ball on its own 37-yard line. After gaining 27 yards on seven plays, senior kicker Jordan Gay (Danville, Ky.) booted a school-record 53-yard field goal into the wind for a 7-3 game. Gay owned the previous record of 52 yards set in 2010, also against Millsaps in Danville.
The Majors scored touchdown on their next two drives, but missed the extra point on the second of two scores to go in front 20-7.
Millsaps (4-0, 1-0 SAA) had a chance to add to the lead before the half on a fumble recovery on Centre's 24-yard line, but Garrett Pinciotti's pass on first down was picked off by junior cornerback Casey Vatter (Okeana, Ohio) in the endzone.
Sophomore quarterback Heath Haden (Kingsport, Tenn.) drove the Colonels down the field and had the offense at the Millsaps five-yard line with less than one minute to play. A pass attempt on second down fell incomplete, and Haden was sacked for a loss of 15 yards on the next play. Gay was brought in to attempt a 37-yard field, but it was blocked and the half ended with the Majors leading 20-3.
Junior Rob Melillo (Louisville, Ky.) gave the Colonels great field position when he returned the second half kick-off 58 yards to the Millsaps 35-yard line. The Colonels gained only two yards on the next three plays and were forced to settle for a 49-yard field goal by Gay to cut the lead to 20-6.
Gay added his third field goal of the game later in the third quarter, this time from 28-yards out to make it a 20-9 game, but Millsaps answered with another touchdown to take a 27-9 lead into the fourth quarter.
Haden hit senior Greyson Janeway (Johnson City, Tenn.) for a nine-yard touchdown pass with 2:00 left in the game, but it wasn't enough as the Majors scored on the next drive to seal the 33-16 win.
Each team turned the ball over twice in the game. Centre out-gained Millsaps 347-340 in total offensive yards, but the Majors had a 43:53-31:07 advantage in time of possession.
Haden threw for 189 yards and a touchdown on 19 of 34 passing and also had a game-high 112 rushing yards on 34 carries.
Senior linebacker Michael Bozarth (Mt. Washington, Ky.) and junior linebacker Erich Vogelsang (Northbend, Ohio) led the defense with nine tackles each.
Centre, now 3-2 overall and 0-1 in the SAA, will look for its first conference win Saturday, Oct. 6 against Sewanee-the University of the South. Kick-off is set for 2 p.m. in Sewanee, Tenn.


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architecture as the 'mother art'. As an art form that quite literally encapsulates all that we do, it's hard to argue with him. Yet the great minds that lie behind our favourite buildings often receive little public credit.
Here, we try to right that wrong by exploring the profile of one of the leading practices in Scandinavian architecture, Schmidt Hammer Lassen.
The beginning
Schmidt Hammer Lassen was established by a small group of architects working some 30 years ago in Denmark's second city, Aarhus. Since the founding of the company back in 1986, the firm has expanded into offices all over the world. Now Schmidt Hammer Lassen is based out of five operating offices located in Copenhagen, London, Shanghai, Singapore and, of course, Aarhus.
Schmidt Hammer Lassen employs close to 150 people, from chief architects and engineers to draughtsmen and graphic artists.
Traditions and values
The practice's commitment to democratic traditions in architecture is clear from its project selection. Comprising almost exclusively libraries, university spaces and cultural centres, Schmidt Hammer Lassen seek to create open, multi-functional spaces inspired by people. To Schmidt Hammer Lassen, each building should be a part of society, structured to provide maximum value to the public. Even within each space, open, communal areas are embraced over areas that disrupt and segregate.
In addition to the concept of democratic architecture, environmental responsibility and sustainability are prominent threads that run through the company catalogue.
Notable buildings
Schmidt Hammer Lassen first came to prominence in 1997, with the opening of the Katuaq Culture Centre in Greenland. The prize-winning building showed not only an innovative and intelligent architectural design in its own right, but also complemented the surrounding space superbly, overlooking the central urban area in Nuuk.
More of the practice's architecture has popped up all over the globe since. Among the best known is The Black Diamond – a waterfront extension of The Royal Library in Copenhagen. True to the firm's multi-use philosophy, the black granite structure encompasses a 600-seat auditorium, exhibition space, a bookshop, two museums, a cafe and a restaurant. Notable works outside of Denmark include the University of Aberdeen New Library in Scotland and the City of Westminster College in London.
A key hallmark of the practice's design style is their frequent use of natural light. For Schmidt Hammer Lassen, light represents a connection to the outside world filtering into their preference for sustainable design. This is most evident in the design of The Black Diamond's top-lit atrium. Here, the architects have employed ample glazing that showers the lower atrium in natural light throughout the day.
Engel & Völkers is a global leader in luxury property. Visit our website for more insights into the world of modern real estate and a look at our catalogue of exceptional homes and with extraordinary architecture all over the world.


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COLLEGEVILLE, Pa. – It was a record breaking night at Patterson Field on Friday night for the Ursinus College football team.
Ursinus (5-2, 4-2 Centennial) recorded a 36-0 shutout of Susquehanna (3-4, 2-4 Centennial) in Centennial Conference play, keeping their chances of a share of the conference title alive.
Two records were broken or tied in the game as senior cornerback Chris Rountree (Lawnside, N.J./Haddon Heights) tied the school career interception record with his 21st as he picked on late in the fourth quarter.
The record that was broken was the longest pass in school history as junior quarterback Chris Curran (Oceanview, N.J./Ocean City) tossed a 93-yard scoring pass to sophomore wide receiver Darius Jones (Lawnside, N.J./Haddon Heights) in the second quarter with 1:41 left. That pass bettered the old mark by one yard which was set back in 1969.
Curran had another outstanding game as he threw four touchdown passes and ran for another. He finished 16-for-31 for 270 yards and ran for 27 more.
The defensive unit played a big role to, as the Bears forced five takcways on the night. Susquehanna came into the game with a +13 turnover margin. Senior defensive lineman Greg Fontaina (Millburn, N.J./Millburn) had two fumble recoveries, both on botched center-to-quarterback snaps.
Sophomore running back Bryan Ellis (Owings Mills, Md./McDonogh School) finished the night with 103 yards rushing on 22 attempts. Jones finished the night with 107 receiving, while senior running back Jason Golderer (Philadelphia, Pa./Bishop McDevitt) had four catches for 51 yards and two touchdown grabs, from 40 and 4-yards out.
Ursinus struck first as Curran ran for an 8-yard score on a bootleg right for a 6-0 lead with three seconds left in the quarter. The Bears would go up 13-0 with 9:34 left in the second as Curran found Golderer for a 40-yard score, and would go up 20-0 with 1:41 left in the half on the record-breaking 93-yard pass from Curran to Jones up the visiting sidelines.
After Susquehanna's first drive of the second half ended in a fumble at the Crusader 28, Ursinus took six plays to score on a 4-yard pass to Golderer with 9:09 left and a 27-0 lead. Susquehanna then seemed to put a nice drive together, but, a fumble recovered by Fontaina ended the drive at the Bears' 5-yard line.
Curran's final touchdown pass came with 22 seconds left in the third quarter as he tossed a 6-yard scoring pass to senior tight end Joe Hoy (Pipersville, Pa./Central Bucks East) in the back of the end zone for a 33-0 lead.
Freshman kicker Eric Boyer (Fort Washington, Pa./Upper Dublin) converted a 24-yard field goal with 8:15 remaining for the final 36-0 margin.
Susquehanna put together one last scoring drive, but, sophomore defensive back Jeff Endy (Pottstown, Pa./Pottstown) intercepted the ball in the eod zone with 10 seconds left to end the game.
Defensively, junior defensive back Matt Ruby (Selinsgrove, Pa./Selinsgrove) finished with seven tackles while, Fontaina, junior defensive lineman John Carty (Cherry Hill, N.J./Paul VI) and junior defensive end Andrew Fiorentino (Oceanview, N.J./Ocean City) finished with sacks.
Ursinus will host nationally ranked Johns Hopkins next Saturday on Homecoming.


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Please see my last post for current thoughts...thank you :)
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Eternal: more angled stress
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It's pretty obvious that you've assembled these letters from components. They are very good looking components, and this is a great way to start, but now the letters need some individual personality.
The un-connected horizontal in the A is great. a, c, e could be mistaken for glyphs in a sans-serif font. The tops of the D and R (and q) look really weird to me. I'd straighten out the part where the bowl meets the counter. The curves in the f and j are too straight, bend them more. The g is great, keep it, it fits, and maybe add some serif-ness. The tops of the verticals in the H should match the uppercase I, not the lowercase l. The r has some outline problem -- very faint white space between the vertical and the ear. The S and s are falling over to the right (a common problem). The shaved-off bit on the t is just the kind of personality I think you should add elsewhere. The flair at the end of the z is good, keep it. The & is too wide or bulging -- make the backwards moving part of the curve less horizontal.
I like that 'A' as well, although I think the left stroke is probably a bit too thin. Some of your other caps have the same problem.
As for the sans-serifness of the 'a' and 'c', try incorporating subtle vertical spurs on the top terminals (and maybe on the 'r' as well), look at your question mark! That is what I mean, basically.
The 'b' looks fine. As Matt already pointed out, the tops of the 'D', 'R' and 'q' aren't working. I think the 'q' should resemble the 'b' more. Somehow I think the crossbar of the 'f' should be flipped on a horizontal axis, as in that the shaved off slope is going downwards, instead of upwards. The serif on the 'G' looks a bit attached. The top serifs on the 'H' don't look right, I think they should be more like the bottom serifs.
I like where you are going with the 'k', though it could use a bit of character. The 'o' has very bumpy curves, as does the bottom of the bowl of the 'q'. Apart from the 's' leaning to the right, I think it is too light, the spine can use some more weight. I like the 'v' and the 'w'. Last, look at the stress of your contrast, I don't think it is completely vertical. If not, the counter of your 'o' is vertical, it should probably be rotated a bit, to echo the stress of the rest.
I think all in all it could become a very nice typeface. :)
I think your overshoot at the baseline is too big. Take "n" for instance. The right stroke goes too low.
Letters have different weight. "a" is heavier than "c" for instance.
Your S, s and & are falling right.
I like what you did with "z" on the bottom, but you'll have to balance it. It looks like the bottom is going too far to the right.
"g" looks smaller than other letters (compared perhaps to p and q) because you tried to box it to the descender. Bowls are normally smaller with this style but this one definitely looks smaller than other letters.
Is this font supposed to be a mixture between serif and sans serif? If not, you're going to have to do something about completely sans serif letters (e and c).
There are a few colour issues as well. Look how heavy the 't' appears compared to how light the 'E' is, for example. I think this has a lot of potential, and I love the 'k'.
- Lex
Yeah, it's quite normal for capitals to look thicker then lowercase. And curves/diagonals to look thicker then straights. You have to optically correct these illusions.
But usually it only takes a couple of units thinner to fix it.
Just to clarify; there's absolutely nothing wrong with starting a font from component parts. Don't feel bad about that. I just meant that it should be a first step. :)
It's noyce! (very nice)
There are loads and loads of successful seriffed fonts with a g of these "small" proportions. It's not so abnormal.
t only looks heavy compared to E when they're next to each other, mainly because E contains a lot of white space. t looks fine in other combinations. The point: typeface design involves compromise. Certain combinations are always going to look awkward. Some type designs manage to minimize awkward combinations, but this one has design parameters that do not allow that degree of optimization. Awkward combinations are something you'll have to live with.
c and a need serifs. e rarely, if ever, has a serif in seriffed fonts. Look at Charter for example.
r could benefit from more weight at the end of the stroke---a serif might do the trick.
The established convention for stroke width is that capitals have a slightly heavier stroke than lowercase letters, because they are larger and appear more natural this way. I don't make this stuff up. Other type designers do.
j a m e s
...i can still fatten the E and slim down the t as long as they fit with the other characters, right?
If you really weant to do it that way. I wouldn't. Leave t and E as they are and test them with other characters to see how they look. t only looks heavy compared to E when they're next to each other. Certain combinations will look awkward. Test t with other characters, test E with other characters. If t looks okay with other characters there's no reason to change it. Same goes for E.
j a m e s
Just looking at Eternal Draft 2. The "e" somehow bothers me---seems top heavy. The "s" and "S" I think need to be stronger at the lower terminal. Overall I like where this typeface is going.
Hi Ben. The spacing works for display sizes, but the paragraphs of text look a bit tight.
e looks okay to me. Take a holiday from your concern with it and deal with it later if it's still bothering you then.
New binocular g looks fine.
Lower case s is more problematic. Make a replacement s with serif on bottom arm and post a revised PDF for feedback.
The thick strokes on lower case w, v and y need to go on a weight loss program ;^)
j a m e s
Yes v could be wider. w and y look okay---they're functional in the text run.
Ear of g -- make it larger at the free end tip, and bring it up further above x-line for collision avoidance.
do you think this generally works better as a display font than a text one?
The design and detailing make it shine the most in display applications, altho it's surprising how capable it is at text. Before you go widening sidebearings try the text setting with some positive tracking. If it works reasonably well then you may be able to leave the sidebearings alone for a while. Hope I'm not too late on that.
j a m e s
The latest iteration looks great. I'll get to it in the next few days and try to post something...it's a pretty full stove this weekend.
j a m e s
The black looks very good, and importantly it's got spunk now! Jimmy Cat like very much.
I would keep developing it as the black weight and make an additional font with a big increase in stroke width (but not so much horizontally) and counterspaces almost as large as these.
Bug Blatter Megagrotesk has a very fat stroke in all directions and very small counters. Very small counters would ruin your tasteful spunky design.
The k can be remedied by bringing the arm & leg in so it touches the stem.
Adding the serif to s helps balance it. Extent the bottom arm to the left a bit.
j a m e s
Eternal 3
a -- add a small amount more rigor to the bowl
d -- south eastern corner looks undecided
e -- this is very good. neat detailing. thin the bar a bit, just a bit.
f -- neat chiselled detailing like the e
g -- test tail gap performance at small sizes in print. This may work better with a wider gap and rounded-off stroke end.
h -- excellent. a nice simple h
k -- gap visible from low earth orbit. your serif design and detailing are very good.
m -- asymmetric serifs and body. asymmetry is good.
n - ain't broke don't fix it
o -- reduce horizontals a small amount to match line contrast to stick-and-ball letters.
p -- could be drawn narrower, or left as is.
q -- aha...mhm...yep...I see.
r -- detailing and visual interest here is fullsome.
s -- this is being redesigned.
t -- standard t structures have the curl project level with the bar.
u -- narrow it for more "u-ness".
v and w -- missing soft detail at baseline vertices.
x -- wonderful x. don't change a thing.
1 -- would be more legible if it was wider. see example
2 -- see example.
3 -- try it with the lower bowl stress reversed---like b. see example.
5 -- if you change the curve body on 3 you'll want to do the 5 as well
Can we have a PDF with letterspaced text set in columns please. 10pt on generous leading, at least 14pt -- 16pt lead. Ten words per line, play with the tracking until it reads properly.
j a m e s
I think the ear of the r needs to have some more weight. It has to fit with the other characters. The s leans to the left. Try extending the lower left stroke. The 1, 3 and 4 are too light. The 8 leans to the left. Have you tried to make the hook of the f a tad longer? (a bit like you have in the fi-lig). I think it might define the shape better. The same goes for the t.
I think the waist of the k should be lowered a little bit. It seems to me the lower leg is too long, and the top one too short. Somehow, the o doesn't look right. Compare it to your capital O. The same goes for your c, e and the top of the g. I think it is the contrast (weight) that needs some work on those characters. The same problem exists in the italic.
How about oldstyle figures? You can make more creative shapes with those, so to decide what kind of numerals you want (and then extend that to the lining figures). I like your questionmark, but the one in the italics seems to be too small?
Overall I think it is definitely coming together pretty nicely. If you loosen up the spacing a bit, you can probably judge longer text settings better. Keep it up. :)
2 and s are much improved. Try growing the oldstyle 2 to caps-height lining size.
> an additional font with a big increase in stroke width | Do you mean like an extended version? Or just as fat as possible?
Yes. "Morbidly-obese".
> a — add a small amount more rigor to the bowl | Do you mean to take the curve higher on the left side and make the shape rounder on the middle branch?
See picture:
> k — gap visible from low earth orbit. | Is that a good thing or a bad thing?
Big gaps can and often do pose problems for reading text. If you halve the width of your isthmus (gap) everything should be fine---it should work at small sizes for text and at display sizes as well.
q is fine. Yep. Yeah buddaye!
> t — standard t structures have the curl project level with the bar. | the 'foot' part? Longer? Not like the other curly feet?
Bring the curl out right as far out as the bar end.
> v and w — missing soft detail at baseline vertices. | Should I round off the flat bits or try slicing angles in there somewhere?
I'm hoping for one rounded corner versus one sharp, a dialog of soft and sharp.
x — wonderful x. don't change a thing. | Oops. I think I changed it. Thinner arms and legs...weight loss programme?
No problem-o.
Ben, this is going very well. Pardon my attempts at satire.
j a m e s
The spacing is definitely not too wide. (Dare I say it could even be a tad wider?) I would keep it like this for now.
Yep-yep-yep. The spacing is just right in the columns PDF. You have a good eye for these things Jelmar. It could easily go wider and still be functional, but it will be safer to keep the sidebearings as they are and leave it up to users to add extra tracking.
Looking good Ben :^)
j a m e s
Ben are you going to make alternates for this font? An x-height small capital Q would fit right into the lower case.
j a m e s
That Bug Blatter thing was a quickie done for the fun of it, but if there are things there you can use for your fatboy Eternal, by all means adopt, adapt. "Callipgyian" I didn't know that word.
Jelmar is right about the ear of r. It would benefit from more mass.
The lowercase o looks okay but will probably gain functionality with extra width.
For the moment concentrate on perfecting the regular.
j a m e s
Take a break. Give your loved one a big hug. Pat the cat (Put the cat out dear. "I didn't know he was on fire!")
It sounds like you may be a little too close to it after much intense effort. I would take a break and give the font to a colleague you trust, ask that person to play with it for a few days, to live with it by doing some comps with it. Then a few days or a week later when you look at the comps you'll have a fresh perspective on the type design---at that point I find my feelings and reaction to it are different.
Season's greetings.
j a m e s
I'm on it. Wat 'til I have my coffee. Mmm! This coffee tastes good. It's fullsome and able-bodied. I'm sure I could use the ultrablack and regular to advertise coffee.
Check back later Ben. Yes, get the main caps sorted before working on the smallcaps.
j a m e s
I'm looking at Eternal 2 Jan. Prepared animations show recommended changes for g and a. Do something similar to g to the counter of o. The change for the hood of a is optional. I'm looking for a way to reduce the horizontal thickness of that top part and still make it asymmetric. The modified drawing in the anim isn't successful as far as the shape goes (asymmetry disappearing!), but shows the change in thickness that would complete the a, matching the rigor of the hood to that of the bowl, which came up very nicely.
a much improved
r much improved.
What's up wth the numbers? Describe the problem(s) in detail.
For the Extra bold, the crossbars on the E F and H can go thicker, no problem.
From what I can see of the ultrablack, c looks okay (not too narrow). If you can post a pic of the ultrablack g at a decent size I will happily show how to solve its problems. Reducing the size of the upper bowl would be a good start. The upper portion of a binocular g is the body (proper), a.k.a upper occulus, but you can call it the head if you want. k is well solved, keep going with that. For the ultrablack generally, your overshoot appears excessive.
Italics are generally narrower than their regular cousins, yep. At this stage of development the regular still has some basic problems that need attention first. Put the italic aside for the time being. When the time comes to build it, yes, narrow those guys by character width and stroke width. Not narrowing your italics isn't so much a mistake as a defiance of convention. We can be philospohical about this; pretend nobody has ever seen the regular font, an italic version with forms not narrowed they would be none the wiser about. Depends who's looking at it. Some designers insist that italics have to be narrow or they're not true italics. Others will accept it on face value.
I need to see a PDF with full character sets (everything drawn so far) of each weight before advising any further.
j a m e s
Hey Ben,
* f -- You probably drew the bar shorter than the hood to avoid collisions on the x-line. It can stay that way if you want it to. A lot of fonts are designed that way. The alternative is to have the bar project as far right as the tip of the hood---like the t but upside down. The f-bar will then tend to crash into x-line serifs (or come very close), but will fit better with rounds.
* f-ligs: compare the whitespace inside those ligatures with the whitespace between their individual component letters when typed in the same combinations. Space the ligature stems for consistent color and encapsulated whitespace. The standard form for an f i ligature is to bring the finial (beak) out to the position the dot of the i would otherwise occupy. The finial on your f-i lig could be a bigger lump to emulate the presence of the i dot. f-l is okay. f-f -- try dropping the hood of the first f about half the distance between x-line and ascender line, then extending the hood it until it mates with the back of second f, and make the bar between them a bit thinner.
* h looks a bit wide in the body. Recommend narrowing it some to even up the color. Same could be done for n.
* m might integrate better and improve overall color if the arches were narrowed, but subtly. Try it and see how it looks.
* b o p A whop bop-a-loo-bop, a-whop bam-boo! It is entirely possible you are over-critical of these fellas. Only o is in serious need of adjustment. Make the counter taller then recenter it. Test, test, test. Put it all aside and go for a walk. While out walking think about your loved ones, or interest yourself in the street life and details of houses and cars. It's a woopy raggy world we live in. I always get a clearer perspective if I go for a walk when I'm too close to the thing I'm working on.
* Capital J is dropped design. Will work in some combos but look funny with others. Recommend making alternate lining J, to give users a choice. We live in a world partly driven by consumer choice.
* Gap on k is about right now. Try narrowing gap on K to match. Test it, see how you like it. If the wider gapped K makes more sense to you then keep it.
* Numerals: 6 and 9 take some effort to master. Study the 6 and 9 in other people's fonts (OPFs), look closely at the way the bowls join onto the stems. Learn the form. Try to emulate it. Have patience. 3 is basically okay. Angled left stroke of 4 can angle in to the right more (harmonize with 7), as you have plenty of gap next to the vertical stem. Biggest concern here is top bowl and diagonal stroke of 8. Top bowl is small, not a serious fault but a stylistic concern. Diagonal stroke needs to be thinner
* comma tail, make it shorter.
* Euro symbol incorrect form according to industry spec. The right tips of the bars should be staggered to form a diagonal alignment, like they've been cut by a slash. Bars will also benefit from more space between them. See example:
* angled bottom of exclamation stroke is a nice touch :^)
* mu symbol is fine, no need to adjust except maybe make the descender serif asymmetric or a curl if you want. Your choice.
* Yen symbol -- give the bars more air, and extend them as far left and right as tips of upper v structure. See example:
* Bar and Brokenbar -- to distinguish Bar from similar characters like l and I, I draw Bar about fifty to a hundred units higher than the ascender line as well as the descender line. Amount of extension depends on the font. You've got the width right. Set the bearings nice and wide. Bar attains some of its functionality from the whitespace either side of it. Set up Brokenbar the same way as Bar.
* Asterisk is very cool by way of its impression of motion. Looks like it's spinning. Some designers insist it should appear static, but spectators seldom notice small details like that. Five prongs the way to go.
* Percent sign -- thin the connecting bar until it looks elegant (not pedestrian). Move the zeros away from the slash. Aw man they need air. Check it at small sizes to guage how much. Looks like you adapted the 7 for the slash. Hee-hee! Make the slash thinner too. Having a curved slash is another nice touch.
* Accents -- angles are all fine. Ogonek is noyce, oye loyke it. Breve curve is fine but make the whole breve narrower. Lower case thorn ð stem is fine, but thin the bar down and reposition for less eccentric symmetry.
Most of the sidebearings look okay except for a few:
* right sidebearing of b may be too short. Study combinations b-e, b-o. Compare the right side bearing of b with that of o, e. If they are the same then the bad combos I'm seeing in the PDF may be due to errors by InD CS2.
* right bearing of g looks too short. Adjust, check in combination with everything else in the lower case. Adjust until it works with the most probable combinations.
* l, right bearing and possibly left one. Set the bearings by measuring from the stem. Ignore the curl tip. The basic formula for a lower case is to set the sidebearings for the stem letters -- b, d, f, h, i, j, k, l, p, q, t -- all more or less the same. They don't have to be exactly the same, but that often works well. For the bowl pairs b-q d-p, this only applies to the stem side of them, not the bowl side.
* How short are the bearings on t? The right side looks a bit wide. A formula for designing lower case t is to set the sidebearings so they are the same distance from the stem as l and i. Then bring the tips of the bar on t out (or bring them in) until they are at zero with the sidebearings, or very close to zero. You can make them negative if need be.
* Set up f the same way as t.
* v V y Y --- usually the bearings on these are zero or close to zero. For a seriffed font it's not unusual to set the bearings negative.
Hope you like it :)
I love it :^)
j a m e s
The purple flag indicates harmony,
the best I could do copying and
pasting the tail of 5.
Try something like that.
j a m e s
"bleeple bleeple"
It's funny how sometimes what I expect to work actually looks wrong, and good-looking shapes just happen by lucky accident.
Yep. That's generally the way. Allow for some fudging to be part of the final forms. A certain percentage of what you're drawing has been predetermined by 500 years of type design history, and the 3000 years of letter history before that.
...I think I am addicted to type design, which may indicate I am in the wrong job...
You too! Type has done a job on me, I know that much.
j a m e s
Compare the 'e' in your Extra Bold weight with that of the Regular. The one in the Regular needs more contrast (thick/thin), just like you did in the Extra Bold. It probably doesn't only apply to the 'e', but possibly every character with a similar contrast in it (well, maybe not all, because I can't see all of them in the image). The contrast of the 'a' in the Regular is much better than that of the 'e', for example.
(By the way, it would be convenient if you could upload a new PDF every now and then for viewing it up close).


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Difference between revisions of "Naples"
Revision as of 07:40, 16 October 2012
Naples [13] (Italian: Napoli) in Italy, is the capital of the Campania region. The city is the third most populated municipality (city proper) of Italy, but the second metropolitan area, after Milan. It was founded between the 7th and 6th centuries BC by the Greeks and was named Neapolis, which means new city. The historic centre of Naples has earned the UNESCO World Heritage Site denomination. It has one of the biggest historical city centres in the world, and its pride are the 448 historical and monumental churches, the highest number in the World for a single city. Its territory, particularly the iconic sight of the gulf of Naples (but also Mount Vesuvius, the music, etc. ) is arguably one of the most powerful symbolic images of Italy.
Both Naples and the locally Italian Napoli are acceptable; either way, it's a derivative of the ancient Greek name Neapolis, which means new city. The Greeks first established the city and inhabited the region long before Roman times.
The most widely spoken language in Naples is Italian or a mixture of Italian and Napulitano (Neapolitan). Neapolitan is sometimes described as an Italian dialect, but may be considered a separate and sometimes unintelligible language. Neapolitan does not enjoy any official status, but it does have a rich literary tradition and it is still thriving in Campania and adjacent parts of Lazio, Abruzzo, Basilicata, Molise and Calabria. This said, the official language of Naples (as of all of Italy) is Italian and everyone speaks it. Neapolitan has strong Spanish and French influences originating from their occupation of the area. Therefore, more Spanish and French words are understood by the locals than in other parts of Italy. English is the most commonly spoken foreign language, although the average knowledge of English is far from excellent.
Get in
By plane
Naples is served by Naples Airport, also known as Capodichino Airport (IATA: NAP) [14]. Works are underway, but for the moment the airport it is not served by any rail system.
From the airport you can take a bus for €3 (called Alibus: [15]) which has two stops only: Stazione Centrale (Central station) and Piazza Municipio, near the main ferry port (molo Beverello). You can buy your ticket on the bus. Further connections are listed on this page of the official website of the airport: [16]
If you have time to spare, you can take the 3S bus that will take you to the same stops as the Alibus for a cheaper price. The difference is that the Alibus has limited stops but the 3S will take you to the backstreets leading to the Stazione continuing all the way to the port and a shopping district. Also, the Alibus is airconditioned whereas most 3S buses are not.
Beware of illegal, unauthorized taxis and of anyone who may approach you directly. Authorized taxis are clearly visible at the exit; fixed fares exist for a number of destinations, and must be clearly shown in the cab. Make sure they are before getting on the cab and threaten to call the police ("polizia") should the taxi driver try to push back.
By train
The main station is Napoli Centrale - Piazza Garibaldi Station, connected to the Naples subway system. The buses R2 or 601 from the Piazza Garibaldi in front of the train station will take you within three blocks of the ferries at Stazione Marittima. Other stations include Mergellina, a magnificent Art Déco building and Campi Flegrei. The costs of trains from / to Rome vary a lot, ranging from a 10.50 Euro 3-hour regional train to a 45 Euro 1-hour 10-minute Eurostar (58 Euro in First Class).
By boat
Cruise ships dock at Stazione Marittima, a large terminal located right in the city center, near Piazza Municipio.
By car
Naples is directly connected with Rome by the A1 highway, and the trip takes generally less than 2 hours. Due to traffic jam and parking shortage in city center, it's advisable to leave your car in a parking lot near the motorway exit or your accommodation, and to use public transportation
By bus
Many national and international private bus services operate in Naples, generally stopping at Piazza Garibaldi or Piazza Municipio.
Get around
Be forewarned: Traffic in Naples may be extremely heavy, just to compare: very similiar to New York's. Traffic around the train station is nuts. Before attempting to cross the street, observe the locals. The idea is to spot a gap in the traffic and start across and hopefully people will stop.
There are several ways to see Naples and the surrounding area. These include by taxi, train/subway, bus.
Taxis are the quickest way to see Naples, but also the most expensive. Before getting into a taxi, make sure it is licensed. Licensed taxis will have a city crest on the door and a taxi number. Also, make sure it has a meter. By law, licensed taxis must display a list of pre-agreed fares in a number of languages (Italian, English, French, German, Spanish). Check the presence of such fares and agree to them before starting the journey.
You will be surprised how easily you can get around by foot, too. Interesting spots are almost on every corner and most distances – especially in the (historic) centre – are small and can easily be walked in a matter of minutes.
By public transportation on land
It is fairly difficult to get a clear picture of the public transportation system in Naples, since different lines are operated by different companies. Nonetheless, one can buy a daily pass for three Euro valid on all vehicles. With an € 1,20 ticket, instead, you can travel for 90 minutes on as many lines as you want (Bus, subway, funicolare).
There are three different regional train services that operate in Naples and the surrounding areas. They are listed here:
By ferry/hydrofoil
There are several ferry/hydrofoil services that connect Naples and local ports/islands. Ferry and hydrofoil services leave from either Molo Beverello, Mergellina or Pozzuoli. Some then of them are listed here:
Just a note: the ferries to Capri can be over rough seas. Get on a ferry with an outside deck, take gravol or something similar before you sail. Nothing like being on a boat for 70 min surrounded by people who are vomiting to get your day off to a bad start.
In Naples, some may find the actual conditions of many buildings and streets, and the rampant graffiti, off-putting. Others claim this is "the immense character and culture of Napoli...and even the dirt and grime has its own flavor...a Neapolitan recipe for reality, and great fun". Naples' peculiarity is that the city centre is not the elegant part of the city. Just do not expect in the city centre the pristine conditions of many other major European cities, since the historical centre, unlike most European cities, is not the "downtown". If you want to visit the elegant part of the city, you can walk around the wonderful lungomare, the Riviera di Chiaia or Via Francesco Caracciolo.
Most sites in Campania (including Pompeii) accept the Campania Card for tourists (free entry). Some cards also include a pass for the local public transportation.
Note: Museo Nazionale di Capodimonte, Castel Sant'Elmo, the Certosa and Museum of San Martino and the museum Duca di Martina can be visited FREE of cost until 31 May 2011 (timing restrictions might apply) [29]
You can sustain shops and businesses that fight against racket (also called "pizzo") going shopping there.
Naples has vibrant markets and many small shops that sell everything from clothes to household appliances at prices much lower than in most of Western Europe.
Pizza comes from Naples. Look for pizza margherita, the original one, with tomato, basil and fresh mozzarella toppings. Eating a pizza in Florence or in Rome is not the same as eating it in Naples! In Naples every pizzeria makes a decent pizza. Some places display the label "Vera Pizza Napoletana" ("True Neapolitan Pizza" there is a Pulcinella mask baking a pizza in a stylized Vesuvio) which indicates that the pizzerria follows the standards of The Naples Pizza Association [45]. If you want to try some pizza, go to Pizzeria Brandi, (Chiaia Str. closer to Plebiscito Square), where the "pizza margherita" was born (a stone is exposed outside the restaurant explaining the history of the first pizza)", but today the best choices would be: Da Michele (Via Cesare Sersale, 1-3) or less enjoyable Trianon a Forcella (Via P. Colletta 46, it's just in front of Michele). These pizzerias make the authentic pizza, but be careful because they are located near Forcella which is not the safest part of Naples - although generally OK during the day. So don't wear your Rolex when you go there!!! In particular, Michele has a unique feature: they only do pizza Margherita or Marinara (just tomato, garlic and oregano, and a splash of oil, of course!). They say that these two kinds are the original pizza, if you add too much toppings you'll lose the real taste of the pizza, that is very simple, made only of a good, thin base, good tomato, and fresh mozzarella (if this is the case). Note that there is usually a queue at these restaurants - At Da Michele get a numbered ticket from the waiter on the door when you arrive. Some other places that are very popular among the Neapolitans are almost all the pizzerias in Via dei Tribunali: in particular Di Matteo (# 94), Il presidente, Sorbillo, and his sister, a few doors away (informally known as "la vecchia", the old lady, from the owner of the pizzeria, a very small place with only 4 or 5 tables, that looks like a pizzeria of 50 years ago - very hard to find, but it's worth it!) It's easy to find a good pizzeria, just look for one without tourists!
Neapolitan cuisine in general features much seafood, befitting its status as an ancient and still functioning port. You will find many sauces based on garlic sauteed in extra-virgin olive oil, tomatoes, and local red wines. Some of the sauces are arrabbiata ("angry") or fra diavolo ("brother Devil"), which means they will contain hot pepper. It's a great cuisine. Enjoy!
Mozzarella is also typical of the region, you should not miss the opportunity to taste the fresh real one!
The city and region are also famous for their pasticceria (pastries), (Babà,Zeppole,Sfogliatella, and more; this latter is often filled with ricotta cheese or cream with citrus flavor) among the best are:
Struffoli and Roccocò is the typical Christmas sweets. jaka Pastiera is the typical sweet of Easter: anyway you can find it all year long. It is made basically of ricotta cheese melted with steamed corn and sugar, and then baked.
Naples is becoming increasingly popular with a younger generation of both Italians and foreigners. In spite of false and stereotypical reports of adverse conditions, they flood into the city and lend renewed vitality to its nightlife. The hippest scene is around the bars and cafes on Piazza Bellini, Piazza Santa Maria la Nova and Piazza San Domenico Maggiore, becoming busy after about 11PM. If you want to venture to the outskirts of the city, there are many bars and clubs near the port and boardwalk (the 'Lungomare') of Pozzuoli.
Accommodation in Naples is normally cheaper than in Rome or northern Italian cities, but quality may vary a lot. It is not uncommon to encounter hot water shortages, short power outages, and less than luxurious bed and bath linens. Also don't expect a full-sized bathtub in reasonably priced hotels. You may not even get a shower stall in the bathroom, but a drain hole that is in the center of the bathroom with a toilet, a sink, and a shower head along the plain tiled walls. Breakfast may include weak orange juice (tasting more like powdered orange drink), hard rolls and an assortment of hard meats and cheeses. Nothing mentioned here is meant to discourage, but to help you view your experience as an adventure in Italian culture.
Stay safe
Naples has a divergent distribution of richness. Keep in mind that the city centre is not the "rich part" of the city, so the historical centre may be somehow gritty and in some parts impoverished. Naples' bad reputation regarding safety is mainly consequence of stereotypes, since the city's security level is actually comparable to any other European big city (Barcelona, Marseille, Amsterdam,...). The police and the Carabinieri fight the local mafia (Camorra) strongly. In any case, it posseses little no threat to tourists, but petty thievery and muggings definitely happen, but yet again, it is no more other comparable European city. Be watchful, but not so much to ruin the magic of one of the most creative, unique and original city in the world. Of course, avoid empty streets and dimly-lit alleys at night and keep your wits about yourself. People in Naples are extremely nice and gentle, and often people are helped by Neapolitans to find some gorgeous attraction not shown in the tourist guide.
Whoever comes to Naples historical city centre has to take some generic precautions:
Get out
There is fast express train service to Rome and points north, as well as points south. Naples is the ultimate terminus for the FR7 line of the Rome commuter rail network, which runs from Roma Termini to Minturno-Scauri, Sessa Aurunca-Rocca or Naples. There are also local Italian Railway trains to Pompeii, but for such short distances, it is easiest to take the Circumvesuviana commuter train.
Caserta Royal Palace
Reggia di Caserta - A huge 18C royal palace and hunting lodge designed by architect Vanvitelli and rivaling Versailles. Magnificent, enormous park with lakes, rivers, statues, fountains and marvellous views. By train from Naples to Caserta (about 40 minutes journey).
Gulf of Naples


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Air National Guard Airman 1st Class Ryanna L. Vittorioso graduated from basic military training at Lackland Air Force Base, San Antonio, Texas.
The airman completed an intensive, eight-week program that included training in military discipline and studies, Air Force core values, physical fitness, and basic warfare principles and skills.
Airmen who complete basic training earn four credits toward an associate in applied science degree through the Community College of the Air Force.
Vittorioso is the daughter of Rhonda and Steven Vittorioso of Warwick Avenue, Warwick. She is a 2010 graduate of Warwick Veterans High School.


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hitrailer wrote:That was a great article on backpacking and weight loss! Granted it is good to decrease body weight if one is overweight, but I would be interested in a discussion of too much weight loss with long distance backpacking. How does weight loss effect performance? At some point, I would think that energy reserves would be less and that would affect performance. How can one calculate an ideal body weight to maintain? And how can one increase it if it gets too low? I lost 30 lbs. last year over a couple of months of hiking (from 195 to 165 lbs.) and then my weight loss stopped. But no matter how much I gorged in towns, I could not get my weight up from that. I felt fine for several more months, but then became very tired and had to stop hiking. I think I lost too much weight, but am not certain. Is that a common experience? I have only heard of this problem from one other hiker.
Return to Backpacking and Weight Loss
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Native gameplay, within the Calradia setting, with a strong emphasis for improving convenience, gameplay and adding new options (such as quests) to the overall M&B: Warband experience. Any version of M&B warband from 1.153 to 1.158 will work, but the mod requires the use of the Warband Script Enhancer v3.1.5 which is included in the download.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


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Tuesday, June 27, 2006
I've finished the socks for my boyfriend, but they are a present so are staying unphotographed for now. Not that he takes enough of an interest to read this, grumble grumble grumble.
He knows he's getting socks for his birthday. Seeing as I spent most of Spring compulsively knitting socks (and he teased me lots about it) I figured he would expect some, let alone guess. So I took advantage and measured his feet properly for them. But he has no idea of the yarn or design. I saw a picture of some pink ribbon yarn bedsocks the other day, I might start to tease him with the idea of those...
One of my best friends, Alexis, is about to dissapear off to LA to do a PhD. So my flatemate Kirsty and I had lots of fun setting up a treasure hunt round town for her all day on sunday. Alexis thought the three of us were going to spend the day hanging round Brixton, instead she found a big purple envelope of clues on her doorstep that moring. You can see some details of the hunt here, though that site might make more sense once Alexis and I have updated it with more photos later in the week.
The picture is the last clue in the hunt, which was made by Kirsty's friend Rob and is very clever. It's a bit like illusion knitting. Made from a Muji London set, Alexis had to lay out the exactly pieces on the map Rob had plotted out, then place herself as if she was in South East London (where we all live). From this position odd marks Rob had made on the pieces arranged themselves into a message (the postcode for her Uncle's house, where we finished the day with dinner).
13 comments:
- Pig wot flies said...
Aah, I saw the pics on your flickr and wondered how the bits fitted together. Very clever.
- Tuesday, June 27, 2006
- Veronique said...
Ooh, a treasure hunt!! What a great idea! (The last time I organized one was for my little brothers, in a feeble attempt to keep them busy and out of parents' hair for one afternoon. I think I had a better time than they did).
- Tuesday, June 27, 2006
I LOVE that wood London Eye!
- Tuesday, June 27, 2006
- purl pirate said...
It's incredibly immature of me, I know, but the wooden gherkin always makes me giggle.
- Tuesday, June 27, 2006
- gleek said...
what a great idea!!! that illusion map at the end is very clever indeed. did she have a good time?
- Tuesday, June 27, 2006
- Gina said...
I share your grumbles, as my darling doesn't read my blog either. I just bought beads to make the beaded i-cord bracelet. Now all I have to do is cast on and knit!
- Tuesday, June 27, 2006
- Susan said...
So impressive! How long does it take to plan and implement such a clever treasure hunt? Again, you've set my wheels spinning.
- Tuesday, June 27, 2006
- Specs said...
That is, like, so totally cool.
- Tuesday, June 27, 2006
Ribbon yarn SOCKS!
*runs away in fear*
- Wednesday, June 28, 2006
- Philippa said...
Cool! I wish I was your real life friend. You sound a lot of fun to hang out with.
- Monday, July 03, 2006
- Christine said...
I kept picking up and putting down the Muji London set when I visited their shop 2 weeks ago. If I had noticed that the Gherkin was one of the pieces, that might have been the nudge I needed to buy it.
What a GREAT idea for a treasure hunt! Simply fabulous!
- Tuesday, July 04, 2006
- contactos en valencia said...
Quite useful info, much thanks for the post.
- Tuesday, August 16, 2011
- www.muebles-en-chinchon.com said...
I fully tie in with everything you have printed.
- Saturday, October 08, 2011


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Take a ball, pop some digital cameras in it and you've more or less got TosPom. It's a ball-camera gizmo that automatically snaps a picture of you the instant you catch it. Or, if you're like me, a picture of you looking on in dismay as your hand misses, and it hits the dirt. You can see your strange "in action" mugshots on its built-in screen. It sounds like a fun device, but for the life of me I'm not sure how it works. Does it have some kind of weighted insert? The video, complete with horrifyingly catchy electro soundtrack, doesn't add much info.
See what I mean? If it incorporates some neat face-recognition tech, that would be impressive. But if it's just got a basic accelerometer that simply detects an impact, then you're going to be looking at lots of pictures of walls, floors and sky. Those bracelets are a whacky idea too: wouldn't some sort of recessed button do the trick?
Still, there's something endearing about the idea, and I kinda get the idea that it might snap you looking less "posed" than for normal photos. Purposeless fun, in a toy. It's just a prototype, it seems. [TosPom and ]


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Metzelaars '82 Shares Stories from 16 Years in NFL• April 28, 2011 Share:
Wabash College's most decorated athlete Pete Metzelaars entertained a Thursday Chapel Talk crowd with stories from his 16 years as an NFL player. It was the final Chapel Talk of the 2010-2011 school year.
Metzelaars '82, who now serves as the Indianapolis Colts offensive line coach, spent 16 seasons as a tight end for the Seattle Seahawks, Buffalo Bills, Carolina Panthers, and Detroit Lions. He was a key contributor to the Bills run of four straight Super Bowl appearances, 1991-1994.
He started off by giving every football fan what they wanted to hear. "At some point we are going to have an NFL season this year," he began. "Right now everything seems to be swinging toward the players' favor. Owners could end up with a similar deal to the one they just got out of."
He shared his hopes the Colts would draft an offensive lineman for him to coach and then turned to a few questions and answers.
He spent time talking about the adjustment from Division III football to professional football filled with Division 1 players. He credited the late Economics Professor Steve Schmutte as one of his biggest Wabash influences along with basketball coach Mac Petty.
Metzelaars led the 1982 Little Giant Basketball team to the Division III National Championship. The ability to play both football and basketball, along with outstanding academics is what led him to Wabash.
"I played 16 seasons in the NFL and now have coached eight seasons," he said. "I'm approaching 51 years old so it's been "a dream come true for a kid from Three Rivers, Michigan."
He talked about being benched, being cut the the Panthers, and the ups and downs of an NFL career. He said the biggest highlight was sharing the Colts' 2006 Super Bowl win with his two sons and wife.
Metzelaars encouraged the students to show up every day, "work hard, and do everything you can do and it's amazing what you can achieve."
The full video of Metzelaars talk will be available later today on the Wabash College YouTube Channel.


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These are super positive track can be used as Christmas and New Year Greetings.
The beautiful orchestral version features chimes, bells, strings, angel choir, female vocal and comes with warm festive feeling.
It can be used anywhere – in games, flash presentatnion, business projects, news, telecasts, like music, background etc… and anything needing a positive, uplifting vibe.
Merry Christmas and Happy New Year!
Comes in two versions:
Main version: 0:29
Without Female Vocal version: 0:29


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Aishwarya Rai adds some glamor at the 2011 Oscars held at the Kodak Theater on Sunday (February 27) in Los Angeles.
The 37-year-old Indian actress sparkled in a bronze Giorgio Armani Prive gown with rows of linear amber sequins and beaded detail at the waist.
While in town for the Academy Awards, Aishwarya reportedly attended a basketball game in L.A. with her husband Abhishek Bachchan.
In between checking out the action on the court, she met and chatted up Dustin Hoffman!
FYI: Aishwarya finished off her look with Jimmy Choo's "Lana" clutch.


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Phils ice red-hot Nats to even series in DC
WASHINGTON -- What the Phillies had known for a while became official on Saturday afternoon, when mathematical elimination from playoff contention arrived, thanks to the Reds' win over the Brewers.
Still, the Phillies played a game on Saturday night at Nationals Park, where a division rival was in desperate need of a victory in its quest to avoid the same fate. Throw in professional pride and players battling for jobs next season, and there was plenty driving Philadelphia as it pulled out a 5-4 victory over the Nationals.View Full Game Coverage
WASHINGTON -- What the Phillies had known for a while became official on Saturday afternoon, when mathematical elimination from playoff contention arrived, thanks to the Reds' win over the Brewers.
Still, the Phillies played a game on Saturday night at Nationals Park, where a division rival was in desperate need of a victory in its quest to avoid the same fate. Throw in professional pride and players battling for jobs next season, and there was plenty driving Philadelphia as it pulled out a 5-4 victory over the Nationals.View Full Game Coverage
"We're trying to finish strong," said catcher Carlos Ruiz, who contributed a go-ahead three-run double. "We know we don't have a shot to go to the playoffs, but we want to play real hard. We want to win. We want to finish strong. It doesn't matter what team you play, you have to play good baseball. So far, we've done a great job and hopefully we can finish that way."
The Phillies won for only the fifth time in their past 23 road contests and ended a five-game losing skid in Washington. By snapping the Nats' seven-game winning streak, Philadelphia pushed them to 5 1/2 games behind the Reds for the second National League Wild Card berth.
"I think we're playing our own game, no matter who we're playing," said starter Cole Hamels, who threw six solid innings. "We have guys that are playing for positions next year and ultimately we're trying to win a ballgame no matter what the opponent is and no matter what they're going toward."
There won't be any postseason games for these Phillies, but the late innings brought a sort of postseason atmosphere, as the Nationals rallied from a 5-1 deficit. They knocked out Hamels in the seventh, scoring three runs and moving the potential tying run 90 feet away before the Phillies' bullpen eventually turned them back.
Washington put that tying run back on base in both the eighth and ninth, but interim manager Ryne Sandberg saw his relief corps hold. He took that as a significant positive as his club builds toward next season.
"From the seventh on, it was high-pressure situations for everyone on the field -- the defense, the pitchers," Sandberg said. "You can feel that with the atmosphere, with the crowd and where the Nationals are right now. You can feel that on the field. So, that's all good. Meaningful games within the division, to see the performances and guys rise to the occasion, throw strikes, make them earn it, that's all good stuff."
It was a narrow escape for the Phillies after Ryan Zimmerman led off the ninth inning with a double off Jonathan Papelbon. Two outs later, Sandberg made a big decision. He chose to issue an intentional walk to Bryce Harper, who had two hits, including an RBI bloop single in the seventh that combined with an error to bring home two runs. Instead, Papelbon faced the right-handed Wilson Ramos -- "the better matchup," in Sandberg's opinion.
Ramos smashed a shot toward the middle. Shortstop Jimmy Rollins snared the one-hopper to his left and up near his head, making the play at first to end the game and give Papelbon his 27th save.
"J-Roll made a very nice read on that, retreating back," Sandberg said. "That was an in-between hop that he made a little bit longer. Heck of a play right there, it really was."
Not too long before, it didn't seem there would be much drama, as Hamels (8-13) cruised toward another strong outing. The left-hander came in with a 2.18 ERA over his past 13 starts, and after giving up a run in the first inning, held the Nationals scoreless through the sixth.
But Sandberg made another tough call in the seventh, which Hamels entered with a 5-1 lead only to give up three straight singles to load the bases. Hamels had what Sandberg called "a little bit of flu symptoms" on Friday, and Sandberg felt he was running out of gas. He called for righty Justin De Fratus.
"You do want to slow it down and get through it, but you've got fresh arms in the bullpen that have done really well, and Ryno has to make that decision," Hamels said. "I'm all for whatever they do in trying to win the ballgame, no matter what."
Sandberg said a big part of his decision was his confidence in a bullpen that now has given up one run in its past 18 1/3 innings.
De Fratus got Jayson Werth to hit into a forceout at home before Ian Desmond managed a sacrifice fly to make it 5-2. Sandberg then went to lefty Cesar Jimenez, who gave up the single to Harper. When Cesar Hernandez couldn't pick up the ball, Werth scored all the way from first and Harper took second.
With B.J. Rosenberg in the game, Harper nearly got picked off, but hustled to third as the potential tying run. The Phillies escaped when Rosenberg caught Ramos looking with a breaking ball that appeared to be out of the zone.
The Nats got a runner to second with one out in the eighth, but Rosenberg and lefty Jake Diekman combined to get out of the inning.
"I think now they feel relaxed. They don't have the pressure now," Ruiz said of the Phillies relievers. "They go to the mound and be aggressive. That's what I try to say to them. Throw a first-pitch strike and work from there. So far, they've done a good job, and it's fun to watch those guys finish games that way."
The Phillies seemed to grab control in the fifth, when John Mayberry lined a high fastball over the left-field wall for a solo shot off Gio Gonzalez (10-7). Hamels and Hernandez followed with singles, and Chase Utley walked one out later to load the bases.
Ruiz then attacked a first-pitch fastball and sliced a deep line drive to right field that cleared Werth's head to empty the bases. Ruiz improved to a Major League-best 14-for-24 (.583) with runners in scoring position since Aug. 8, with 19 RBIs.
"He's the right guy up there with men on base for us, for a month," Sandberg said.
The Phillies extended their lead on Utley's RBI single in the seventh, but then got some bad luck when Cody Asche's shot into the left-center gap hopped up for a ground-rule double and kept Utley at third. Freddy Galvis then lined out to end the inning.
Andrew Simon is a reporter for MLB.com. Follow him on Twitter @HitTheCutoff.