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1. Re: FAQ: Where is XXXXX feature?Markj86 Dec 12, 2010 6:45 PM (in response to _durin_)
Will there be a Metronome in the final market version? This is a big deal for me, my recording partners, and the artists we record. I am an Audition loyalist, I started using it in College (well, actually I started using Cool Edit in college) and I love it. But to be quite frank, I cannot see myself wasting space on my Mac for a program that is useless for the actual tracking sessions.
My other big question starts with a statement: I have heard that it is possible to import 3.0 sessions into the Mac Beta. That being said, how is it done?
2. Re: FAQ: Where is XXXXX feature?Charles VW Dec 12, 2010 7:36 PM (in response to Markj86)
Markj86 wrote:
My other big question starts with a statement: I have heard that it is possible to import 3.0 sessions into the Mac Beta. That being said, how is it done?
In Audition 3, you'll want to save the session in the XML format. There is more information from one of our previous blog posts: Audition XML Session Format.
3. Re: FAQ: Where is XXXXX feature?Kingz0g Dec 21, 2010 8:38 AM (in response to _durin_)
Hi, I read your "where is the xxx feature" post, and understand that you're probably working on this. But I can't resist lobbying for the "timed record" feature, which I use a lot, and would be sad to lose.
Otherwise - I'm loving Audition for Mac
4. Re: FAQ: Where is XXXXX feature?DJWalker209 Dec 23, 2010 1:57 PM (in response to _durin_)
So far the Mac version ROCKS!
"Group Clips" would really come handy when using multiple clips in a project. I hope it's included in the final version.
5. Re: FAQ: Where is XXXXX feature?Avenue S Dec 23, 2010 3:12 PM (in response to _durin_)
I teach and use Audition on a PC. I like the changes on Audition for Mac, but could only recommend if it could open Audition 3 files without going the XML route (really hit and miss), and I think the beta doesn't have Automated Mixing (or am I just missing something).
Not too concerned about dropping the CD window.
But without compatibility with old session files and no Mix Automation, it's a non-starter and Adobe should pull the plug
6. Re: FAQ: Where is XXXXX feature?Mr. Wavescape Dec 29, 2010 1:34 AM (in response to _durin_)
I miss the generation of random noise (white, pink and brown) as well as the generation of tones. Will there be a generator feature in the release version of Audition for Mac? We use Audition for acoustic measurement purpose.
7. Re: Flexible Timing?Hgtyuaiospiyxsnasnhjn Jan 3, 2011 11:51 AM (in response to _durin_)
Further to the question about the metronome,
(1) I assume metronome will be available for guitar click tracks
(2) What about a "Flexible Timing" feature also?
Singer/Songwriters are a large component of the Target Market for Audition.
That being the case, consider the following scenario:
Singer/Songwriter likes the simplicity of Audition. Singer/Songwriter can record their rhythm guitar track (doubles as foundation click track) and their vocal track at home (ie: have a good mic) and send those 2 or 3 tracks off to the producer/studio who works in Protools.
There is one catch for the home based Singer/Songwriter. Some or actually many of their guitar tracks don't really work when they are trying to play them to the tempo of a metronome/click track yet they need the tempo/structure so the studio can sync in drums and all other instruments. Protools has a way of getting around this referred to as "Flexible Timing". See youtube videos on this HERE
Does Audition currently offer a similar feature?
According to this scenario/feature could a Singer/Songwriter have this issue resolved at their end before they send their guitar track to studio (thereby saving time, money and confusion etc)?
Basically, I'm just a dumb *** where the technology for this is concerned (I can barely follow the logic of the above videos). I've never worked in Protools or Audition but I do need to buy a DAW soon. What I do know is that I often prefer to play my guitar freehand (without click). If I try to play according to a click/metronome it's fine for some songs but just doesn't work for some others (finger picking, tempo changes, etc). That said, I also need to supply a guitar track that a studio can work with...
My point is, if Audition can offer this feature or better still an even simpler way of achieving the same result (that can be resolved before the track is exported??) they will surely have the Singer/Songwriter market in the bag. Will I be stuck with having to buy Protools just for this feature alone? Please tell me I can or will soon be able to do this with Audition, especially Audition 4 Mac?!
As an afterthought: ...am I misguided in thinking it will make any difference to be able to do this in Audition? Would this type of work need to be done when adding other instruments at the studio end anyway?
I'll appreciate any feedback...
8. Re: Flexible Timing?_durin_ Jan 4, 2011 3:38 PM (in response to Hgtyuaiospiyxsnasnhjn)
Built-in Metronome support has not been implemented for this version, but I'll include your request (and all the recent feature requests for items like Grouped Clips, Timed Record, Better legacy support, etc) in our feature backlog to help prioritizing for the next development cycle.
As for "flexible timing," we tend to refer to this as Dynamic Tempo. Some DAWs support this in different ways - some allow the producer to select a range and synchronize it to a particular tempo, others allow manipulation of the tempo or click track itself. This is not something we've implemented in Audition before, but the request has come up often enough over the last year that I believe we'll need to explore this very soon. It's useful not just for musicians, but for speech and audio for video editing workflows as well.
9. Re: FAQ: Where is XXXXX feature?dalerobins Jan 11, 2011 11:53 AM (in response to _durin_)
Another request for metronome please. I am also missing defining loop properties. Looping is useless with out the properties menu.(maybe i'm just not finding it) These 2 things are a must for working as a one man recording band and maintaining a fast with multiple options workflow. from a long time adobe brand loyal user.CS2,3 and 4, Audition since it was cool edit. Thank you for doing it right.
10. Re: FAQ: Where is XXXXX feature?DJWalker209 Jan 13, 2011 6:16 PM (in response to _durin_)
Another helpful feature wuld be to add Compression Ratio & Threshold controls to the Settings of the Dynamics Processing.
11. Re: FAQ: Where is XXXXX feature?vpdc1 Jan 18, 2011 11:55 AM (in response to _durin_)
Is wave block looping available in the Audition Mac beta version? If it's not available yet, do you know when it'll be rolled out? If it is available, could you tell me how to do it?
In the PC version, I'm used to right clicking on a wav file in the multitrack and selecting wave block looping. This is the dialog box that pops up:http://www.adobe.com/uk/tips/prepaudition/images/step03.jpg
BTW, when I select "new discussion" I'm not able to select the text area to enter a question. I tried Firefox and Chrome.
12. Re: FAQ: Where is XXXXX feature?Frank Waves Jan 21, 2011 7:19 AM (in response to _durin_)
Like about 2 months ago I already tested the Mac Beta and wrote a question to it in this forum. Unfortunately I didn't get any reply to it.
Now I really must ask for my desired feature again, because it really opposes Audition to other Applications and is one of the main reasons I would buy Mac-Audition.
I'm still using a PC beside my Mac only for running Audition 1.5 to do precise physical modelling and sample post editing. At this subject I need to avoid/remove Nyquist-frequencies (for example to correct the edges of a digitally generated square wave).
So what I really plead Adobe is to keep the capability to drag and move single sample points when zooming deep into a waveform. IMO this is still a must-have-feature for a professional audio editing application.
Thanks in advance
13. Re: FAQ: Where is XXXXX feature?_durin_ Jan 21, 2011 11:08 AM (in response to Frank Waves)
Hi Frank,
I'm sorry you did not receive a response the first time you asked this question. Unfortunately at this time, Audition 4 does not offer sample-specific editing in the exact manner it was in Audition 1.5. You can edit individual samples when zoomed in by highlighting a single sample using a click-and-drag with the mouse, then using the on-screen amplitude knob to adjust it's value.
14. Re: FAQ: Where is XXXXX feature?Frank Waves Jan 23, 2011 9:18 AM (in response to _durin_)
Okay, that works. Thanks for the answer!
Anyway it would be nice (and might be not too difficult to program) to make points editable by clicking and dragging them.
Mac Audition should be just as good in usability as the PC-Versions were.
15. Re: FAQ: Where is XXXXX feature?majorsound_de Jan 27, 2011 1:49 AM (in response to _durin_)
I'm still using AU 1.5 and so I'm missing these few features:
(Sorry for my bad english, it's been a long long time 'til school...)
In Multitrack Modus:
- Edit: Group / Ungroup Clips (Very, very Important...)
- Buttons for Activating / DeActivating Balance and Volume Graph in the Track View (Balance Line is too fat, can't see the 0db line for editing...)
- The ability to move the horizontal Scroll-Bar (Need it under the Tracks-View, not at the top)
- the length of the scrollbar Button is too small, when u zoomed in very much, unable to grab it fast with the mouse
- the ability to zoom in vertically to tracks, that makes the waveform 'higher' and more differentiated...
- The abilty to change the volume of a clip 'globally' (right click --> 'Change Volume' in AU 1.5)
- also the 'Clip-Edit-View' (Clip Volume, Balance, Bus, Eq etc.)
- generally all features in right click - pull down menu from AU 1.5 (this is a must have!)
- can not define 'Return' on NumPad as ShortCut...
- the ability to paste 'Silence' to generate some defined space between Clips (contrary to 'Ripple Undelete' --> 'Ripple Generate' ;-) ...)
- Shortcut: Shift + rightclick to make a nondestructive Clip Copy with the time selection tool (like in AU 1.5)
- Shortcut: Cmd + rightclick to make a destructive Clip Copy with the time selection tool (both makes editing very very fast!!!)
- font size in Selection/View is too small...
- Shortcut Tab for switching between the 'tools' (move, razor, time selection...)
- the abilty to define a global 'file export preset' in Settings
- the abilty to type in values @ plugins, normalize, volume, balance etc. (Editing only via mouse is too inacurrate)
Hope other users miss this needfull features too, and Adobe will realize it in a new betaversion... (or the final version ;-)
and finally: AU 4 is a great Audio Tool, love the onboard plugins!
Thx Tom
16. Re: FAQ: Where is XXXXX feature?majorsound_de Jan 27, 2011 1:53 AM (in response to majorsound_de)
Ok, found the 'Clip Gain' feature ;-)
17. Re: FAQ: Where is XXXXX feature?ryclark Jan 27, 2011 4:48 AM (in response to majorsound_de)
You can turn the Pan, Volume and Effect Envelopes on and off in View menu.
You can Insert Silence from the Edit menu/Insert.
Zooming in on the Waveform vertically in Edit view can be done by right clicking on the right hand dB scale. There are also Keyboard shortcuts available. And the Mouse wheel can be used when mouse placed over the level scale. In Multitrack view you can drag the bottom of the Track header pane to increase the vertical size of the track or use Alt+Mouse Wheel to zoom on the waveform.
18. Re: FAQ: Where is XXXXX feature?Dave OPCO Feb 6, 2011 1:06 AM (in response to _durin_)
Hi there
Add me emphatically to the group clips function list.
Also a Tag clip function would be incredibly useful. As a filmmaker being able to Tag, Find, Group, Process & Replace audio would take a lot of the pain out of sound editing.
Edit: I found Clip Colour!
In the Multi track view (I'm working from an OMF exported from FCP7) when presented with the Volume Pan Control keyframes, they're kinda imprecise so would like to either:
a) have the values land on Zeroeven at full height zoom it's a fiddly process (i want to be fast!)
b) a ctrl snap to whole no.s
c) a click to input precise values function.
d) set to previous keyframe value.
Interface feedback. (I'm suffering confusion on this one)
Having applied a hum removal effect to a group of selected clips the process goes:
I'm presented with the "working" dial: Good
Windows pop up for all effected clips: No "Apply" button just "close". Meaning Done?: Not so Good
Manually Close windows without knowing what has/hasn't been done: Not so Good
Effected clips have a little fx icon: Good
Play clips, no effect applied: Not so Good
Need to know what has /hasn't been done and how to execute that.
It's not clear "how" you work with a video clip. I'd be happy to be able to import an OMF followed separately by the associated mute video clip. Is that possible?
If not, can I add that to a liist of things that would be "nice to have"?
I work in a visual / literal way so on the whole I really like the way you've got things laid out. Though I have occasionally lost windows trying to find things. But as an audio debutant i'll say brilliant work thus far.
Keep it up
19. Re: FAQ: Where is XXXXX feature?RunRodriguez Feb 4, 2011 1:12 PM (in response to _durin_)
Would love to see time stretch in the multitrack view. That is, in Audition 3 when you can press control + grab the lower right corner of a clip and then time stretch. That's a crucial feature for doing automated dialogue replacement in films.
20. Re: FAQ: Where is XXXXX feature?richardfwalley Feb 5, 2011 11:14 PM (in response to _durin_)
Ok, look, I know loads of people have said this, but I downloaded the beta on the understanding that I test it for you, so I need to pay you back somehow.
Lifelong Audition user from when it was CoolEdit blah blah. Just making transition to Mac, almost half on the basis that Audition is available for it.
Loaded it up and wanted to test some of my old sessions... yeah, you know the rest.
Look, I can sort of vaguely understand why you might want to move to XML. Well, ok, I don't, but I trust you on this. BUT, not being able to load up old .ses files is just a pain. By all means, if you want to be fascist about formats, don't let me save .ses files, but please at least include something that will convert old format files on loading. Pretty please.
21. Re: FAQ: Where is XXXXX feature?ryclark Feb 6, 2011 5:31 AM (in response to richardfwalley)
On the PC side have you had a look at AATranslator? Amongst loads of other DAW formats it can convert Audition .ses sessions to AA3 .xml which may then open in the new Mac version.
22. Re: FAQ: Where is XXXXX feature?DJWalker209 Feb 6, 2011 6:31 AM (in response to richardfwalley)
Old .Ses Files need to be able to be imported...
Even though I haven't tried this yet, I expected they would be useable.
23. Re: FAQ: Where is XXXXX feature?Cweg Feb 6, 2011 8:43 AM (in response to _durin_)
Metronome would be extremely useful. Please add soon!
-Cool Edit / AA user since college (2001)!
24. Re: FAQ: Where is XXXXX feature?SuiteSpot Feb 7, 2011 5:45 AM (in response to ryclark)
Thanks ryclark
The AATranslator team will be providing a standalone bulk Audition/CEP session file converter and we have decided to make it donationware.
The plan is to convert pretty much all CEP and AA versions to the new AA4 format bringing across as much detail as possible or as makes sense
In the meantime I'm happy to convert ses files to AA3 xmls for interested parties if that will help with your beta testing
No charge for the service but feel free to use the 'donation' button on the aatranslator website if you feel inclined.
Just email your sessions to me via the web site www.aatranslator.com.au - no need to include any media
25. Re: FAQ: Where is XXXXX feature?PevySue Feb 23, 2011 9:17 AM (in response to _durin_)
Requests for Audition for Mac:
MultiTrack Tempo and Time Signature change recording with a Metronome to accompany this. Waveform View would have to be capable of following these changes too obviously.
MultiTrack Dynamic Tempo with a selection of algorithms to choose from of the highest quality you can find.
That's all I've really thought of for now but I'll buy you each a tub of ice cream if you do these things
26. Re: FAQ: Where is XXXXX feature?msandm Feb 23, 2011 5:15 PM (in response to _durin_)
Will the full version have separate threshold, ratio etc controls in Dynamics Processing? Like Audition 3...? It's so much more user friendly other than playing with a graph...
27. Re: FAQ: Where is XXXXX feature?_durin_ Feb 25, 2011 11:49 AM (in response to PevySue)
Dynamic tempo mapping (and associated metronome and other tempo-tools) are not ready for this release, but remain on the list for future development. Thanks!
28. Re: FAQ: Where is XXXXX feature?_durin_ Feb 25, 2011 11:52 AM (in response to msandm)
The tool is primarily graph-based right now, due to feedback and requests to simplify the interface for this tool. Many of the parameter adjustment controls are under the SETTINGS tab, and if you right-click upon a point in the graph, you can enter manual values for each node. I'll open a feature request with your notes to indicate interest in a more advanced version of the tool, more similar to what was available in Audition 3.
29. Re: FAQ: Where is XXXXX feature?DJWalker209 Mar 1, 2011 2:08 PM (in response to _durin_)
On the Selection/View controls it would be helpful to include the Length of the highlighted selection...ie [ Start End Length ]
Also importing .ses files is a must... there must be a way to do it instead of requiring a 3rd party application.
Keep up the Awesome work!
30. Re: FAQ: Where is XXXXX feature?Brian Gordon 13 Mar 8, 2011 9:44 PM (in response to _durin_)
Thank you for explaining the reasons why some of the features I am use to on my old Cool Edit system is not yet available on AU.
The 2 features I miss for my "hobby work" of remastering my collection of old LPs & 78s is the lack of being able to highlight a single click or pop
on a waveform and then deleting with the single click facility that is available on Cool Edit and Audition 3. The auto click remover on AU
works very well on most old disc recordings but sometimes it gets fooled.
The second facility I miss is the "play through" when recording, not a major problem but is very helpful when laying down a recording.
On a general note I think the other facilities offered are first class. AU is very stable on my standard 21'' iMac ( iMac8,1) using OSX version 10.6.6.
I have also tried AU on my 13'' Macbook , again with 10.6.6 - without any difficulties, apart from having problems in customising the classic
work space with the Frequency Analysis window. This facility would freeze when selected and the only way I could resolve the problem
was to delete the Adobe Preference File from the library start again. This problem occurred on both my machines.
If it is of any help - I had set up some key board short cut preferences before attempting to customise the Frequency Window
when I first installed the software, but after deleting the Abobe Preferences from the library, I set the Frequency Window first before customising
the key board short cuts. Since then the software has worked perfectly on both machines. Excellent product
31. Re: FAQ: Where is XXXXX feature?ryclark Mar 9, 2011 3:07 AM (in response to Brian Gordon 13)
You can still remove a single click using Auto Heal from the Favorites menu. Quicker still is to use the keyboard shortcut Ctr+U.
32. Re: FAQ: Where is XXXXX feature?_durin_ Mar 9, 2011 8:54 AM (in response to Brian Gordon 13)
As ryclark mentioned, the Auto Heal favorite and shortcut updates the older "Repair Transient" favorite from Auditions past. If you want a bit more control or wish to use your preferred click removal parameters, you can configure the effect and clicking the "star" button at the top of the effect spanel, create a new favorite. This can be configured with a custom keyboard shortcut, and will then be quickly accessible as you edit.
I'll make a note in our feature database with regards to the recording play through (and other options.) I suspect the Frequency Analysis window issue has been fixed since the public beta release in November as none of our internal team nor our private pre-release testers have reported this problem. However, I'll continue to track it here as well as try to hunt it down in our crash report log database.
Thanks to everyone for your continued support.
33. Re: FAQ: Where is XXXXX feature?C.R.Helmrich Mar 27, 2011 1:34 PM (in response to _durin_)
Durin, sorry in advance if it's been answered already, but: will the new Audition still support the .xfm effects API, or will you switch to VST plug-ins exclusively? I once wrote a Cool-Edit-Pro-style .xfm DLL to add a certain type of noise shaper (http://www.aes.org/e-lib/browse.cfm?elib=13963), and it would be great if this would still work with the new Audition on Windows.
Thanks and regards,
34. Re: FAQ: Where is XXXXX feature?Charles VW Mar 27, 2011 4:21 PM (in response to C.R.Helmrich)
C.R.Helmrich wrote:
will the new Audition still support the .xfm effects API, or will you switch to VST plug-ins exclusively?
We've switched to VST and AudioUnit plug-ins exclusively.
After looking at your AES paper, I have a side question, have you checked out the new noise shaping options in this public beta?
35. Re: FAQ: Where is XXXXX feature?mwr001 Mar 27, 2011 10:13 PM (in response to _durin_)
Having owned a copy of Adobe 1.5 for many years, and recently aquiring a Mac, I was jazzed to be able to check out the new version for a Mac. After spending an hour trying to find the Metronome, finding the bar/speed feature, trying to record a click track from my old computer via microphone (terrible sort of feedback loop or something that I could not figure out), I decided to get on the forum and have someone show me where the bleeping metronome was. I figured I was just being thickheaded and could not find it. But no, it's really not there. Unfortunately, that makes this lovely piece of software useless to me for any kind of multi-tracking.
Please send me a message when you have gotten around to adding a metronome feature to the product.
36. Re: FAQ: Where is XXXXX feature?C.R.Helmrich Mar 28, 2011 1:41 PM (in response to Charles VW)
Thanks for the info, Charles! Not the best news for me, but surely makes sense to go this way. No, I haven't tested the beta yet, I don't have a Mac (at least not at home).
Could you give me a heads-up? Is it something like POW-r or UV22, or Adobe's own work? (Edit: Or Mbit+ from iZotope? Forgot about that)
37. Re: FAQ: Where is XXXXX feature?Charles VW Mar 29, 2011 9:55 AM (in response to C.R.Helmrich)
C.R.Helmrich wrote:
Is it something like POW-r or UV22, or Adobe's own work? (Edit: Or Mbit+ from iZotope? Forgot about that)
Adobe's own work. You'll be able to try it out on windows with the free 30 day demo when we release. Let us know what you think.
38. Re: FAQ: Where is XXXXX feature?C.R.Helmrich Apr 1, 2011 2:14 PM (in response to Charles VW)
OK, I found some time to look at AA4 on a Mac at work today. In general, I'm impressed by the simple, yet functional and beautiful GUI design.
Regarding the Convert Sample Type dialogue, I only had time to test the static (Adaptive Mode turned off) noise shaping options, so please keep that in mind when reading the first few of the following comments:
- You connect dither and noise shaper, i.e. if dithering is off, noise shaping is turned off as well. That's not necessary, noise shaping also works without dither (at the risk of harmonic distortion, of course, but even that distortion would be shaped). So if you don't run into problems such as limit cycles, you could make the two independent.
- the High Pass noise shaper doesn't seem to care much about the Crossover frequency, it seems. If it's the simple first-order FIR [1 -z^-1] - which would be perfectly sufficient - then there's not even a need to enable the Crossover and Strength controls, right?
- I don't see a need for the U-Shaped noise shapers. First, they have almost the same frequency response as the Weighted (Light) shaper. Second, the Weighted (Light/Heavy) shapers should be slightly superior sonically. Third, I suggest not to overwhelm the user with choices The remaining shapers are great and span all noise shapes you'd ever need! They are definitely better than the noise shapers in the older versions.
- What happened to the Rectangular dither? Please re-add it or replace the Gaussian dither by it. IMHO this is much more useful than Gaussian, since the latter creates more noise energy than you need. As Lipshitz and Vanderkooy showed in the 80s, triangular dither is perfect for audio. Here's a thing: if your signal to be converted already contains a little bit of noise, then rectangular dither (between -0.5 and 0.5) is most likely already sufficient, especially if you use noise shaping! It also saves you almost 2 dB of noise level over triangular dither, and almost 4 dB over Gaussian dither.
- It's nice to see the noise shapers working at sample rates higher than 48 kHz, were they give a huge gain over simple un-shaped dither.
I also like the design of the Frequency Analysis window (Alt+Z), that it can handle graphs of different sample rates, and that you wrote "Hann" instead of "Hanning" window . But Blackman has only one "n" in his name!
In order not to hijack this thread, more comments will follow in private.
39. Re: FAQ: Where is XXXXX feature?4fmb Apr 1, 2011 5:04 PM (in response to _durin_)
I like the 4.0 look and feel on MAC, and have been an Audition/Cool Edit user starting in the mid 90's with Cool Edit, then Pro, then AU 1.5, 2 and 3 on PC. I do miss some of the "original" look and feel -any plans in the offing for "skinning options"? (more than just the existing color schemes with light/dark slider, although thanks for those!). Yes, yes, I do realize there's an intentional look & feel consistency between all the Adobe suite! Still, just sayin'......
Next, I agree with the .ses importing and metronome comments about their desirability as features.
A big one for me will be to work with more than one Mackie MCU pro module. Currently, it works with 8 channels of MCUpro like a dream, but does not recognize my expander unit.
The audio editing is still (imho) the best on any platform and always has been. And I LOVE the way it's integrated in with mixer and editor functioning.
Video works well.
The majority of the long-standing AU/CEP plug-ins still provide good functionality and results for being the "stock" offerings. But these old "slider-based" GUI's are really showing their age at this point! Any plans for super-duping them up somewhat? I know it doesn't add to the sound, but these days "look and feel" and "eye candy" factor make a difference to a lot of potential buyers, not to mention it makes us "old guffs" proud of how good "our" DAW comes across!
What are current thoughts/direction (if any) for MIDI development?
Still grumbling in my beer about no PPC support (G5), but you're not the only ones going that direction! Overall, looks to be a winner on Mac, as on PC.


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Avodart May Slow the Progression of Prostate Cancer
Avodart, a popular drug used to treat an enlarged prostate gland could have an additional benefit. Research shows it helps slow the progression of early-stage prostate cancer, thus reducing the need for aggressive treatment in some men.
Avodart belongs to a class of drugs called 5-alpha reductase inhibitors, which work by interfering with the effects of certain male hormones on the prostate. And in a three-year study published online Jan. 25 in The Lancet, prostate cancer progressed in 38 percent of 144 men with early prostate cancer who were treated with Avodart, compared with 48 percent of the 145 men who received a placebo.
Prostate cancer can grow and spread slowly, which is why some men are urged to engage in so-called watchful waiting when the cancer is first diagnosed. The researchers noted Avodart may help such men feel comfortable with surveillance as opposed to radical treatment.
"The concept of active surveillance is gaining traction in most parts of the world," said study author Dr. Neil E. Fleshner, head of the division of urology at the Princess Margaret Hospital in Toronto. Still, some men are uncomfortable with doing nothing in the face of a cancer diagnosis, he said. "By using this drug, we can improve the proportion of men who remain committed to the surveillance."
And while the medication does have side effects including reversible breast enlargement and tenderness and some sexual dysfunction, Dr. Louis Potters, chairman of radiation medicine at North Shore University Hospital and Long Island Jewish Medical Center in Manhasset, N.Y. said, "In the U.S., patients have a tendency to hear the word 'cancer,' and want to treat it right away. In these men with early prostate cancer, we can now say, 'Let's put you on this medication, and see what happens over the next couple of months.'"
Positive effects aside, the U.S. Food and Drug Administration recently issued a warning that men who take 5-alpha reductase inhibitors like Avodart may have an increased risk for high-grade prostate cancer — leading Dr. Ryan Terlecki, an assistant professor of urology at Wake Forest Baptist Medical Center in Winston-Salem, N.C., to say he believes the overall role these medications play for urologists will decrease.


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Volatile Functions.
A Volatile Function is one that causes recalculation of the formula in the cell where it resides every time Excel recalculates.
Avoid volatile functions wherever possible.
FastExcel measures Workbook Volatility by comparing the time for a Recalculation to the time for a full calculation, and allows you to measure worksheet volatility by comparing the sheet recalculate time with the sheet full calculate time.
Excel's Volatile Functions.
Some of Excel's functions are obviously volatile: Black Open Journee toe Booties Side Perforated slit Womens Collection RAND(), NOW(), TODAY()
Others are less obviously volatile: OFFSET(), CELL(), INDIRECT(), INFO()
Some are volatile in some versions of Excel but not in others: INDEX()became non-volatile in Excel 97.
A number of functions that are documented by Microsoft as volatile do not actually seem to be volatile when tested:
and CELL("Filename") IS volatile although a MSKBN article says its not.
One particular syntax of SUMIF is volatile in Excel 2002 and subsequent versions. This occurs when the size of the first range argument is not the same as the second (sum_range) argument.
For example =SUMIF(A1:A4,">0",B1) is volatile whereas =SUMIF(A1:A4,">0",B1:B4) is not volatile. Both of these formulae will reference cells B1:B4.Women's Boot Naomi Willowbee Naomi Willowbee Willowbee Boot Black Black Women's Boot Women's Naomi Black Willowbee 5wRfWOqw
Presumably this volatile behaviour was added to give correct results when B2:B4 were changed. Thanks to Luke Wisbey for letting me know about this behaviour.
Using a volatile function in a formula will flag the cell containing the formula as volatile, even if the volatile function never gets executed:
=IF(1<2,99,NOW()) will always return 99 and the volatile NOW() function will never be called, but the cell containing the IF formula will be treated as volatile, (thanks to Stephen Bullen for pointing this out).
You can download Presidio Women's Sun Brindle KEEN Desert Shoe RfawwP for a test workbook that you can use to test if a function or formula is volatile.
Dependents of Volatile functions.
Direct dependents of volatile functions are always recalculated:
Indirect dependents of volatile functions are not always recalculated:
The IF and CHOOSE functions only execute ONE of the available choices. This is called short-circuiting:
If you create UDFs One, Two and Three each of which contain a debug.print or MsgBox statement so that you can see what is being executed then:
The AND and ORPremium Leather Patch Boot Hiking Forsake Women's Cypress Grey Waterproof qztwxwgZ functions always execute ALL the available choices:
If the One(), Two() and Three() UDFs return 1,2 and 3 respectively then:
Volatile only at Workbook Open
References to UDFs where the UDF itself is located in an XLA or external workbook are flagged as dirty when the workbook containing the reference is opened: if calculation is Automatic they will be recalculated at workbook open, if calculation is Manual they will be recalculated at the next recalculation.
Using INDEX as the second part of a range reference, for example A$2:INDEX(A$2:A$8,7,), will also cause the reference to be flagged as dirty when the workbook is opened. (Thanks to Bill Wood for spotting this).
Because a cell has been flagged as dirty the workbook will also be flagged as Unsaved so you may get an unexpected prompt to Save the workbook when closing it.
Conditional Formats are volatile.
Because conditional formats need to be evaluated at each calculation any formulae used in a conditional format is effectively volatile. Actually conditional formats seem to be super-volatile: they are evaluated each time the cell that contains them is repainted on the screen, even in Manual calculation mode, although VBA functions used in conditional formats will not trigger breakpoints when executed by the repaint.
Volatile Actions: Actions that trigger calculation
Womens Open toe Collection Journee Booties Perforated Side slit Black Selecting any filtering criteria when using Autofilter will flag ALL the formulae in the autofilter range as uncalculated, even if none of their precedents have changed and even if you select exactly the same filter criteria as before. This can cause Autofilter calculation to be extremely slow.
Clicking Row or Column Divider
If calculation is set to Automatic clicking or doubleclicking a row or column divider will trigger a recalculation. But manually changing the height or width of a column or row will NOT trigger a recalculation.
In Manual mode these actions do not flag the workbook as requiring calculation.
Inserting or Deleteing Rows, Columns or Cells, or Moving Cells
Insert or Delete Rows or Columns or Cells, or moving Cells (using Drag/Drop or Cut/Paste) anywhere on a Sheet, even to the right or below the Used Range.
Then these cells become flagged as uncalculated.
Adding, Changing or Deleting Defined Names
Any action taken to add, delete, change or alter a defined name or its refersto property will trigger a recalculation.
Renaming Worksheets and Changing Worksheet Position
Changing the name of a worksheet or moving it will trigger a recalculation in Automatic mode.
Deleteing Worksheets, but not Adding Worksheets
In Automatic mode deleting a worksheet will trigger a recalculation, but adding a worksheet will not.
Hiding or Unhiding Rows in Excel 2003
Perforated slit Journee Black Side Collection Womens Open toe Booties In Excel 2003 hiding or unhiding rows will flag the selected rows as uncalculated, even if no rows were actually hidden or unhidden. If calculation is automatic this will trigger a recalculation. This behaviour is a change from previous versions. Hiding or unhiding columns does NOT flag the column as uncalculated.
Probably the reason for the change is that the SUBTOTAL function in Excel 2003 has an option to include or ignore hidden rows, so Excel needs to be able to trigger a dependency recalculation by dirtying the cells when a row is hidden or unhidden.
Opening a .CSV file
Whenever you open a .CSV file, either through VBA or File-->Open, a recalculation of all open workbooks will be triggered, even if calculation is in Manual. Switching off .EnableEvents does not stop this recalculation. The only way I have found to prevent this recalculation from happening is to use VBA to switch Worksheet.EnableCalculation to False for each worksheet that you do NOT want to be calculated.
Goal Seek
Each iteration of Goal Seek triggers a recalculation.
See Round Closed Heels up Top Snow Toe High Lace Women's Red Low WeenFashion Boots Frosted xHq4IxZ for the circumstances that will cause a formula to be evaluated.


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Note: this is being re-posted today (October 4th) as part of our 2011-12 season preview. While written in June, the information below is more relevant now than ever.
I'm donning my professor's cap today.
Remember my cute little "picket fence defense" lecture?
No? Sigh. Well pay attention now kids, because this stuff is important. And it will be on the test – the test that is a Stanley Cup Final. Got your attention now, I bet. Good. Moving on.
Back before the playoffs started, I analyzed what was one of the more glaring weaknesses on the Sabres roster – their young defense. Since then, the Sabres collapsed out of the first round, and Lindy Ruff didn't waste much time in declaring that one of the team's top priorities in the off-season will be to "develop a lockdown pair."
I know that many Sabres fans would love for Darcy Reiger to take his new, fat, diamond studded Sabres wallet and hand it straight over to Brad Richards' agent when UFA negotiations open up on July 1st. Admittedly, I'm one of them. I'm a glutton for goals, and could only imagine how many we would be all gorging on if Richards was lined up between Vanek and Stafford.
But folks, we must remain focused. Our problem at defense hasn't gone away. And it's a big problem.
From that initial lecture:
(On March 18th) The Sabres have 203 goals for and 202 goals against. This equal ratio is a stat that has been dogging them for months. They can't seem to score more goals then they allow, and I find that disturbing. What is more disturbing is every team ahead of Buffalo, save Tampa Bay, enjoys a wide winning margin in that category. (Carolina posts a terrible 198/212.) Brad Boyes was a nice addition for the stretch run, but this team is going to learn to have to finish as well as play smarter defense – and quickly – if they are to make the playoffs, or survive the 1st round.
Since the 18th, the Sabres have gone 5-1-1. Accordingly, their goals for/goals against ratio improved dramatically, to 226/214. It's a telling stat: Carolina has gone 4-1 since the 18th, and their ratio has markedly improved to 220/228.
Stick with me here, class. I've gone back and bold-faced the key points, and will continue below:
So what does it all mean?
For Buffalo, it means that the Sabres, for the greater portion of the regular season, have not been able to score enough goals to keep up with the amount that they let in. Their offense has scored enough goals (226) to be ranked 4th in the East in that category, trailing only Philadelphia (243), Boston (232), and Tampa Bay (230).
The Sabres' offense is great, but their defense is, well, not so great. The teams ahead of them, those considered to be front-runners for a shot at the Cup, all show a commanding mastery of the goals for/goals against ratio, and it's no coincidence – teams control the scoreboard by keeping all three zones under control. It's the Sabres' play in their back end – the first step of every hockey rush, and the front lines of defense against a flurry from the opposition – that have kept them out of Cup talk, let alone much playoff talk.
The obvious statement from the professor troll in the front row here is "Ah yes, defense does win championships." This is where I glare at said troll and say "Don't cheapen my lectures with cliches." There really is a lot to consider when putting a championship defense together, folks – and we'll look at how that has been done over the last 10 years. Let's quickly finish up reviewing this previous lecture, first. (Exasperated raspberry sigh from the dude in the back row, and pen clicking all over the place, I know, I know – stick with me.)
Buffalo is no lock for the playoffs, and the reason for this is the failure to be reliable in all three zones of the ice. Lindy Ruff has implemented a style of play – "The System" – which is supposed to keep all players, at all times, focused on controlling the puck, the play, and the game. The Sabres do their best, but their young defense just isn't smart and experienced enough yet. In fact, Buffalo only has three defenders over the age of 24. A disturbing list:
- Steve Montador, 31
- Jordan Leopold, 30
- Shaone Morrisson, 28
- Chris Butler, 24
- Andrej Sekera, 24
- Marc-Andre Gragnani, 24
- Mike Weber, 23
- Tyler Myers, 21
Of those guys over 24, Morrisson has hardly been a defensive stalwart this season, and Leopold/Montador have not been able to stay on the ice. Indeed, if there is a weakness of the Blue and Gold that teams are going to expose until the end of this hockey year, it is going to be the green defense corps. Of all places, it is in their own zone, from where the team must take it's most important steps, where their Achilles Heel is exposed.
I put that last sentence in bold because I really dig it.
Anyway, the Sabres problem is not effectually at center. Yes, they certainly need to add more talent and depth at that position, but last season proved that they certainly have no problem scoring goals. Brad Richards is a sexy idea, I get that – but if adding him means ignoring the need to augment our defense corps, then our Stanley Cup dreams are likely doomed.
Now, let's talk about how a championship defense is made.
Bruce McCurdy of the Edmonton Journal wrote a smart piece that not only confirmed my worries about our green defense, but provided an analysis of all Cup-winning team defenses from the last ten years (this year's Bruins excluded). The results of his study are truly damning of our current roster.
Please welcome our guest lecturer for the day. Take it away, Bruce:
My own approach here will (namely be) to examine the defence corps of all Stanley Cup champions over the last decade. How did the winners go about assembling their blueline crews? Let's have a quick look team-by-team and then draw some broader conclusions.
(After referencing the next 9 winning defenses, McCurdy went on to assess his findings):
As a whole, the champion defencemen were a veteran group. The average age was something over 30, with the top-pairing guys averaging a year or two more than that. Among 28 minute-munchers who averaged over 20 minutes a night (highlighted in bold), fifteen were 30 or older, just three 25 or younger.
Each of the last four Stanley Cup champs has featured a major UFA signing on the back end.
Thank you, Bruce. I'll take it from here.
This season, our defense was exposed. It was exposed in the regular season. It was exposed in the playoffs. This is not a defense that gets to the Big Dance. This is the kind of defense that your own offense has to outscore.
I do believe that Sekera, Butler, Weber, Gragnani, and of course, Myers, are all going to evolve into top-notch defenders in their own niches, as they get older. The problem right now, however, is Ryan Miller is 31, and he is getting older too. The "old core" of Roy, Pominville, Vanek, et al simply cannot afford to wait for this group of young defensemen to mature. Pegula has this team on a very specific course right now – to win a Cup in three years. In order to make that possible, balance has to be restored between the offense and defense.
There are plenty of UFA defensemen available this summer that fit this very simple but desperate need. Meanwhile, the Sabres do have good trading power with these kids on the back end – as well as several blue chip defensive prospects. Buffalo would be wise to use this cache to either regain that 2nd round pick that they lost in the Brad Boyes trade – or dare I dream, to make a package deal to lure a stud center like Paul Stastny away from a team.
From here, what needs to be done is clear. The defense has to be bolstered. It can be done, and at the same time, the center position can be improved.
It's now up to Headmaster Darcy to make it happen.
Class… DISMISSED!
Go Sabres.
See also: "We've got a lot of Defensemen: How to Add Bieksa, Ehrhoff, or Wisniewski;" "Target: Brent Burns;" "Target: Paul Stastny"
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With money received from the capital outlay note, the LaFollette City Council made plans to spend it Tuesday night.
A low interest loan for $1.5 million will be allocated to several departments. The council approved a resolution describing the various expenditures.
The largest expense listed was for paving. Approximately $700,000 was allocated for paving. With a STP grant for about $400,000, the city plans to go ahead with paving from the capital outlay note; the city will have close to $1.1 million for paving city roads.
Also allocated from the loan was up to $300,000 to renovate the recreation center into a library. The board authorized the release of renovation funds in a separate motion.
Also being spent from the capital outlay note is $30,000 to renovate West LaFollette School for recreational offices and meeting rooms.
Listed on the designation of funds was $68,720 to assist the county with construction of the Pleasant Ridge Bridge.
"This brings the total to $1,048,720 which leaves $451,280 to be designated by you all at a later date," said Sexton.
Since the allocation already included the Pleasant Ridge Bridge project, Mayor Mike Stanfield asked Campbell County Road Superintendent Dennis Potter to explain the bids to the council.
Potter plans to work with the utility company to move water and sewer lines, he said. Stanfield told the audience the bridge process has been talked about for about four years.
"We need to lay this thing to rest tonight, we got the money now to do it," said Stanfield.
Councilman Hansford Hatmaker appeared confused about what was the bid and what was the allocation of capital outlay funds.
The low bid on the bridge was from Evans and Evans for $118,641.20. "There is going to be some incidentals that come up like with the TVA permits," said Potter. "I don't want you to cut it so short."
The original proposal was to split the cost to replace the bridge on Pleasant Ridge Bridge. The bridge has been bid on three times. Engineering cost will also be split between the city and the county.
Hatmaker requested proposals to be supplied to the council prior to the council meeting.
"We've got a good bid and an excellent contractor," said Potter.
The council returned to the resolution for passing. Though Hatmaker expressed dissatisfaction about the bridge project he voted for the resolution to allocate money from the capital outlay note.
Appointing an infectious disease coordinator was also a top priority for the LaFollette Council. The city was recently fined for failure to keep employees up to date on training. The coordinator will train all city employees and administer paperwork and treatment if necessary.
The council voted to appoint Charles Hudson as the coordinator to reorganize the program. Hudson will be compensated with $100 a month for the extra responsibilities outside his fire department duties.
Interim LaFollette City Administrator Cade Sexton said a budget for the program would have to be included in the future. The budget will include training materials and expenses. Currently the program will operate from the general fund until the next budget cycle.
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ELMHURST – A new solo exhibit is coming to the Elmhurst Art Museum.
"Gifts of the Muse: Paintings by Peter M. Steeves" will showcase work that combines primitive symbolic, postmodern realism and bits of surrealism. An active member of the Elmhurst Artists' Guild, Steeves is a self-taught artist whose career spans more than 20 years.
The exhibition runs in the EAG Gallery at the museum, 150 S. Cottage Hill Ave., from June 18 through July 19. Members of the public are invited to meet Steeves at a reception June 21 from 6 to 9 p.m.
Visit elmhurstartmuseum.org for more information.


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Ellicott Rock Wilderness
IntroductionThe United States Congress designated the Ellicott Rock Wilderness (map) in 1975 and it now has a total of 8,300 acres. Georgia contains approximately 2,023 acres. North Carolina contains approximately 3,416 acres. South Carolina contains approximately 2,861 acres. It is managed by the Forest Service.
DescriptionIn 1811, surveyor Andrew Ellicott determined the starting point for the North Carolina-Georgia state line and chiseled an inconspicuous mark on a rock on the east bank of the Chattooga River. Here the mountainous regions of South Carolina, North Carolina, and Georgia converge, and this is where the Ellicott Rock Wilderness straddles the Wild and Scenic Chattooga River. This is the only Wilderness area lying in three states. Rugged terrain, tall peaks, and the Wild and Scenic Chattooga River are the hallmarks of this Wilderness. Offering one of the foremost white-water trips in the eastern United States, the Chattooga floods through the middle of the area, but the wildest water lies below the Wilderness boundary, where boating is not allowed. The Georgia terrain peaks at 3,672-foot Glade Mountain. Clear perennial trout streams that occasionally drop over small waterfalls scour the numerous steep-walled gorges. Unusual rock formations hover above some of the streams, and several threatened or endangered plants have been identified. Although logging operations intruded in the early 1900s (as evidence attests), today's forest of hardwoods (upland and cove) is more than 80 years old. Deer, squirrels, grouse, and wild turkeys are common sights in the Georgia portion of the Wilderness, along with the more elusive black bear and raccoon. Wild boars wander in from North Carolina now and then. You may see the remains of the old moonshine stills that once brewed their potions here. Unlike many pristine areas in the western United States (but like many other southeastern Wildernesses), Ellicott Rock has been heavily impacted by humans in the not too distant past. Nevertheless, enough time has passed since the logging operations of yesteryear for impressive second-growth forests, typical of the Appalachian greenbelt, to reclaim Ellicott Rock Wilderness. Today dense stands of white pine and hemlock occupy the lower coves and areas along streams, upland hardwoods thrive on slopes, and scrub oaks and pitch pines grow on dry ridges. The region lies just south of the area that receives the highest rainfall in the eastern United States; expect some wet weather. In South Carolina the wilderness rises from the river to a high point on Fork Mountain at 3,294 feet. Several trails originate in the South Carolina portion. From the Sloan Bridge Picnic Area on the eastern border, 6.3 miles of the Ellicott Rock Trail will take you down to Ellicott Rock itself. This trail joins the Chattooga River Trail, which follows the South Carolina side of the river south for 4.4 miles to Burrell's Ford Campground. Ellicott Rock stands relatively near millions of Americans, and use of the area is high, but along the river you'll find more solitude.
Planning to Visit the Ellicott Rock Wilderness?
- Print a fact sheet
- General things to consider when visiting any wilderness
- Regulations
- Contact the Forest Service
- Visit the National Forest wilderness website
Leave No TraceHow to follow the seven standard Leave No Trace principles differs in different parts of the country (desert vs. Rocky Mountains). Click on any of the principles listed below to learn more about how they apply in the Ellicott Rock Wilderness.
- Plan Ahead and Prepare
- Travel and Camp on Durable Surfaces
- Dispose of Waste Properly
- Leave What You Find
- Minimize Campfire Impacts
- Respect Wildlife
- Be Considerate of Other Visitors


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Content distribution network provider Akamai has launched Kona Site Defender, a service to protect enterprise customers from Distributed Denial of Service attacks.
The company already provides an anti-DDoS service, but the addition of Kona allows customers to purchase it as a distinct product from its wider web and IP acceleration and optimisation services, Akamai announced.
The company's existing security services include web application firewall, Domain Name Service protection, and SiteShield, designed to mitigate the effects of a DDoS attack by placing a barrier between a website's infrastructure and the public internet.
Kona appears to bundle several of these technologies, which promise to automatically protect websites against TCP SYN and UDP flood attacks -- the two most common attack types, according to figures by DDoS mitigation specialist, Arbor Networks -- as well as lesser known attacks, such as Slorloris, a "slow client" attack that floods a web server by keeping as many connections to it open by sending malformed HTTP headers.
Akamai's renewed efforts around DDoS protection come as new rivals enter the market, such as the popular start-up CloudFlare, another content distribution network provider that has won support for its ability mitigate the attacks.
An arm of Australian telco, Telstra International, also arrived on the DDoS protection scene late last year with its service.
The new services arrive at a time when the size and frequency of attacks are on the rise.
Prolexic, another company that provides DDoS protection, reported that the largest attack it managed last year saw attack traffic rise to a peak of 45Gbps, significantly overshadowing the average 1.45Gbps attacks.
Akamai also reported earlier this year that it has witnessed a 2000 per cent rise in the number of DDoS attacks in the past three years.
Follow @CSO_Australia and sign up to the CSO Australia newsletter.
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Have an opinion on security? Want to have your articles published on CSO? Please contact CSO Content Manager for our guidelines.


text:
Lady Gaga Rocks a Keytar
Lady Gaga is known for tickling the ivories at her shows. The piano is her instrument of choice. But the Mother Monster is also fond of the keytar, which is obviously a variation of her favorite musical toy. The keytar itself is not a cool instrument by any means, but when Gaga straps one on while on tour, the cool factor is upped in an instant.
Gaga tweeted a shot of her playing the keytar during her Seoul gig, which took place on April 27. She posted: "I could barely sleep last night. It was the 2nd highest attendance of fans in the History of concerts in Korea." Despite the show being banned for any South Koreans under the age of 18, it was still a massive success overall. The Mother Monster's trip to Asia is certainly paying off with lots of eligible little monsters coming out to see her.
You can catch a somewhat upclose glimpse of her costumes on the Born This Way Ball tour in this image. She's rocking a dark, leather bra studded with grommets and hardware and a leather jacket with some statement making shoulders. It transports us to the '80s, when big big and bold shoulders were in vogue. Gaga's bringing it back. She was born in the '80s so that era's fashion is in her DNA.
We also love super short bangs paired with what looks like extra long platinum blonde ponytails with volume on either side.


text:
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Voters in today's Eagle Rock Neighborhood Council election rejected many of the candidates–including the head of a cannabis club–who had supported marijuana dispensaries, according to preliminary results. In the race for council president, Nelson Grande II, who favors the use of medical marijuana and keeping marijuana stores open, trailed dispensary opponent and chamber of commerce president Michael Nogueira by more than 20 votes, according the early tally. Meanwhile, Tim Ryder, head of Cannabis Clubs United With the Community, ended the election with 40 fewer votes than rival Jose Posada in the contest for Public Safety Director.
More than 800 persons cast ballots in the Eagle Rock election, one of a half dozen neighborhood council races held today. Unofficial results show that Monica Alcaraz was elected president of the Highland Park council while Nanci Rosas was chosen to lead the Lincoln Heights council (Click on the link below for all preliminary elections results).
The Eagle Rock election was overshadowed by the medical marijuana issue in a neighborhood that has seen a proliferation of pot stores. Some community leaders had expressed concern that the marijuana dispensaries and their supporters would enlist the help of customers to vote for neighborhood council candidates in favor of keeping the stores open.
Late last week, Eagle Rock Patch reported that Grande, who along with Ryder was running on the Progress & Collaboration slate, had asked and received support from a union official trying to organize marijuana store workers. Most of the eight candidates on that slate, however, failed to win a majority of votes based on the preliminary canvass of votes.
The election results are still subject to final certification by the Department of Neighborhood Empowerment, the city agency that oversees neighborhood councils.
Arroyo Seco Neighborhood Council
(Hermon, Montecito Heights, Monterey Hills & Mt Washington)
Boyle Heights Neighborhood Council
Eagle Rock Neighborhood Council
Historic Highland Park Neighborhood Council
Glassell Park Neighborhood Council
Lincoln Heights Neighborhood Council
L.A.-32 Neighborhood Council
(El Sereno)
Related Link:
- Eagle Rock Neighborhood Council Elections: Preliminary Results. Patch


text:
Cody Canada and the Departed Coming to the Lucky Mule Saloon February 22nd [VIDEO]
Red Dirt music legend Cody Canada is now on tour in support of his 2nd album with The Departed, 'Adventus'. No matter what band he leads, the former Cross Canadian Ragweed front man has always put on an outstanding show, and brought large crowds wherever he plays. Canada's new band, however, isn't just about him. In fact, it's considered by some to be a 'supergroup', with a lineup of top-notch Red Dirt talent including Jeremy Plato, Seth James, Steve Littleton, and Chris Doege. The Departed is coming Friday, February 22nd to the Lucky Mule Saloon in Abilene.
Cost: 21 and over $12.00 in advance, 18+ welcome with ID for an additional $3
Purchase Online: LuckyMuleAbilene.com
Date and Time
Friday, February 22nd. Doors open at 6:00pm
The Lucky Mule Saloon
1850 South Clack Street
Abilene, TX 79605
Contact Info
Website: www.LuckyMuleAbilene.com
Phone: (325) 232-8564
Facebook: Facebook.com/LuckyMuleSaloon
More Information
Cody Canada & The Departed
The studio environment for a working musician is equal parts laboratory, man cave, and holy place. On a steamy day in Austin, Texas at Yellow Dog Studios, there was a reverent hush that made it feel like a sacred service was underway. Through the glass, The Departed was playing live, facing each other in a circle, with Steve Littleton on Hammond B3 in a separate room, and Seth James singing with a world weary voice in the booth.
The guys came back into master control to listen to the track with co-producer Adam Odor. They all were looking down at their respective electronic devices while the music was on. Adam whispered that Cody Canada and The Departed were making a straight up rock record this time around, tapping into the eternal emotions that have informed the great American musical styles from the start. That album is called Adventūs, the Latin word for arrival.
The Adventūs album is fourteen tracks deep. The band members, Cody Canada, Seth James, Jeremy Plato, Steve Littleton, and new drummer Chris Doege, have never had the luxury before of starting the recording process with so many songs. They have worked collaboratively, bringing thoughts, phrases, verses and riffs together. This project, in fact this band, is a testament to the creative process. It is about playing what you want with whom you want, carving out a road family fueled by mutual appreciation for each other's talent as well as the camaraderie.
Adam Odor put the process in perspective, "The Departed had the last year and a half to lock in, to find out who they are and what they are together. That's the way they did it in the old days, when a band would get signed to a label. These guys are all so good, the musicianship and the songs, and that is a rare thing when you have them both." Cody explained further, "For this album, we were ready to roll. When we started practicing there was the feeling that we are honored to be doing this together. Doing other people's songs for the first album, 'This Is Indian Land', gave us time to let the new stuff percolate. There are some really intricate songs, and so far, we have only played a couple of them out in public."
Cody Canada was 16 years old when he arrived in Stillwater, Oklahoma. He found musicians who planted seeds that would stay with him for the rest of his life. Cody recalls, "I met Tom Skinner, Scott Evans, Bob Childers, Jimmy LaFave, Mike McClure, the Red Dirt Rangers and they were all playing this really, really good music. It was kind of in that same vibe as the Allman Brothers and The Band. But what came out of it was really diverse. There were more country acts like Jason Boland. The All American Rejects were the rock guys. Then you had the whole Red Dirt hippie thing…I didn't even know what Red Dirt was until somebody told me. I got turned on to it all and it's stayed with me ever since."
Canada was front man for Cross Canadian Ragweed for fifteen years, where he tapped into those influences for their nine albums, four of which charted on Billboard's Top 10 Country Albums Chart. They sold over a million albums and played to sell-out crowds, bringing the term "Red Dirt" to the nation. When Cross Canadian Ragweed decided to part ways, Cody resurfaced with a mission in mind, to pay homage to the Red Dirt writers and music that were formative. The Departed's first priority was getting into the studio and cutting the Oklahoma tribute album that Cody had wanted to do for years. This is Indian Land came out last year, a 15-track "buffet of really kick-ass Okie songs," Canada noted.
And so a seamless transition was made, Cody Canada and his long time Ragweed band mate, Jeremy Plato on bass and vocals; along with Seth James on guitar and vocals (Seth James Band, Ray Wylie Hubbard), Steve Littleton on B3 organ and keys (Live Oak Decline, Stoney LaRue & the Arsenals, Medicine Show) and Chris Doege on drums (Seth James Band, Nashville touring acts). The band members have known each other for years, and they know each other's musicianship. They are excited to be playing together, stoked about the new beginning that their first studio album of original material provides.
Cody Canada & The Departed continues to hit the road hard. As excited as they are about their gigs, they are taking it all very seriously. Canada continues, "Now it's a new band playing new songs so we've got to learn everything, get our game together and practice. It's a whole lot of fun. I can't sleep at night. It keeps me awake, not from worry but from excitement. We're just ready to tear it up."
Here's a segment dedicated to The Departed on the Ray Benson-hosted TV show 'Texas Music Scene':


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West Ham Utd 1-2 Chelsea (06/03/17)An archive of match day threads originally posted in the General Discussion forum.
Moderator: Gnome
Re: West Ham Utd vs Chelsea: Match Thread
Evidently you don't have much of an eye for football. Obiang is the best passer in our team.
Re: West Ham Utd vs Chelsea: Match Thread
As for best passer, that would Lanzini.
Re: West Ham Utd vs Chelsea: Match Thread
Obiang is definitely our best passer of a ball.
Re: West Ham Utd vs Chelsea: Match Thread
Seriously? Why's that? Because you looked us up on WhoScored and he has the highest successful pass percentage? That's because 90% of his passes are 3-5 yards or quick little one-twos (not a criticism). For all his strengths, Lanzini is not somebody that will often play a defence splitting pass, that's far more Pedro's bag.
Re: West Ham Utd vs Chelsea: Match Thread
Because he makes more of his passes as well as a higher frequency of them and protects possession extremely well in much tighter areas of the pitch where it's harder to keep the ball in the middle third of the pitch as well as the oppositions half. Noble would be the next best passer in the team, then Obiang who I strongly advocated to be in the side last season when he was struggling to get in it when others couldn't see what he was about.
Re: West Ham Utd vs Chelsea: Match Thread
I think you're struggling to comprehend that a player simply completing a lot of passes doesn't necessarily make them a great passer.
Like I said, most of Lanzini's passes are short, usually with the intention of retaining possession, whereas Pedro gets the ball around the halfway line and tries to split the defence and get somebody in behind — often successfully. That's a good passer.
Of course the player that plays most of their passes short is going to complete more, for one because it's easier to complete a 5 yard pass than a 30 yard one, secondly because there's far more opportunities to play a short pass than a long pass. Making conclusions based on numbers is stupid.
That's about close control and dribbling, nothing to do with passing.
Re: West Ham Utd vs Chelsea: Match Thread
Obiang has the best range of passing for sure. Lanzini and Nobke may be better at short pin point passes but neither of them get close to Obiang's ability to ping a ball.
All of that is by the by to the main point that Kante and Obiang are in no way similar except they play in midfield and have some kind of defensive, rather than attacking remit
Obiang should be playing as a box to Box midfielder for us in my eyes. His talent being wasted at the moment IMHO
Re: West Ham Utd vs Chelsea: Match Thread
Hang on, I could say the same about Obiang not being able to play anywhere near as many intricate 1 and 2 touch passes in the tightest areas of the pitch under pressure that Lanzini constantly does. They are both asked to do different jobs in different areas of the pitch but I wouldn't be surprised to see Lanzini ping a pass from deep if asked too as I've seen enough of his technique with a ball in general to believe that, but as he's rarely in Obiangs position to do so, we cannot say for sure he doesn't have it in his locker. I have though seen Obiang lose possession when he does rarely venture forward.
So when I weigh up who's a better passer, I take everything in to account and for me the amount of successful passes someone makes, however they are made under different circumstances it's Lanzini that's the best at it. I see that during games and the stats only back up what I thought I saw.
Good discussion though.
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This table, in a slightly different format is found in: Arthur R. von Hippel, ed.: "Dielectric Materials and Applications", M.I.T. Press, Cambridge, MA, 1954. It was posted on the NEC-LIST, and I foolishly forgot to note the poster's name, who should be credited
The temperature for all tables is 25C. The tables are structured cut and paste into a text file or Excel spreadsheet.
(see also soils.txt as raw material?)
Sandy Soil - Dry, 2.18%, 3.88%,
18.8% Water
Loamy Soil - Dry, 2.2%, 13.77% Water
Clay Soil - Dry, 20.9% Water
Magnetite Soil, Dry, unknown, 4.8%, 11.0% Water
Amplifilm (Bentonite + binder)
Frequency E/Eo Tan d 1.0E+02 3.420E+00 1.960E-01 1.0E+03 2.910E+00 8.000E-02 1.0E+04 2.750E+00 3.400E-02 1.0E+05 2.650E+00 2.000E-02 1.0E+06 2.590E+00 1.700E-02 1.0E+07 2.550E+00 1.600E-02 3.0E+08 2.550E+00 1.000E-02 3.0E+09 2.550E+00 6.200E-03 1.0E+10 2.530E+00 3.600E-03
Frequency E/Eo Tan d 1.0E+02 3.230E+00 6.400E-01 1.0E+03 2.720E+00 1.300E-01 1.0E+04 2.500E+00 5.600E-02 1.0E+05 2.500E+00 3.000E-02 1.0E+06 2.500E+00 2.500E-02 1.0E+07 2.500E+00 2.500E-02 3.0E+08 2.500E+00 2.600E-02 3.0E+09 2.500E+00 3.000E-02 1.0E+10 2.500E+00 6.500E-02
Frequency E/Eo Tan d 1.0E+02 1.0E+03 1.500E+03 1.0E+04 1.0E+05 5.000E+00 1.900E+01 1.0E+06 4.700E+00 1.750E+00 1.0E+07 4.500E+00 3.000E-01 3.0E+08 4.500E+00 3.000E-02 3.0E+09 4.400E+00 4.600E-02 1.0E+10 3.600E+00 1.200E-01
Frequency E/Eo Tan d 1.0E+02 1.0E+03 3.425E+03 1.0E+04 3.670E+02 1.0E+05 1.0E+06 2.000E+01 4.000E+00 1.0E+07 2.000E+01 3.500E-01 3.0E+08 2.000E+01 3.000E-02 3.0E+09 2.000E+01 1.300E-01 1.0E+10 1.300E+01 2.900E-01
Frequency E/Eo Tan d 1.0E+02 3.060E+00 7.000E-02 1.0E+03 2.830E+00 5.000E-02 1.0E+04 2.690E+00 3.500E-02 1.0E+05 2.600E+00 3.000E-02 1.0E+06 2.530E+00 1.800E-02 1.0E+07 2.480E+00 1.400E-02 3.0E+08 2.470E+00 6.500E-03 3.0E+09 2.440E+00 1.100E-03 1.0E+10 2.440E+00 1.400E-03
Frequency E/Eo Tan d 1.0E+02 1.0E+03 2.100E+00 1.0E+04 1.800E+01 1.600E+00 1.0E+05 1.0E+06 6.900E+00 6.500E-01 1.0E+07 4.000E+00 4.500E-01 3.0E+08 3.500E+00 6.000E-02 3.0E+09 3.500E+00 4.000E-02 1.0E+10 3.500E+00 3.000E-02
Frequency E/Eo Tan d 1.0E+02 1.0E+03 8.490E+03 1.0E+04 9.700E+02 1.0E+05 1.0E+06 1.0E+07 1.450E+01 1.300E+00 3.0E+08 2.000E+01 1.600E-01 3.0E+09 2.000E+01 1.200E-01 1.0E+10 1.380E+01 1.800E-01
Frequency E/Eo Tan d 1.0E+02 4.730E+00 1.200E-01 1.0E+03 3.940E+00 1.200E-01 1.0E+04 3.270E+00 1.200E-01 1.0E+05 2.790E+00 1.000E-01 1.0E+06 2.570E+00 6.500E-02 1.0E+07 2.440E+00 4.000E-02 3.0E+08 2.380E+00 2.000E-02 3.0E+09 2.270E+00 1.500E-02 1.0E+10 2.160E+00 1.300E-02
Frequency E/Eo Tan d 1.0E+02 1.0E+03 7.800E+03 1.0E+04 1.000E+03 1.0E+05 1.0E+06 1.0E+07 2.160E+01 1.700E+00 3.0E+08 2.000E+01 5.200E-01 3.0E+09 1.130E+01 2.500E-01 1.0E+10
Frequency E/Eo Tan d 1.0E+02 1.0E+03 1.0E+04 1.0E+05 1.0E+06 1.090E+00 1.0E+07 1.090E+00 3.0E+08 1.090E+00 2.500E-02 3.0E+09 1.005E+00 2.900E-02 1.0E+10
Frequency E/Eo Tan d 1.0E+02 3.950E+00 4.100E-02 1.0E+03 3.750E+00 2.900E-02 1.0E+04 3.620E+00 2.200E-02 1.0E+05 3.520E+00 1.700E-02 1.0E+06 3.500E+00 1.500E-02 1.0E+07 3.600E+00 1.200E-02 3.0E+08 3.500E+00 1.800E-02 3.0E+09 3.500E+00 2.200E-02 1.0E+10
Frequency E/Eo Tan d 1.0E+02 1.0E+03 1.0E+04 1.0E+05 1.0E+06 1.200E+01 9.000E+00 1.0E+07 1.000E+01 1.000E+00 3.0E+08 9.000E+00 1.200E-01 3.0E+09 8.300E+00 2.200E-01 1.0E+10
Frequency E/Eo Tan d 1.0E+02 1.0E+03 1.0E+04 1.0E+05 1.0E+06 1.0E+07 3.000E+01 4.000E+00 3.0E+08 3.000E+01 2.000E-01 3.0E+09 3.000E+01 3.200E-01 1.0E+10
Frequency E/Eo Tan d 1.0E+03 4.320E+00 2.200E-03 1.0E+04 4.300E+00 1.900E-03 1.0E+05 4.300E+00 1.700E-03 1.0E+06 4.300E+00 1.700E-03 1.0E+07 4.290E+00 1.800E-03 3.0E+08 3.0E+09 1.0E+10
More data, from a NEC-LIST post on 30 May 2000 by Prof Duncan Baker (email@example.com), citing "TAI Inc Consuletter International", Vol. 6, No. 5, Earth Constants by Peter N Saveskie:
Earth Type Conductivity Permittivity Sigma (Mhos/m) Epsilon Poor 0.001 4.0 - 5.0 Moderate 0.003 4.0 Average 0.005 - 0.01 10.0 - 15.0 Good 0.01 - 0.02 4.0 - 30.0 Dry, sandy, flat (typical of coastal land) 0.002 10.0 Pastoral Hills, rich soil 0.003 - 0.01 14.0 - 20.0 Pastoral medium hils and forestation 0.004 - 0.006 13.0 Fertile land 0.002 10.0 Rich agricultural land (low hills) 0.01 15.0 Rocky land, steep hills 0.002 10.0 - 15.0 Marshy land, densely wooded 0.0075 12.0 Marshy, forested, flat 0.008 12.0 Mountainous/hilly (to about 1000 m) 0.001 5.0 Highly moist ground 0.005 - 0.02 30.0 City Industrial area of average attenuation 0.001 5.0 City industrial area of maximal attenuation 0.0004 3.0 City industrial area 0.0001 3.0 Fresh water 0.002 - 0.01 80.0 - 81.0 Fresh water at 10.0 deg C (At 100 MHz) 0.001 - 0.01 84.0 Fresh water at 20.0 deg C (At 100 MHz) 0.001 - 0.01 80.0 Sea water 4.0 - 5.0 80.0 - 81.0 Sea water at 10.0 deg C (to 1.0 GHz) 4.0 - 5.0 80.0 Sea water at 20.0 deg C (to 1.0 GHz) 4.0 - 5.0 73.0 Sea ice 0.001 4.0 Polar ice 0.00025 3.0 Polar Ice Cap 0.0001 1.0 Arctic land 0.0005 3.0
end of table
and some comments from George Hagn (email@example.com )
The ITU-R Recommendation on Ground Constants is in error in the HF band. It is not possible to have no dispersion in both the conductivity (sigma, in S/m) and the relative dielectric constant (epsilon r) across the same span of frequency. The ITU-R data show constant values across the HF band, and the ITU-R conductivity starts to increase with increasing frequency at exactly 30 MHz. The Hilbert transform pair relate the real and imaginary parts of a complex variable that satisfies certain conditions. The complex relative permittivity (epsilon r complex = epsilon r prime - j epsilon r double prime) satisfies these constraints, and therefore the effective relative dielectric constant (epsilon r prime, the real part) and the conductivity (part of epsilon r double prime) are deterministically related for any given soil at a given volumetric moisture content. The relationship is given in the literature as the Kramers-Kronig relationship, and an ACES paper a year ago or so gave an example of this for a semiconductor. The K-K relationship implies that if one of the terms has no dispersion, the other term must have maximum dispersion. For example, if the relative dielectric constant of sandy soil is very low (e.g., 3.5), then the conductivity has its maximum dispersion (with conductivity increasing by over an order of magnitude across the HF band). I have demonstrated this with measurements with my open-wire line (OWL) kit many times (e.g., VOA site at Rhodes, Greece; Eglin AFB, FL, etc.). Therefore, dont rely on the ITU-R data for HF ground "constants." I am in the process of providing ITU-R Study Group 3 with revised curves for the Recommnedation so that it can be corrected. Anyone interested in more on this, please contact me at my erols.com email address.
The conductivity starts out with the DC conductivity, which is due to the ions in the moisture that is "free water" and not "bound water." As the frequency increses past about 1 MHz for most soils, the conductivity starts to rise. The term that does decrease monotonically with increasing frequency is the term epsilon r double prime, the loss term. It does so for frequencies up to about 1.5 GHz. The loss term then starts to increase (as the absorption of the water molecules start to dominate the loss process over the ionic conductivity that was dominant at lower frequencies on down to DC. The conductivity goes through a maximum value at about 17 GHz, the frequency at which epsilon r prime and epsilon r double prime are equal, and then starts to decrease for frequencies above about 17 GHz. The exact frequency of the maximum varies with soil characteristics, but it is a frequency below the absorption line at 22.235 GHz for pure deionized water.
even more discussion in the NEC-LIST archives.. for instance: http://dutettq.et.tudelft.nl/~koen/Nec/Archive1998/0183.html


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Bauback Yeganeh is founder and principal of Everidian, an org-effectiveness consulting firm. His work enhances and sustains organizational performance through leadership development, strategic planning and execution. Yeganeh has consulted to businesses across multiple industries including financial services, biotechnology, manufacturing, healthcare and telecommunications. His client list also includes global NGO's focused on development and human rights. Yeganeh has worked in North and South America, Europe, Asia and the Middle East.
Yeganeh regularly partners in leader development endeavors with Duke Corporate Education, Case Western Reserve University, Center for Creative Leadership, and UNC Executive Development. He founded and leads the program in mindfulness through Weatherhead Executive Education, and has served as an adjunct professor at Elon University and American University. Yeganeh holds a PhD in organizational behavior from Case Western Reserve University, an MS in organization development from American University and a BA in industrial/organizational psychology from the University of Maryland. He is an author of forward-thinking articles on mindfulness and intentional leadership, a guitartist and a music enthusiast.


text:
Words and Photos: Matt Alberts
Every April groms and young shredders from all across the United States make their way to Copper Mountain, Colorado to duke it out for the title of "Nation Champion", and some hefty cash prizes.
Tuesday night kicked off the 2012 USASA Nationals with the Open Class Rail Jam sponsored by Cholula. Stand out riders like young-buck Jaromie Noland 15, out of Big Bear Ca, Kyle Kelly 17, from The Hill's Il, and Samuel Steinke 17, from Galena Il were just a few of the young shredders that came from all over the country to compete. While everyone killed it, at the end of the night it was Eric Beauchemin 21, from Stratton Mountain Vt. That walked away with 1st place and 2G's Ca$h money.
Be on the look out for more coverage from Nationals dropping all weekend!


text:
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text:
On February 14, 2013, people in Ahmedabad, Kolkata, Bangalore, Mumbai, Imphal, New Delhi, Chennai and Hyderabad, came together in a first-of-its-kind protest against the widespread violence against women. After the horrific gang-rape of the 23-year-old medical student in Delhi, in December last year, the nation came out in protest demanding safer cities and the right to live free from fear. Joining the global movement ONE BILLION RISING, a call for the one billion women and all the men who love them to walk out of their jobs, schools, offices, homes on Valentine's Day 2013 and strike, rise and dance, people in these cities came out to dance.
"Nothing we have ever done has spread so fast and happened so easily. It is happening in 205 countries. It is happening where women will risk their lives to dance and where women have never danced before. It is happening in all 7,000 islands of the Philippines and in over 50 cities in Turkey. There are 100 risings in Italy, 135 risings in UK and thousands in North America. We are expecting 25 million to rise in Bangladesh, and it's hard to imagine the numbers in India but they will be massive," says founder Eve Ensler, explaining how much the campaign had accomplished before the dancing even began.
More on One Billion Rising.


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Irina Kadis
Curatorial Assistant, Dana Greenhouses
125 Arborway
Boston, MA 02130
Phone: 617.384.5648
Fax: 617.524.6413
At the Arnold Arboretum, I have been assigned a number of specific curatorial tasks. I am responsible for annual inventories in the dynamic environment of the Dana Greenhouses and nursery, which serves as the gateway for all plant material arriving at the Arboretum. This also involves producing nursery labels for newly propagated/received plants. My other assignment is collecting specimens of plants grown on the grounds for the Arnold Arboretum's Herbarium of Cultivated Plants and revising the existing holdings.
I run annual inventories and provide curatorial support of the Arboretum's North American rare woody plant collection held in collaboration with the Center for Plant Conservation (CPC). Native North American plants that have become rare within their natural ranges are allocated by the CPC to botanical institutions for preservation as cultivated material. Holdings of many botanic gardens and arboreta together constitute the national collection of rare plants. A special feature of this collection is that it has to represent as many natural populations as possible for each species of concern. Therefore, the Arnold Arboretum has multiple holdings for every species of its CPC collection distributed across the grounds. Currently, our collection features nine rare plants: Nantucket shadbush (Amelanchier nantucketensis), two species of bush honeysuckle (Diervilla sessilifolia and D. rivularis), mountain witch-alder (Fothergilla major), long-stalked holly (Ilex collina), two azalea species (Rhododendron prunifolium and R. vaseyi), Virginia spirea (Spiraea virginiana), and a species of viburnum (V. bracteatum).
In my spare time, I have been a student of the flora of Massachusetts. I am a board member of the New England Botanical Club. In the photo gallery on my website, you can find four-season photos with captions of more than 1,300 plants growing wild in Massachusetts—along with plant inventories for a few Department of Conservation and Recreation (DCR) or town properties. The inventories have been used by the DCR for their resource management plans. The photos have been employed in different ways, including a Massachusetts Division of Fisheries and Wildlife invasive plant brochure, a pine barrens brochure by the Nature Conservancy, and the Online Flora of New England Go Botany project of the New England Wild Flower Society. The name of my website, Salicicola, translates from Latin as "dwelling on willows." Along with some of the site contents, it depicts my life-long interest in the genus Salix (willows). I am also an editor at Skvortsovia, a new international journal of salicology and plant biology.
Though my background is plant ecology, my 20-year employment at the Arboretum has sparked my interest in horticulture, particularly, promotion of native plants for private gardens. As a board member of the Friends of Myles Standish State Forest (Plymouth), I have been propagating native plants growing in the Forest for displays, which are intended to demonstrate the horticultural potential of plants native to southeastern Massachusetts but not traditionally used in horticulture.


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If you're not sure how to use content marketing to grow your business, you're in luck. BizSugar (sister site owned by Small Business Trends) will be hosting a Facebook Q & A chat titled, "Creating Content Gold" to answer your questions about content marketing. The Facebook chat will take place on Monday, February 27, 2012, from 4:30 to 5.30 pm EST (New York time) on the BizSugar Facebook page. BizSugar member Ileane Smith, (@Ileane on Twitter) will be there to answer your questions.
This hour-long session is designed to address the questions small business owners and managers like you have about using content — blogs, social media updates and websites — to effectively market your business. You'll have the opportunity to ask Ileane your questions and interact with other small business owners asking questions.
About Our Speaker
Ileane is a BizSugar community member of the week, as well as an expert on blogging and social media. She is the voice behind BasicBlogTips, a website dedicated to delivering blogging and social media tutorials in a variety of formats including blog posts, audio and video podcasts.
Ileane started her small business adventure two years ago when her daughter Nikki convinced her to start a blog. Since that time, Ileane hasn't looked back. Though she has created much of the content herself, she has also hosted many other bloggers who have also created quality content for the site.
How does a Facebook chat work?
It's simple. Just visit the BizSugar Facebook page at the date and time specified above and begin posting your questions. Ileane Smith will take questions from you for one hour about content marketing and answer them for you.
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We encourage you to join the BizSugar Facebook community and dive into the chat along with Ileane and the BizSugar team to find out how to turn your content into online gold. See you there!
From Small Business Trends Creating Content Gold: Question and Answer Session on Facebook
Read more posts on Small Business Trends »


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Coworking Space in Manhattan
When folks imagine New York City, they've got Manhattan in mind. They see its streets bustling with movers-and-shakers, its high-rises and skyscrapers with eyes on the future. And Manhattan office space is the definition of business, whether in modern towers, industrial lofts, or classical landmarks. If you're looking to channel some iconic business acumen in your day-to-day, WeWork in Manhattan is the place.
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201-300 greatest movies
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effect except with respect to any changes in its provisions in the
future, which will be in effect immediately after being posted on this
We reserve the right to update or change our Privacy Policy at any time
and you should check this Privacy Policy periodically. Your continued
use of the Service after we post any modifications to the Privacy
Policy on this page will constitute your acknowledgment of the
modifications and your consent to abide and be bound by the modified
Privacy Policy.
If we make any material changes to this Privacy Policy, we will notify
you either
through the email address you have provided us, or by placing a prominent
notice on our website.
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User Agreement
Frame Impulse
operates Indian Films Info (http:// www.indianfilmsinfo.com). Indian Films Info is an informative content based
website and online platform for Films and TV professionals. Our
services are for mutual benefit of members by enabling you to contact
each other to avail different services among themselves. Indian Films Info Services are FREE!!!
When you use our Services, you are entering into a legal agreement
and you agree to all of these terms.
You also agree to our Privacy and Cookie Policy (Read in Privacy and
Cookie Policy Segment). If you do not agree to this Agreement, do not
access or otherwise use any of our Services.
Registered users of our Services are "Members" and unregistered users
"Guests". This Agreement applies to both.
You are eligible to enter into this Agreement if you are above 18 years
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You are responsible for anything that happens through your account.
We can change, suspend or end any Service, or change and modify prices
prospectively in our discretion.
You agree that we have no obligation to store, maintain or provide you
a copy of any content or information that you or others provide.
We have the right to limit how you connect and interact on our
You promise to only provide information and content that you have the
right to share. You own the content and information that you submit or
post to the Services and you
are only granting Indian Films Info the following permissions:-
A worldwide, transferable and sub-licensable right to use, copy,
modify, distribute, publish, and process, information and content that
you provide through our Services, without any further consent, notice
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Indian Films Info DOs and DON'Ts
Changes To This User Agreement
This User Agreement is effective as of 05/02/2017 and will remain in effect
except with respect to any changes in its provisions in the future, which
will be in effect immediately after being posted on this page.
We reserve the right to update or change our User Agreement at any time and
you should check this User Agreement periodically. Your continued use of
the Service after we post any modifications to the User Agreement on this
page will constitute your acknowledgment of the modifications and your
consent to abide and be bound by the modified User Agreement.
If we make any material changes to this User Agreement, we will notify you
either through the email address you have provided us, or by placing a
prominent notice on our website.
NOTE:- In the unlikely event we end up in a legal dispute, it will take
place in
Mumbai courts, applying Indian / Maharashtra State law.


text:
JGC needed a new web page design and created a contest on 99designs.
A winner was selected from 70 designs submitted by 15 freelance designers.
LuxuryduJour.com is an online retailer providing designer brands to members at member-ship only prices.
LuxuryduJour.com seeks a website that conveys fun, luxurious, and stylish
Everyone is welcome to enter the logo contest too
- Stylish bargain hunters ages 18 to 50
- Internet users of all level (try to make design as simple as possible please)
- Brand aware individuals
Two web page designs (Please check Website Frames google Document for visual layout)
· Splash Page with email sign up text box along with all other requirements
· Splash Page with place for information regarding the information below (all except home)
Must contact these information tabs (bottom of web page)
· Home
· About
· Help
· Careers
· Affiliate
· Contact
· Terms
· Privacy
Please consult these websites for inspiration
Something to display products available
The colors that are available for use are Gold, and Dark Brown
Winner must provide:
1. A Layered RGB Photoshop PSD file
2. All image files associated with the design either in JPEG or PNG format
3. A dream weaver version of the design if possible
The winner will be contacted in the future for more web design work for our company.
I will give feedback every day.
Be creative as possible!