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Burwell: Do's and don'ts
Sylvia Mathews Burwell will start her new gig with a lot of goodwill. Everyone knows she's not the Health and Human Services secretary who fumbled the launch of Obamacare, but the competent head of the wonky Office of Management and Budget.
And then, something else will break. And then, Burwell could end up the one up on Capitol Hill, taking one for the team at the next round of Obamacare hearings, just like Kathleen Sebelius used to.
Story Continued Below
And you don't want to be in the room when Burwell finds out there's more to the job than just running Obamacare.
( See POLITICO's full coverage of Obamacare)
Fortunately, there's a lot that Burwell can learn from what's happened so far with the Affordable Care Act, and from the people who have held top jobs in the massive HHS bureaucracy. Here's a list of do's and don'ts for the next HHS secretary:
Do: Trust but verify. The view of Sebelius's role in the botched rollout, from those who have worked closely with her, is similar to President Barack Obama's role: Both got lots of happy talk and didn't receive the warnings they should have gotten.
So whenever Burwell is about to preside over the launch of a new initiative — whether it's under the Affordable Care Act or anything else — and is being assured everything's fine, HHS veterans advise her to ask a simple question: "Really?"
And as a follow-up: "Really?"
The generally accepted storyline on the website fiasco is that the Obama administration was poorly served by its main contractor, CGI, and the bad news didn't travel up the chain of command. But that's what good management is all about — asking the right questions, checking it out for yourself and not just accepting the happy talk, especially when it's Obama's signature achievement that's on the line.
( WATCH: Timeline of Obamacare deadlines)
"There was a little bit of withholding [of information] at every level. By the time it reached the senior officials, it just didn't line up with reality," said one former HHS official.
Don't: Be a rubber stamp. The HHS secretary has to answer for all of the decisions on Obamacare implementation, but the reality is that they aren't all made at HHS. A lot of them are made at the White House, and sometimes the department's top officials are taken by surprise.
One example: The decision to delay the law's employer mandate came as a surprise to Marilyn Tavenner, the head of the Centers for Medicare and Medicaid Services, who testified that she was only "made aware" of the decision about a week before it was announced.
That's why agency veterans say Burwell should insist on being part of all important decisions, and push back when necessary. That may be tough for someone who's coming from the White House end of government — the Office of Management and Budget — but it will be needed to make sure HHS can maintain a sense of independence.
"She's got to make sure she's not a semi-office of the White House, but looks at things critically and objectively and is able to engage appropriately in the conversations," said the former HHS official.
( Also on POLITICO: Smaller ACA hikes forecast in 2015)
Do: Finish the website. Yes, the part that consumers deal with is working well now, and even held up (mostly) under the strain of the last-minute enrollments. But insurers are still waiting for the administration to finish the pieces consumers don't see — like the parts that handle the payment of subsidies to insurers and compensate the ones that draw too many sick customers. They'll be anxious to see those parts finished so they don't have to keep doing so many manual workarounds.
Don't: Set goals unless you're sure you can meet them. When Sebelius said last year that "success looks like" 7 million customers, she violated a rule of Politics 101: underpromise and over-deliver. If you think you're actually going to hit 7 million, say your goal is 5 million. That way, if you don't get 7 million, you won't get beat up for it. And if you do, you look like a genius.
For months after the website disaster, it looked like the Obama administration would fall way short of the goal and have to spend its days explaining why it wasn't important. That story had a happy ending for Sebelius because the website recovered enough in the end that they got their 7 million sign-ups after all.
But it was an important lesson for Burwell: Don't get pinned down to numerical goals that can come back to haunt you. And if you do set them, low-ball them.
( CARTOONS: Matt Wuerker on Obamacare)
Do: Learn to catch arrows. It's an unfortunate part of the job, but one thing the HHS secretary has to do is testify before Congress and take the hits from all of the latest Obamacare criticisms. Sebelius has been criticized for her political savvy in other situations, but one thing she knew how to do was accept public responsibility for the website disaster even though there was plenty of blame to go around. Sooner or later, Burwell may have to do the same thing when the next fire erupts.
Don't: Be afraid to ask for more time. Donna Shalala, who served as HHS secretary under President Bill Clinton, says Sebelius was constrained by a series of deadlines in the law. All of the big pieces — like coverage of pre-existing conditions, subsidies and Medicaid expansion — had to start this year, so for all practical purposes, the health insurance exchanges did, too.
So as Burwell picks up the implementation duties, she shouldn't be shy about telling congressional leaders if she needs more time for whatever pieces still lie ahead, said Shalala, now president of the University of Miami.
"Unfortunately, Secretary Sebelius was under very tight deadlines," said Shalala. "It will be important for [Burwell] to look very carefully at what's left to do and make sure she has enough time to do it."


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Video: Nexus 5 Teardown & Cracked Screen Repair, Reassembly
DirectFix just released the Nexus 5 teardown repair video. This step by step repair video will show you all the steps you need for fixing the Nexus 5 from LG. This will help with fixing your charging port if it goes bad, your headphone jack if it stops working, earpiece, or even a broken screen replacement in a few simple steps

subset: commoncrawl


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MARLBOROUGH � The legal wrangling between the city and WeCare continued this week, as the composting company filed for a temporary restraining order,�accusing the city of improperly ordering the�facility to be shut down.
The city and the company have been scrapping�in a legal battle that has both sides volleying accusations in federal court in Boston since the city filed suit in the fall.
The city initially filed suit in November, claiming that WeCare Environmental LLC, which processes sewage sludge and garbage waste into compost, has violated environmental laws and caused rancid odors to waft into surrounding neighborhoods.
The city also claimed that WeCare was trespassing by sending wastewater back to the city�s Easterly Wastewater Treatment Plant, which sits beside the WeCare facility, without having an industrial discharge permit. The city additionally claimed that wastewater from WeCare exceeded allowable limits for pH levels, total suspended solids, ammonia nitrogen and other materials.
WeCare, in turn, claimed that the city breached contract by moving directly to litigation instead of trying to work out disagreements through arbitration.
The latest wrinkle in the case came last week, when WeCare was ordered by the city to shut down, according to a press release issued by the company on Tuesday. The company, which filed this week for a temporary restraining order against the city, claims pumps that move wastewater through the system were shut off without any notification. The company claims that the city then shut down the composting plant based on a visual inspection of wastewater samples that appeared cloudy � a result, company officials say, of the pumps being shut down in the first place.
"We believe the plant was shut down for no good reason, certainly without any objective testing, and it is costing Marlborough taxpayers thousands of dollars every day to truck their trash to a landfill instead of recycling it at our plant," WeCare President Phil McCarthy said in a press release.
In the release, WeCare officials said the city claimed the cloudy water could damage the Easterly Plant and placed locks on the pumps to prevent more wastewater from being pumped in from WeCare. WeCare, according to the press release, then reduced water flow to prevent an overflow of wastewater, which prompted the city to claim that WeCare was not operating to the specifications in its�permit. The city then ordered the plant to shut down, according to the release.
Neither Public Works Commissioner John Ghiloni nor City Solicitor Donald Rider responded to requests for comment Wednesday.
The two sides met at the Moakley Federal Courthouse in Boston on Wednesday for a hearing on the motion for a temporary restraining order, said Doug Pizzi, a spokesman hired by WeCare. Pizzi said that the hearing was continued to Friday or Monday and said U.S. District Court Judge Dennis Saylor ordered both sides to work�on a compromise to get the plant reopened.
This spring, WeCare and the city were engaging in court-assisted mediation to try to reach a compromise on the suit, but the city has declared that it prefers to go to trial, Pizzi said.
Kendall Hatch can be reached at 508-490-7453 or email@example.com. Follow him on Twitter @Kendall_HatchMW.
Squabble over plant heats up in Marlborough
MARLBOROUGH � The legal wrangling between the city and WeCare continued this week, as the composting company filed for a temporary restraining order,�accusing the city of improperly ordering the�facility to be shut down.


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Jalic Inc necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 40 diseños de 17 diseñadores freelance.
My Smart Sponsor.com
Experienced website publishing looking looking for a nice web 2.0ish logo for a new website catering to non-profits, web communities, and community organizations.
Non-profits, web communities, community organizations. The primary purpose of the site is to facilitate fundraising, but don't assume that I am targetting only charities, I'm not. I'm targetting nonprofits, there is a difference. A gun club is a nonprofit, but definitely not a charity. This is not a charity site, this is a site to help raise money for your organization, a church, boy scouts, a gun club, a school band, a community website, be that a community on sustainable living, or a community about tattoos, a political party, campaign, or action group. The point being, I don't want a logo with a bunch of people holding hands, it needs to be more universal than that.
The main feeling I want to convey is freedom. This site helps you with fundraising so you have the freedom to worry about running the other parts of your organization. Or money, in that this site will help you raise money so you can do more of whatever it is you do. Or membership support, this site will help your members support your organization more easily.
White background
No badge-style logos (a big circle or square with a bunch of stuff in it). Simple & stylish.
Red & Blue colors. Exact shades I leave at your discretion, but red & blue.
tagline: Helping you help others.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Nafs Hotel
Nafs hotel is an oasis of comfort in one of the most beautiful beaches of Nafpaktos. The panorama of the Corinthian, the Venetian port and the admirable suspension bridge of Rion Antirion embraces the luxurious shelter that is inspired from the elements of nature: ground, air, fire and water.
Its sophisticated rooms equipped with all the comforts you would expect from a four star hotel exhale the charm of the contemporary style and make you feel special from the first moment of you arrival in this boutique hotel.
Each room contains mini bar, safe box, Plasma TV, direct dial phone, free high speed internet connection. You can find full harmony and balance in the spacious and fully soundproof rooms of the hotel.
Nafs hotel is situated on the picturesque beach of Psani overlooking the panorama of the Corinthian Bay and the breathtaking Venetian Castle on the top of the green wooded hillside. Nafs hotel reflects the luxurious side of Greek hospitality giving its guests the opportunity to indulge in the amazing facilities that a modern and luxurious hotel can offer.
Availability & RatesTo view availability and prices please select dates and click 'Update Dates'
Hotel Facilities & Policies
- 24 Hour Reception
- Air Conditioning
- Bar
- Bicycle hire
- Free Breakfast
- Cable TV
- Cafeteria
- Credit Cards Accepted
- Direct Dial Telephone
- Elevator
- Free Internet Access
- Free Parking
- Free WiFi
- Hair Dryers
- House Keeping
- Internet Access
- Key Card Access
- Laundry Facilities
- Luggage Storage
- Meeting Rooms
- Mini Bar
- Outdoor Swimming Pool
- Safe Deposit Box
- Taxes included
- Tours/Travel Desk
Cancellation PolicyThis property has a 3 day cancellation policy. Failure to cancel within this time will result in a cancellation charge equal to the first night of your stay.
Must-Read Hotel InfoThis property has specific Terms & Conditions.
Please note:
Cancellation Policy: 3 days before arrival
Check In: 2pm
Check Out: 12noon
Method of Payment upon arrival: Visa, Mastercard, Cash
Breakfast is included
Taxes are included
Reception = 24h
No Pets accepted
SUPER SEASON :MIN STAY 5nights (24 July till 24 August)
DirectionsShow MapHide Map
33 Athanasiadi Nova Street,
Located at the skirts of the mountain range of Pindos, 2 hours from the main capital, at the Central Greece, Nafpaktos is the second most populated town in Aitoloakarnania.
Athens 218 Km, Patras 22 km, Araxos airport 60 km
Located Near
Just 150m from the Cosmopolitan Venetian port, on the beach of Psani, a breath away from the commercial centre, Nafs hotel offers a remarkable window to the beauty of Nafpaktos an ideal hub for tours and excursions.
Inspired from nature, dedicated to hospitality, Nafs hotel constitutes a paradise where your wishes come true.


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I am not all that sure that any outside influences are why kiting is no longer in the Olympics for 2016
Remember the vote to get windsurfing back in did not get the numbers as required in November.
I believe it was the fact that there was some little known rule the winder surfers found that meant anything that was voted on or changed throughout the year could be raised and made to re-vote at the AGM.
I bet anyone how makes a change to rules etc throughout the year will now be watching their back until the agm at the end of each year is over, either that or they will all vote to change this rule so it cant happen again to any other decision made during the year as it turned into a major debacle in the eyes of the public and also most likely the IOC!


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Love Triangles: A History Of Men Fighting Over The Same Woman
Drizzy and Com have been beefing over what, exactly? CAKES!
But Serena Williams isn't the only woman caught in the middle of a fight between two guys. Just check these ladies who were fine enough to have men competing for their love. Who won? Find out!
Cassie – Diddy snatched her from Ryan Leslie and damn near ruined Ryan Leslie's life. Ryan still hasn't recovered.
Serena Williams – Now Drizzy and Common are in the middle of the biggest rap beef we've seen in years all over those cakes! Worth it? Yup.
Elizabeth Taylor – This old school banger had Eddie Fisher and Richard Burton fighting for her ON THE SAME MOVIE SET!
Carmen – Nas and Jay's feud hit a second gear after Jay mentioned that he was banging Nas's baby momma. She ain't even that fly!
Faith Evans – The biggest rap feud ever got to a fever pitch when Pac told the world he banged Biggie's wife. Noooo, not Faith!
Sammi From Jersey Shore – She had The Situation and Ronni fighting for her and even coming to blows in Season 4. And not JWoww?!
Continue Slideshow
Meg Ryan – This old Becky had Dennis Quaid and Russell Crowe fighting for her. Yeah, Meg is a ho on the low.
Madonna – She broke Guy Richie's heart by running around with Alex Rodriguez and went back and forth with them for a bit. Not bad for a 73 year old.
Jennifer Lopez – J. Lo straight left Judd for Ben Affleck. J. Lo just can't stick with a man, it seems.
More On Bossip!
Twitter Files: The World Welcomes Princess Blue Ivy Carter And Speculates About What Her Name Means
Everybody Hates Kim: A List Of People That Had Beef With Kimmy And Her Cakes
For The Single And Seeking: The Best U.S. Cities To Find A Date In 2012 (Do You Already Live There??)
Get Your Life Together: The Craziest, Wildest And Dumbest Fan Tattoos Of All Time
More Stories From Bossip
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Posted by Editoress on 02/9/10
Team BC held it's annual winter training and testing camp February 5-7 in Victoria in conjunction with Canadian Sports Center-Pacific and the newly formed Victoria Cycling Academy, Cycling BC's High Performance Team youth training center.
Lead by Team BC Coaches Steve Lund and Jeff Ain riders started testing in the CSC-Pacific High Performance Lab on Friday morning and testing continued throughout the day. Riders not testing got a quick session on dynamic core strength and stability in the High Performance Gym and a few took the chance to hit the road in the sunshine. Friday evening saw the whole group come together in the kitchen. CSC-Pacific Dietitian Sue Boegman ran a great session on what to eat when on the road and how to prepare it. The session was a hit as everyone got some well needed apron time and hands on experience cooking some delicious and nutritious meals.
Saturday was another gorgeous day in Victoria and the roadies got an early start on a solid 4 hour ride that included 3 TT type efforts around the airport. The MTBers finished up their testing in the AM, then hit the trails at Hartland MTB Park in the afternoon. Former National Junior XC Champion Jeff Clarkson was out to help lead our young Team BC riders through the forest as they tackled Twister, Lumpy Pants and Crazy Horse trails. After the rides on Saturday the riders were treated to a Recovery Session in the CSC-Pacific Regeneration Room. The tubs filled with hot and cold water were a little intimidating to some, but after a few dips in tubs everyone soon realized that their legs were feeling lighter already and all welcomed the benefit of a little extra recovery after the hard efforts of the day. Riders were then off to the Ewart's house as Sarah Ewart and Claudia Logan once again treated the riders to a home made feast to further speed their recovery and get everyone ready for the big rides on Sunday.
Sunday was a little rainy, but the rain did little to dampen the spirits of 20 inspired Junior and U-17 cyclists! The day started with an hour of skills in the parking lot where the MTBers did their best to show off their superior bike handling skills. Everyone hit the road together, but after a couple km the MTB riders hit the gravel and headed to the trails for another great ride at Hartland while the roadies set off for Land's End. As if by design, everyone came together a few km from the Training Center 3.5 hours later and the group rolled in to end a great weekend of training.
Next up is a 2 week training camp in sunny Tuscon Arizona for Team BC's top U-23 and U-19 riders, February 22-March 7. Also planned is a big development MTB and Road camp to be run for U-15 and U-17 riders in and around Victoria at Spring Break, March 6-12. Stay tuned for updates and more details!
Thanks to our host families the Ewarts and Logans and the great Cycling BC High Performance Team sponsors, Haywood Securities, ATAC Sportswear, Adera and FAB-All Manufacturing for their cash support of our high performance and long term athlete development programs. A big thank you also goes out to Rob Mulder of Roberts Sailworks for the use of his Smart Car crushing monster van. As well the Cycling BC High Performance Team would like to thank Canadian Sport Centre Pacific for their coaching program support and assistance in hosting Training Camps and our on going training programs in Victoria and throughout BC.
Courtesy Steve Lund, Cycling BC
|Return to Canadian Cyclist homepage | Back to Top


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There was a pic floating around the Scum forums of the BP Mace. Having seen it as well as possessing decent vision, I can confirm that the white plastic on the removable armor does indeed match the forearm plastic. For this reason, I plan on passing on the current Mace Windu figure and waiting for the BP instead.
Picked them both up today by having someone pull them from the back with the DPCI.
Don't they all have the same #?
Page created in 0.043 seconds with 19 queries.


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Joan and Sanford Weill Hall
Joan and Sanford Weill Hall, located at the southern gateway to central campus, houses all of the Ford School's courses and faculty and the majority of the school's public events and activities. Constructed in 2006, the facility is state-of-the-art--and yet provides warm and welcoming gathering spaces for students and faculty
Designed by Robert A.M. Stern Architects, Joan and Sanford Weill Hall opened in August 2006. The 85,000-square-foot building on the northeast corner of State and Hill streets offers state-of-the-art classrooms, event spaces, and comfortable niches for student-faculty study and collaboration.
Weill Hall's highly visible location at a gateway to central campus positions it as a central venue for public discussion of current national and international policy issues. Its stately facade of brickwork and stone complements the style of other longstanding University of Michigan landmarks, including the Michigan Union, the Michigan League, Lorch Hall, and the Hatcher Graduate Library.
Weill Hall's three primary wings are arranged in a U-shape to maximize the amount of natural light inside. These wings embrace an east-facing courtyard on the second level. Throughout the building, alcoves and lounges of various shapes and sizes provide the informal meeting spaces that are crucial to faculty-student collaboration and community.
Click here to see photos of Weill Hall and other University of Michigan landmarks
Building Hours and Accessibility
Normal Hours (Sep 1 - Apr 30)
7:30am - 6:00pm M–F—Normal access, doors are open
6:00pm - 7:30pm M–F—Keycard access for all U-M community members
7:30pm - 7:30am/Weekends—Keycard access for Ford School community members
How to reserve space
Space in Weill Hall may be reserved only by members of the Ford School community for events and activities tied to the school's mission. Read more about our reservation policies and available facilities, then request a room. Please direct questions to email@example.com.
Step 1: Read Ford School Policies
Space in Weill Hall is only available for reservation by members of the Ford School community for activities related to the mission of the Ford School. A minimum of four Ford School students must be in attendance for non-Ford School events. Rooms may be reserved for four-hour blocks of time. If there are circumstances in which more time is required, please contact the facilities manager at email@example.com.
Exceptions do apply to the five "classrooms"—Walter and Leonore Annenberg Auditorium, Betty Ford Classroom, Paul and Nancy O'Neill Classroom, Max and Marjorie Fisher Classroom, and the David G. and Judith C. Frey, Frey Foundation Classroom—as these classrooms are generally scheduled for U-M courses during the day.
Though the registrar controls the daytime scheduling of these rooms, requests for the use of the space should go through the Ford School facilities manager. Please click on the room description links below for more detailed information about room availability and reservation arrangements.
For those needing to reserve office space for staff, faculty, PhD students, or research assistants—please read the Office Allocation Procedures and complete the Office Space Request Form. Completed forms should be returned to the 4th floor "Facilities" mailbox.
Step 2: View Floor Plans, Room Descriptions, and Check Availability
Floor plans list available rooms on the 1st floor, 2nd floor, 3rd floor, and 5th floor.
Note: BF = Barrier Free, Extra = Auxiliary Chairs Available
|Room #
|Room Name
|Great Hall
[ availability | request | more information ]
|Betty Ford Classroom
[ availability | request | more information ]
|Walter and Leonore Annenberg Auditorium
[ availability | request | more information ]
|David G. and Judith C. Frey, Frey Foundation Classroom
[ availability | request | more information ]
|Max and Marjorie Fisher Classroom
[ availability | request | more information ]
|Paul and Nancy O'Neill Classroom
[ availability | request | more information ]
|Steelcase Conference Room
[ availability | request | more information ]
|Scowcroft Conference Room
[ availability | request | more information ]
|Sigma Phi Epsilon Study Room
[ availability | request | more information ]
|Hudak Computer Classroom
[ availability | request | more information ]
|3rd Floor Seminar Room
[ availability | request | more information ]
|20 + 10 Extra
|5th Floor Seminar Room
[ availability | request | more information ]
|14 + 6 Extra
Step 3: Reserve a Room
Once you've determined that your purpose falls within Ford School policies, and identified the right room for your event, click the 'request' link in the table above and complete the room reservation form.
Safety and Security
- Safety: In the event of severe weather, occupants will be directed to the first floor classrooms: 1110, 1120 or 1230. For fire/emergency evacuations, please proceed to the State Street sidewalk immediately west of Weill Hall, towards the middle of Weill Hall. Do not cross State Street. Do not return to the building until directed to do so by Public Safety. Everyone should become familiar enough with the building to know at least two different ways out.
- Security: Please do not leave valuables (bags, laptops, cell phones, etc) unattended at any time while in the building. Further, do not leave your office/work space open and unsecured if you are leaving the space. Weill Hall is open to the public from 7:30am until 6:00pm Monday-Friday. The card reader doors lock at 6:00pm; all valid UM-ID holders can access the building until 7:30pm. After 7:30pm (M-F) and weekends, access is restricted to faculty, staff and students of the Ford School. If you are having issues gaining access to the building with your UM-ID, please let us know. Note: Expired UM-ID cards will not work on the card readers. Exterior doors should not be propped open for any reason. If you find a door being held or propped open, please take the time to close it.
- The emergency number to DPS when using a campus phone is 911. If you are using a cell phone, call 911 and ask to be directed to the University of Michigan Department of Public Safety (DPS). The non-emergency number to DPS is 763-1131.
- Take a few extra minutes to read through the EAP completely as it goes into much more detail and contains the latest updated regulations.
- If you have questions or concerns, please feel free to contact Facilities Manager Bill Kelly either by e-mail or stopping by his office (3220).


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Locust NJ Real Estate & Homes for Sale
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ROCKLEDGE, FL - The Health First Foundation is now accepting scholarship applications from graduating high school seniors who are seriously interested in pursuing a degree in a healthcare-related field.
All high school students with a minimum grade point average (GPA) of 3.0 are eligible to apply for a scholarship.
The Foundation scholarship applications are now accessible online at www.health-first.org/ways_to_help/scholarship.cfm Scholarships will be awarded to students from high schools in Brevard County.
Students who have been awarded a Health First Foundation Scholarship in 2009 and are continuing their studies while engaging in a medical or health-related career are encouraged to re-apply if they have maintained a GPA of 3.0.
Completed scholarship application packages must be received by the Health First Foundation no later than 4:30 pm on Friday, March 26, 2010. You can also obtain applications by calling the Health First Foundation Office at 321-868-2720.
The Health First Foundation is a proud member of the Health First family.


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Swimming Pool Blog
by Rob Cox August 2, 2013
How to Eradicate Algae from a Pool
Some pools never become contaminated, and other pools - have constant algae problems.
This post is for those pool owners who battle algae every year, and never seem to recover for very long before another algae outbreak takes over.
And also for those of you responsible for turning around a pool that has been neglected for months or years without chemicals or filtering.
Here's some ways to really fight back hard, and keep algae from coming back - ever again!
If you have had an algae outbreak in the last year, and by outbreak I mean algae everywhere, not just a small spot here or there - but maybe a green pool opening, or a hot summer bloom, then you still have the spores of algae in your pool.
Black, Green, Yellow algae - these strains can exist alone in your pool, or can share the habitat.
Black algae is the hardest type of pool algae to eradicate, due to its deep roots, but not impossible. For plastered pools, you'll need to replaster the pool, replace the filter media, and use a pipe cleaner to remove deposits inside of the plumbing. Replace all of your pool toys and pool cleaning tools - even your swimsuits, just to be safe.
Refill with fresh water after plastering, and balance the chemistry. Now that black algae has been eliminated, keep it from returning by using maintenance doses of a good pool algaecide, and a phosphate remover chemical.
Green Algae is the easiest to kill, but it's spores lay dormant, waiting for chlorine to get low, or food sources to develop. If you have repeated green algae blooms, drain the pool (vinyl pools drain only 1/3 of the way, refill, drain 1/3 again, refill and again drain 1/3 and refill). Pressure wash plastered pools (vinyl pools just hose off the wall).
For bad cases, such as neglected pools, after pressure washing the pool, you may need to acid wash a plaster pool. A chlorine bleach wash can also be done, but is highly reactive to acid, so rinse thoroughly in between washing with acid and washing with chlorine. (Vinyl pools can be drained fully only if you are able to reset it with a vacuum, and never use acid or chlorine, or a pressure washer to clean).
Replace your filter media (sand, cartridge or DE grids), and throw out any pool noodles, chairs, nets and brushes. If you have gear you'd rather not replace, give it a good soaking in a 50% bleach solution.
Refill the pool, balance the chemistry and maintain a good chlorine level. Begin using maintenance doses of both a high quality algaecide and a phosphate remover chemical.
Yellow Algae can be a frustrating strain to battle against. Difficult to remove, but it does loosen up it's grip with very high doses of chlorine. For this extreme algae eradication, we also drain the pool (vinyl pools should not fully drain the pool, or the liner may relax).
Pressure washing, and acid washing should be done on plastered pools, to really clean the surfaces, skimmers, and behind the pool light. Like the other algae types above, you should also replace your filter media, and any old pool cleaning tools, toys, floats and swimsuits.
After refilling and starting the pool, balance the chemistry and keep your chlorine level above 2.0 ppm. Add regular maintenance doses of a quality algaecide and also use phosphate remover 1-2 times per year.
Pool algae can take some work to eradicate it fully, so it won't come back, but having turned around many problem pools, I can tell you that these methods work. These are not cheap solutions - to replace filter media and water, and then start spending an extra $50-$100 per year on pool chemicals.
But, you'll enjoy not having to slay the algae dragon again.


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Ventura's movie career would begin when he took some time off from WWE
post-Wrestlemania in 1986 to appear in the sci-fi action flick, Predator,
also starring a fellow future governor Arnold Schwarzenegger and Carl
Weathers (who played Apollo Creed in the Rocky films).
The film was the
first studio film directed by John McTiernan who went on to direct the first
two Die Hards, The Hunt for Red October and the Rollerball remake (which featured
Shane McMahon and Paul Heyman in small roles). Predator tells the story of a
team of commandos who head to Central America and come face to face with a
killer alien. Legendary horror movie special effects artist Stan Winston
designed the Predator monster that gave the film its name. Predator was
released in June 1987 and grossed nearly $60,000 USD and was reviewed by
Leonard Maltin as being a "solid, suspenseful action film."
Ventura's role, as Blain, turned heads for his great dialogue (including "I
ain't got time to bleed" which became the title of Ventura's autobiography)
and massive machinegun. Wire service writer Michael Fleeman, in a
post-election review of Ventura's films, referred to Jesse as "the
baddest of the bad-attitude mercenaries," and said that Blain offered "the
meaty actor his meatiest role." Sadly, Ventura's Blain meets his end at the
hands of the alien, but the role itself gave Jesse a much needed foot into
the door of the film industry.
Predator was not the last time that Ventura and Schwarzenegger would work
together. They teamed up again in the film The Running Man, another sci-fi
action film that Roger Ebert of the Chicago Sun-Times dubbed "an arcade game
for the big screen." The Running Man was loosely based on a Stephen King
novel and was directed by actor-turned-director Paul Michael Glaser (The
Cutting Edge and The Air Up There) who replaced the first director,
Andrew Davis (who went on to direct Under Siege and The Fugitive).
Another pro wrestler-turned actor, Professor Toru Tanaka, also appeared in the film, as Subzero.
Ventura plays Captain Freedom, a former champion of the television show that
Schwarzenegger is forced to play. Freedom even seemingly defeats
Schwarzenegger's character, although it's all a ruse to fool the audience
(the audience in the film, that is). Fleeman stated that The Running Man allowed
Ventura to "show his comic and gentler sides."
Ventura's next role was a smaller and less prolific than his first two. It
came in Hulk
Hogan's starring vehicle, 1989's No Holds Barred. Jesse was billed as,
ironically, "Commentator #1". Savaged by critics, No Holds Barred was
called "charmless, stupid and badly made" by Richard Harrington of the
Washington Post.
Ventura would also appear in 1989's Canadian-made film Thunderground as
"The Man", a mythical tough man fighter that the film's protagonist (played
by Paul Coufos) travels across the United States in order to compete
against. Directed by David Mitchell (who later produced Ventura's Abraxas:
Guardian of the Universe), the film also starred Canadian Margaret Langrick
of My American Cousin and American Boyfriends.
Ventura would, in 1990, make a cameo in the parody Repossessed, dubbed
"painfully unfunny" by Fleeman. The film starred Linda Blair, spoofing her
own role in The Exorcist, and also featured Ned Beatty and Canada's own
Leslie Nielsen. Ventura would appear as himself and join fellow WWE
commentator Mean Gene Okerlund as commentators for, of all things, an exorcism.
In 1991, Ventura had a bit part in the thriller Ricochet. The film,
directed by Russell Mulcahy (best known for directing music videos and
TV/cable films including the 2005 biopic 3: The Dale Earnhardt Story as
well as 1986's Highlander), stars Denzel Washington who finds himself
framed for murder by a sadistic criminal (played by John Lithgow) he
arrested years earlier. Ventura played Chewalski, a fellow inmate who meets
his end at the hands of Lithgow's character. In his 2006 Movie Guide, Leonard Maltin called Ricochet a "slick, well-cast, occasionally ugly
urban thriller."
Said to be influenced by the Jack Kirby comic The New Gods, ths
Canadian-made film was directed by Damian Lee (who later directed "Rowdy" Roddy
Piper in 1995's Terminal Rush and Charles Bronson's Death Wish V)
and featured James Belushi in a small role.
In addition to working with Arnold Schwarzenneger, Ventura also worked with
another action movie star in Sylvester Stallone, when he had a bit part as a
Cryocon in the 1993 film Demolition Man, which also boasted a cast that
included Wesley Snipes, Sandra Bullock and Denis Leary. The film, referred
to as a "Frankenstein of action thrillers, since it's stitched together out
of pieces from better movies" by Peter Travers of Rolling Stone, grossed
In 1993, Ventura had a bit part in the film Living and Working in Space: the Countdown Has Begun. An educational comedy comprised of various
sketches showing what life could be like in space, Ventura was billed as
"DMV Testee". The late Pat Morita, Kathy Bates, Esai Morales and "Weird Al"
Yankovic also appeared in the little-known straight-to-video film.
In the 1994 film Major League II, Ventura would have a most unique role.
Jesse played himself as an actor, being the co-star to Willy Mays Hayes
(Omar Epps) in the action movie-within-a movie Black Hammer, White
Lightning. Ventura never made a proper appearance in the film and is only
seen as Hayes and Jake Taylor (Tom Berenger) watch a clip of the movie on
In 1997, Ventura worked with friend Schwarzenegger again, this time with a
bit part as an Arkham Asylum Guard in Batman and Robin. The film, directed
by Joel Schumacher (who had directed 1995's Batman Forever), also starred
George Clooney, Uma Thurman and Chris O'Donnell in much larger roles, as
well as fellow wrestler, the late Jeep
Swenson as villain Bane. Ventura's role in the film was small but
Batman and Robin reigns as the highest grossing film (at over $107
million) of any in Ventura's filmography.
Prior to his being elected Governor of Minnesota, Jesse appeared in the 1999
short film 20/20 Vision, as a marriage councillor named Buddy "One-Arm"
Sanchez. The film was named "Best of Fest" at the 1999 Minneapolis/St. Paul
International Film Festival. The film, in which Ventura's character slaps a
woman who comes to him for counseling, sparked controversy when it was
submitted to the Sundance Film Festival, which ran at the same time that
Ventura was set to take office.
Despite his more recent move to political matters, Ventura continues to
appear in Hollywood films, his most recent role coming as a motivational
speaker in the 2005 Johnny Knoxville film The Ringer. He also made cameo
appearances in 2001's Joe Somebody starring Tim Allen, the 2002 movie
Master of Disguise, starring Dana Carvey and the 2003 comedy Stuck on
You starring Matt Damon and Greg Kinnear.
John Milner is SLAM! Wrestling's resident Biographies guy. He can be emailed at email@example.com.


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Photo Challenge: Art Crimes
Street Art 2 by Carlos Stollmann
You were told from the beginning that it's taboo to take photos of other artist's work and post to JPG as your own. But from time to time, we like to break the rules (even our own) --in the name creativity of course (wink). This week's photo challenge was inspired by the photo essay Street Art, by Robert Versteegen.
Graffiti art is a crime by law but there is a certain aesthetic to this illegal form of artwork that makes it worthy of a photo and a share! For this challenge we encourage you to post any photo which features some admirable street art (graffiti) around your town, neighborhood, or city.
Closed July 23, 2012
RSS for photos in Photo Challenge: Art Crimes


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CROTON-ON-HUDSON, N.Y. -- Local activists have been sending a blizzard of postcards expressing frustration with the folks in Washington. So it is somewhat ironic that the impending snowstorm has – temporarily – put a halt to their efforts.
Soli Anne Pierce, of Cortlandt Manor, Susannah Johnston, and other organizers have been hosting "Postcard Tuesdays" at The Black Cow in Croton; other events take place on Tuesday at Green Growler, a craft beer store; and Tangine, a French bistro.
At Black Cow, pens, postage, mailing labels, talking points, and, of course, plenty of caffeine are available. There is a collection box for nominal fees to cover postcard costs. (You're on your own for the coffee.)
Folks can stay and write, or grab a bunch of postcards and go as quite a few were doing Monday afternoon, Pierce said.
"They all said that they wanted to do the postcards during the storm," she said.
The postcard party is still on for Monday, March 13, from 3-4:30 p.m. at The Black Cow Coffee Co., 4 Old Post Road South. The café can be reached by calling (914) 271-7544.
It is off for Tuesday, when the Big Blow hits, but will resume at the café on Wednesday, March 15, forever to be known, organizers said, as "The Ides of Trump." The hours are 10 a.m. to 3 p.m.
On Thursday, March 16, it is also set for 10 a.m. to 3 p.m. at The Black Cow.
The postcards are designed by local artists Elana Goren, Louise Landry and Kathleen Corgan.
Pierce and Johnson say the postcard campaign is "a vehicle for citizens to express their concerns to elected representatives and exercise their cherished First Amendment rights."
The intent is to "build bridges instead of walls," something that can only happen, they said, "through informed, constructive exchange."
They emphasized that the efforts are "pro-Democracy, not anti-Trump or anti-Republican."
In February, some of the postcard writers addressed worries about saving the Environmental Protection Agency (EPA) and the need to denounce anti-Semitism. Others wrote about President Donald J. Trump's alleged ties to Russia.
But the president, who has an estate in Bedford, wasn't the only target. Other postcards were addressed to Sen. Charles Schumer and U.S. Attorney General Jeff Sessions.
The group averages 600 to 700 postcards a day and its goal is to have sent more than 10,000 by April.
The group posted rules of participation for "The Ides of Trump" event on its Facebook page.
They are:
- Whether it's one card or a dozen, #TheIdes or #TheIdesOfTrump must be written on them somewhere.
- Take a picture of the card(s) and post them on social media (tagged with #TheIdesOfTrump or #TheIdes, please). This will help the group verify its numbers.
- "Spread the word! Everyone on Earth can let Washington know their opinion of the President. They can't build a wall high enough to stop the mail," the group said.
On Wednesday, March 15, mail your cards to:
The President (for now)
The White House
1600 Pennsylvania Avenue NW
Washington, DC 20500
The postcards cannot contain any "threats of violence or insinuations of violence."
"This is about being heard, via postcards. We understand that the ides of March has a history, but that's not what we are — in ANY WAY — calling for here," the group posted.
For more information, visit its official website: http://theidesoftrump.com , or Facebook page: https://www.facebook.com/TheIdesOfTrump/
To sign up to its official Facebook event page, which makes it easy to share with individual network, visit https://www.facebook.com/events/1150707355055540/
To read a related Daily Voice story, click here.
Click here to sign up for Daily Voice's free daily emails and news alerts.


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Early voting ends Friday for the Nov. 6 election, and you need to be more than a spectator. Make sure you cast your ballot either during this period or on Election Day. Below are our endorsements in selected races:
-- President - Mitt Romney, R. Barack Obama certainly faced no shortage of challenges, but it's time for a change. This country needs a stronger economic recovery and a better commitment to deficit reduction.
-- U.S. senator - Ted Cruz, R. We initially supported Lt. Gov. David Dewhurst for this seat, but Cruz made a believer out of us and many voters with his grit and determination.
-- U.S. Rep., District 14 - Nick Lampson, D. Lampson has a solid track record as a moderate who works hard for Southeast Texas.
-- U.S. Rep., District 36, Max Martin, D. He's a former airline pilot with an impressive record as an entrepreneur. He's also not Steve Stockman.
-- 136th District Court Judge, Jefferson County - Milton "Mickey" Gunn Shuffield, D. He has been doing a strong job for 17 years on this bench and is board-certified.
-- Tax Assessor-Collector, Jefferson County - J. Shane Howard, R. Howard has brought energy and innovation to this office and county government in general.
-- Lumberton alcohol sales - for. This overdue change could help bring national chain restaurants to the region's fastest-growing city and provide some tax revenues too. Non-drinkers can still abstain, but others should be able to make their own decisions about ordering drinks with a meal or buying take-out beer and wine.


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WHEAT:NEWS RADIO JANUARY 2019 Volume 10, Number 1
Sneak Peek: WTOP Installation
Here is a quick preview of the massive News Room RadioDNA is building for WTOP. Facility launch is early February. Stay tuned for more updates! Thanks Rob Goldberg from RadioDNA for the video!
Mike Erickson To Talk Processing at Raleigh SBE Meeting, Jan 29
Save the date!
The Raleigh SBE Chapter's monthly next meeting is on January 29th at 11:30am at the Golden Corral at 6129 Glenwood Avenue in Raleigh. Their guest speaker will be Wheatstone's own Mike Erickson. Mike is our system and support engineer for Wheatstone Audio Processors. He helps customers all over the world shape their sound, from processing for AM and FM stations to processing for microphones and audio streams. Below is the agenda...
Audio Processing 2019. New Ways to Enhance the Listening Experience.
We all know audio processing does three things: it keeps you compliant, it improves the listening experience by adjusting the audio levels and it creates a sonic signature for the radio station. As technology has evolved, so has the audio processor, and a new set of goals have been established. Mike Erickson will let you know what you should be looking when deciding on your next processor.
If you want to know where you're going,
you have to first know where you've been
Below, we take a quick look back on the stories and the people that defined the year and point to what's ahead for our industry in 2019.
Chicago's WDRV The Drive Goes Live
MAY 2018: Our crew was there when Hubbard Radio cut over to its new studios at One Prudential, Chicago. We had to see for ourselves the studio that now houses a 37-channel LXE console, the largest LXE console delivered to date. We walked away from this major install with the realization that although studios and technology are getting smaller, radio is still very much a big production!
WDRV (97.1, The Drive) is now rockin' from Hubbard's new studios at One Prudential, Chicago. On May 11, Bob Stroud and the midday team boarded a double-decker bus and headed down Michigan Avenue from the John Hancock building, which had been WDRV-FM's home for 17 years, to the new studios at One Prudential.
WDRV-FM is the first of Hubbard's three Chicago stations that are making the move to One Prudential.
Two more on-air studios, one more production studio, and two more producer studios will be completed over the next two months for WSHE-FM and WTMX-FM. This first completed studio houses the largest Wheatstone LXE console delivered to date -- a 37-channel strip frame that's been programmed with ConsoleBuilder according to the custom features specified by WDRV-FM CE Kent Lewin along with integrator RadioDNA President Rob Goldberg. It features four LX-SS strips which, like the LXE, can be programmed to handle the execution of complex tasks.
Our Bob Martin was there with the cameras and put together this short video of the cutover. (Spoiler: the first song played from the new studio was the Stones' "Start Me Up," of course).
Surviving Smaller Market Studio Projects
JUNE 2018: We're well-known for our impressive major-market studio projects. But during the year, we also quietly worked on a few impressive small-market studio projects. In this article, RadioDNA's Rob Goldberg and Gabriel Media's Deb Huschle walk us through a studio project in St. Cloud, Minnesota, that was as complex in its own right as any studio project in Chicago or Boston.
Putting together a new studio facility can be a challenge for any broadcaster, in the same way that contenders on the "Ultimate Spartan Challenge" are challenged by moving obstacles, snake pits and impossible deadlines.
But for smaller market broadcasters? Think "Survivor."
"The biggest challenge is budget, of course. But it might surprise people to know that the smaller market projects are often more complex and for that reason, can be more cutting edge than what you'd find in Chicago or Los Angeles," said Rob Goldberg, who has managed projects on both ends of the spectrum as the CEO of RadioDNA in Minneapolis.
He said stations living on the margins are more reliant on automation, both for programming as well as for general operation. "They're tossing around different satellite feeds and they're often much more intense on remote broadcasts. And, coming more into fruition is doing remote broadcasts without having board operators. They want to save the budget of having to hire a live body just standing around and pushing buttons," he added.
All of that requires more logic, more integrated routing and more engineering – even as engineers are in short supply at most smaller market stations. Many can't afford a full-time engineer and instead share a contract engineer with other stations in a region, which doesn't bode well for the day-to-day grind of studio building. That leaves management running the show, and out on Ghost Island without a paddle.
Deb Huschle, the GM of Gabriel Media in St. Cloud, Minn., has been there and back. Gabriel Media is a nonprofit that originated program for AM talk station K-YES 1180, Christian music FM Spirit 92.9 and an LPFM from its studios in Sauk Rapids, until parking became an issue. The Christian broadcaster purchased commercial property in downtown St. Cloud and set out more than a year ago to build a two-station studio that involved a total renovation down to the studs, and all new gear, save for an AudioVault system that they moved over from the old facility. They went with IP-12 control surfaces, TS-4 talent stations and a facility-wide WheatNet-IP audio network that Goldberg and his field engineers at RadioDNA configured and project managed. The new studios went live in January; no major obstacles, no missed deadlines, and no more worries. It's all one big automation backbone from one end of the facility to the other.
Huschle's advice to smaller market broadcasters about to install new studios: "Count on equipment to do more," she said. "Being able to control things through WheatNet-IP from your phone or your laptop or whatever while you're in the field, it's really a cost benefit for these smaller markets," agreed Goldberg.
For most projects, Gabriel Media's included, RadioDNA field engineers tightly integrate the program automation system into the WheatNet-IP audio network using the Wheatstone ACI protocol. This gives them the framework to control automation functions from anywhere on the network, or from outside the network through an Internet connection. Through the ACI, they're also able to connect codecs directly into the WheatNet-IP system. When Gabriel Media talent use a codec for a remote in the field, all control can be done with their phone or laptop, to bypass the studio and subsequent need for a board op, for example.
That communication goes the other way, too. "We're able to troubleshoot through WheatNet-IP. Once we set up a system, we can or Mark (Young, Gabriel Media's contract engineer who is also the fulltime engineer for Townsquare Media nearby) can just dial in and troubleshoot or make that crosspoint change or add that logic function," said Goldberg. As we write this, Gabriel Media is preparing for a new FM translator for AM K-YES 1180, which will no doubt burn up the lines between RadioDNA and station staff to make the required changes.
For all his installs, Goldberg color codes and maps out signal paths so that changes can be made by staff on-site with minimal instruction from a remote engineer if need be. "Just having that and being able to tell someone like me with no technical training what wire to change or what to do in an emergency, that is peace of mind," commented Huschle.
Limit the Multipath
FEBRUARY 2018: An accidental L-R attenuation experiment and an NAB meet-up by two guys who used to engineer the same station resulted in a multipath solution for a Denver station. Some of our best moments in 2018 were spent in the field, applying what we learned in the lab to real issues facing broadcasters. This article is in remembrance of Wilks Broadcast Group DOE Barry Thomas, who left us far too soon.
It happens. Especially to 92.5 The Wolf, which broadcasts a rimshot signal into Denver from the base of the Rocky Mountains with enough effective radiated power to make up for an antenna barely clearing the average terrain.
The geography, the antenna height, the Class C1 power – together they form the perfect storm for multipath. And sure enough, anyone tuning into 92.5 while commuting between Denver and the bedroom community of Castle Rock could discern the nasty effects of multipath. Until three years ago, the Country station was virtually unlistenable over half its contour area as car radios tried to lock onto multiple versions of the same radio signal bouncing off the mountains.
Barry Thomas, the Director of Engineering for Wilks Broadcast Group, which owned The Wolf, had tried everything. He tried indiscriminately reducing the stereo separation and cutting way back on the composite clipping, a known antagonist to multipath effects like picket fencing and flanging.
Both required compromises, especially in loudness. But Wilks' programming VP as well as its CEO Jeff Wilks were determined to hang on to loudness and any other competitive advantages they had for the remaining half of the Denver market that could actually tune into the station.
Then, a little over three years ago, Thomas attended an NAB session presented by our Jeff Keith, who had accidentally discovered the effects of program-dependent L-R attenuation on perceived multipath when he designed a mono loudness controller device using the technique for an oldies station he engineered back in the '90s. Thomas knew well the station that Keith had mentioned in his presentation; he was the chief engineer of that same station before Jeff!
He began to think Jeff was onto something: What if they could reduce the L-R stereo information just enough for the radio to hide the blend to mono by modifying the energy in the 38kHZ stereo subcarrier? "I knew that reducing the L-R would help, because less energy around 38kHz means that the radio isn't reacting to trash in the stereo section. And depending how the radio figures out when to blend and when not to blend -- some look for noise around 19kHz and some look for the overall noise floor around 38kHz – the results could be significant," said Thomas.
He quickly learned that Keith had tested the technique on dozens of radios (the findings are presented in his paper New Findings on FM Stereo Multipath Control) and once sufficiently satisfied, had added the Multipath Limiter to the Wheatstone FM processor line as one more tool for dealing with multipath. "What our Multipath Limiter does is reduce the magnitude of volume fluctuations due to multipath-induced blending by managing a program content's L+R/L-R ratio under very specifically controlled conditions. By intelligently allowing only enough stereo information to fool the ear into believing it's a full stereo signal, the audibility of blending is reduced. The psychoacoustic result, then, is that multipath has been reduced and perceived coverage improved," explained Keith, Wheatstone's senior product development engineer.
Thomas convinced his CEO to give it a try, ordered Wheatstone's flagship processor, the AirAura X3, and put it on the air. He drove to the multipath hot spots and listened to the results from a sampling of radios. "Damned if it didn't do what Jeff said it would," said Thomas, who called the station CEO and CFO to report the results. "They immediately called BS on it, saying that no processor could do that! So they hired Pete Salant to come to town for a third-party evaluation. I appreciated that because it was a really great, exhaustive experience that confirmed what we were all hearing."
Salant, a programmer who took NBC Radio's New York City FM flagship station WYNY from number 22 to number one in adults 25-54, arrived in Denver a few weeks later with his test gear: a pair of golden ears. The programmer, who has since changed careers, has played classical piano since the age of three. As a 12-year-old, he could identify stations with his eyes closed just by their sound.
Our field engineer Mike Erickson, who Salant commented "possesses the other pair of golden ears," also arrived in the Mile High City. Listening comparisons began immediately. "It was Pete, Mike and me living in and out of vehicles for three days," said Thomas.
"We started driving around and doing A-B comparisons. And as soon as we turned on the X3, the signal went from an unlistenable mess to one that sounded entirely competitive. I couldn't tell you what was going on in that X3, but it was definitely mitigating 90 percent of the multipath," said Salant, who admits to being stunned by the results. "I mean, half of the metro just couldn't listen to that station because of the signal. Even if you were trying to listen at a static position, if you moved even two or three inches there was that flanging and multipath distortion. It was all gone with X3," he said.
Even more incredible, because stereo attenuation is program dependent rather than set at, say, 3dB or 6dB across the board, the Multipath Limiter got the job done without driving away listeners. "It wasn't obvious to me that there was less L-R, which was a relief because taking away the stereo takes away from the listener experience. The more the sound can come from the doors of the car, the louder it seems and the more it wraps around you and hypnotizes you into listening longer," commented Salant. In fact, 92.5 The Wolf has seen a steady climb in TSL since installing the AirAura X3 three years ago.
What's more, the station was able to eliminate composite clipping entirely. "The look-ahead limiter in the X3 effectively gave us that loudness so we lost the composite clipping and all the trash that comes with a clipper, which had contributed to some of the problems we were having in those multipath areas," explained Thomas.
"I don't know what they put in that box, but there's just no overshoot," added Salant.
Not only did the X3 never leave The Wolf, Wilks purchased two more X3s for Denver stations Mix 100 and KOOL 105.
For details on L-R attenuation and multipath, download Keith's paper New Findings on FM Stereo Multipath Control.
Color Me Red
AUGUST 2018: The PR&E legend continues and the love for this brand was more evident than ever during 2018. Here is a very colorful story about one BMX board that was found during a salvage run and lovingly restored by a PR&E fan after serving part of its life in a bomb shelter.
This very colorful console (pictured right in its restored state) is the legendary BMX originating from KILT in Houston. Number-one PR&E fan Scottie Rice, who started the Pacific Recorders & Engineering Fan Club page on Facebook, is in the process of restoring this 1979 board. It doesn't have a serial number and is believed to be PR&E's first custom-made console, laminate inserts and all. Rice ended up with this gem as part of a four-board salvage run to KFWB's transmitter site in East Los Angeles a few years back.
It was crated at the time, so he had no idea the bad shape it was in – he said it was one of the filthiest BMX boards he'd ever seen. (Which is saying a lot, because Scottie has quite a collection of BMX boards). Later, when discussing the board with PR&E founder Jack Williams, he learned that the chief engineer at KILT had ordered the board with colored modules. As the story goes, after KILT retired the board in the 1990s, it was sent on to Group W station KFWB in Los Angeles for use in the bomb shelter studio at the transmitter there, which is where Rice rescued it.
In a weird twist of irony, the board was built in San Diego, shipped to Houston, then to Los Angeles, and is now back in San Diego where it is being restored by Scottie at his home there. In fact, the laminate covers were made by an engraving shop in San Diego not too far from where Scottie Rice lives. In these before and after pictures, you'll see how much restoration has gone into this piece of history. Scottie has refinished the wood, stripped the frame and washed it, and cleaned all the modules. It's almost completely restored, and it still runs!
Panthers in the Factory
MARCH 2018: When we found out we were customizing LXE consoles for our home-state football team, the Carolina Panthers, we had to follow along with our cameras. If you're a sports fan, you'll understand. There is just something magical about sports and radio.
Our cameras followed along as new studio gear for the Carolina Panthers wound its way through our factory. Collegiate sports broadcaster IMG ordered two customized LXE consoles, some TS-4 talent stations and a few M4IP-USB mic BLADEs for a new Panthers studio that will be integrated into its large WheatNet-IP networked studio complex in Winston-Salem.
We started in the metal shop, where we found Rodney running the CNC punch press to turn out the module faceplates for the LXE. Check out the precision of this machine!
As the system for the Carolina Panthers continues to make its way through our factory, piece by piece, Sylvia Artis, our test department boss, performs quality control inspection on each of the modules destined for the Panthers' LXE consoles. This thorough visual and mechanical quality control inspection ensures that every part is perfect prior to assembly.
In the metal shop, our computer-controlled laser cutter is swiftly slicing out metal plates for the Carolina Panthers' special, custom-designed panels. The laser boasts 1,000 watts of power, and is gas-assisted. It's quite fun to watch it in action!
Photo above: Hubbard Phoenix, design and installation by RadioDNA
JANUARY 2018: We started 2018 by telling you about four studio trends that were making sweeping changes in studio buildouts. Those trends – visual feedback, video in the studio, virtualization of functions and simplistic design – are still going strong. We will be keeping an eye on these trends, and others as they develop, to bring prosperity and productivity to our broadcast customers throughout the New Year.
Photo: Right, Rob Goldberg, Owner RadioDNA.
Studio projects can go wrong in spectacular ways. More often though, broadcasters tell us that the biggest issue they face is a persistent, nagging feeling that something is missing.
Sometimes, it's their keys or phone that have gone missing yet again in the chaos of a new studio buildout. But often, what's missing are a few critical studio additions that were not even on the table five years ago.
RadioDNA's Rob Goldberg walks us through four studio trends that every broadcaster building or adding onto a studio should be thinking about today. Goldberg and his company of engineers have designed, installed and managed studio projects for Entercom, Gabriel Media, Hubbard, Ingstad Media Family, Jackson Rancheria Radio, Leighton Broadcasting, Minnesota Wild Network and Results Broadcasting.
Light up the studio. Any modern studio today is likely to have IP audio networking and that means talent no longer monitor off-air. What they're hearing in their headphones is a local mix, so visual feedback becomes more important than ever, according to Goldberg. For visual monitoring and other purposes, he sets up the GPIO in our WheatNet-IP audio network BLADEs to control Yellowtec's Litt LED signaling trees. When the tree is lit red, it means the studio is hot and on the air. When the light is off, the console is in voice track mode. Green status and a slow blink might indicate that there are 30 seconds left of a song and to prepare for live broadcast.
LED status indicators let talent know there's a caller on the line, whether an EAS alert is about to happen, and if any station in the group is off-air for any reason. In the case of the Minnesota Wild sports studio, Goldberg set up LED indicators so that if remote talent dialed in on the ISDN line from the field, the producer would know immediately in the studio. Any standard automation system can talk to the WheatNet-IP audio network BLADEs, which control LED trees and indicators as an integrated system. Doors, clocks, even the coffee maker can be monitored with status indicators. "When the coffee's ready, just have it light up a light," says Goldberg.
Make it visual. With 5G unlimited wireless data just over the horizon, video content is about to happen in a big way. Goldberg suggests stations get in now by installing video cameras in the studio and slaving those cameras to microphones for their social media feeds, for example. "The easiest way to integrate that into the studio is through WheatNet-IP because you can literally 'ACI control' the cameras," says Goldberg, referring to Wheatstone's Automation Control Interface that is used to integrate standard camera automation applications into the network.
With this, you can automatically control camera switching based on whether a mic is on, the mic fader is up, and audio from the mic is coming across as meter data. Cameras can be slaved to mics based on all or just one or two of the criteria, and they can be panned to capture live video of a panel of guests when two or more mics are opened up.
Automating camera operation through the IP audio network relieves producers of yet one more thing they have to deal with during a busy show, and can be beneficial for editing packages after the show. "It all looks professionally done, but it's automated," explains Goldberg.
In much the same way, graphics or sponsorship logos can be made to appear on the station website or Facebook feed during, say, a call-in show or a spot.
Virtualize it. Goldberg is laying out virtual mixers set in touchscreens using our WheatNet-IP ScreenBuilder app and setting these up as producer positions in newsrooms. "In some cases, we don't install mixers in the newsroom at all. We are in the process of setting up a bank of virtual mixers with 35 news positions at a Hubbard facility," explains Goldberg. The benefits: reduced hardware expense and maintenance, an easier way to make changes as needed, and the ability to add mixing and other talent controls in smaller spaces.
Keep it simple. Today's modern studio is all about simplifying things too. What's missing in most of the studios Goldberg designs these days are clunky box speakers in favor of speakers recessed into the ceiling, automation PCs in deference to virtualized server systems in the TOC, and extra cables for internet connectivity thanks to WiFi connectivity.
Overall, at the end of the project, you should end up with less that does more.
WBZ Boston Shuffle
OCTOBER 2018: CBS's spin-off of its radio division the previous year set in motion a complicated ownership shuffle in Boston. Scott Fybush drove to Boston after the dust settled.
In this article, he untangles the mystery of who ended up where and with whom, and tells us how it all shook out for the iconic brands, sports teams, and stations in flux. The Great Boston Shuffle taught us all about the incredible mobility of station operations today.
By Scott Fybush
CBS spun off its radio station division last year, which set in motion a complicated Boston chess game in which WBZ 1030 ended up in the hands of iHeartMedia and WBZ 98.5 ended up as part of the Beasley cluster by way of the Entercom-CBS Radio merger.
WBZ 1030 moved into iHeart's newly expanded studios in Medford. Meanwhile, over at the Beasley studios in Dorchester, MA., CE Dennis Knudsen and his colleagues carved out two former production studios to create a big, beautiful new space for 98.5 The Sports Hub. Although both WBZs are now separated by geography and ownership, they share something in common: both are using LXE consoles and WheatNet-IP audio networking.
During my swing through Boston to visit my alma mater, WBZ 1030 (you can read about it in last month's Wheat News or Radio Insight Tech), I decided to stop into the Sports Hub's new studios to see how it all came together.
I found The Sports Hub studios situated at the front of Beasley's second-floor studio core on Morrissey Boulevard, just south of downtown Boston along the harbor near the JFK Library. Beasley runs five FM stations here, but this one consumes a disproportionate share of resources because of all the programming it produces. The Sports Hub originates the networks for three of Boston's big four sports teams: the Patriots, Bruins and Celtics. (And don't forget about the major-league soccer team, the New England Revolution!) Adding in live local sports talk all day long and TV simulcasts of the midday and afternoon shows on NBC Sports Boston, and it's no wonder they built two control rooms instead of just one.
Sports Hub morning co-host Fred Toucher takes control of his studio mics with the LXE console in his air studio.
An LXE console in the Sports Hub air studio provides an extra layer of control for air talent, including morning co-host Fred Toucher.
Wheatstone technology helps provide maximum flexibility for the Sports Hub's busy format. The air studio feeds not only radio but also several simulcasts on NBC Sports Boston, which controls the studio lighting and video screens.
Wheatstone's LX-24 console is the nerve center for the Sports Hub's main control room, with a view into the busy air studio.
To the right of the main console in each control room, a Wheatstone L-8 console provides additional flexibility for producers who need to pull sound bites for podcasts, the web or post-game show highlights.
Maximum control! The Wheatstone LX-24 console in each of the Sports Hub's dual control rooms gives producers total flexibility to switch in local and remote sources, and to route output not only to the station's own air but also to feed team networks and send overflow sports coverage to sister stations. A custom row of buttons on the right side of the console lets any control room take ownership of the Sports Hub air signal.
The first thing visitors see on the second floor of Beasley's two-story building is a pair of windows looking in to the Sports Hub air studio, the result of combining two former production rooms.
5 Key Findings for Commissioning AES67
JULY 2018: Over the summer, we decided to take AES67 out for a spin. We set up a trial run with AES67 devices from Genelec, Ward-Beck, Dante, and Axia into a WheatNet-IP system of 12 mixing consoles, 62 hardware BLADEs (I/O access units), 100 software BLADEs, talent stations, SideBoards, Smart Switch panels, and software including three different vendors' automation systems. It was all tied together through Cisco and Dell switches. Here is what we learned.
By Andy Calvanese
Wheatstone Vice President/Technology
There's been a great deal of talk about AES67, but that is as far as it's gone for most broadcasters – essentially a new standard still sitting on the dealer lot waiting for a test drive.
How easy will it be to commission AES67 in your plant?
We decided to take AES67 out for a spin to find out. Earlier this summer we did a trial run of AES67 through a large WheatNet-IP system staged at the Wheatstone factory in New Bern, North Carolina, during what we call a BLADEFest. (BLADEs are the I/O access units that make up the WheatNet-IP audio network). We do BLADEFests periodically to test our system under real-world conditions, and for this one, we added in a few AES67 devices while we were at it.
We added AES67 devices from Genelec, Ward-Beck, Dante, and Axia into the WheatNet-IP system of 12 mixing consoles, 62 hardware BLADEs (I/O access units), 100 software BLADEs, talent stations, SideBoards, Smart Switch panels, and software including three different vendors' automation systems. It was all tied together through Cisco and Dell switches.
We ran the system through a series of automated torture tests that included completely rebooting the system and verifying proper operation afterward. We're happy to say that after more than 160 reboots, not a single connection failure or loss of audio occurred. We also learned a great deal about commissioning AES67 in a plant. Here are a few major findings.
Finding #1. To use AES67 devices, your system must have a PTPv2 clock reference device, preferably synced to GPS for absolute timing reference.
AES67 specifies version 2 of the IEEE-1588 Precision Time Protocol, or PTP, a protocol so precise that under ideal conditions, timing accuracy of better than 1 microsecond can be achieved. While some AES67 devices can provide PTP timing signals which might suffice for a small system, an ordinary crystal oscillator in a PC or I/O device is nowhere near accurate and stable enough to provide an absolute timing reference for a larger system, hence the need for standalone master clock generator.
For even greater timing accuracy you can use PTP compliant switches. These are significantly more expensive and are not needed for normal audio distribution, but are necessary for those applications that require absolute phase accuracy for audio signals distributed across complex networks with multiple switch hops.
Once the PTPv2 clock is running, it's possible to begin connecting AES67 devices to the network.
Finding #2. Before connecting AES67 devices, map out an IP and stream multicast address plan with all devices on the same IP subnet.
Each AoIP vendor has their own way of allocating addresses; a plan will assure there's no overlap and that AES67 devices will be on the same IP subnet since multicasting does not normally cross subnet boundaries. Start with the AES67 devices that are least common or least flexible in specifying or changing multicast addresses.
Finding #3. When adding an AES67 device to the network, set the system sample rate at 48kHz unless you know the device sample rate.
AES67 does not require devices to support 44.1kHz and many do not. You'll most likely find this setting option and others in the admin software that comes with the network system, such as the WheatNet-IP audio network's Navigator software, an interface screen of which is shown here.
Finding #4. When adding an AES67 device to the network, pay attention to packet timing incompatibilities.
WheatNet-IP uses 1/4 ms packet timing for minimum latency. Most AES67 devices also support 1/4 ms packet timing but some, such as Dante, do not. For those devices that do not use 1/4 ms packet timing, we enabled the AES67 1 ms Support option in WheatNet-IP Navigator, as shown here.
Finding #5. Some AES67 devices do not offer an easy way to manually manage streaming details, although these devices often can read these details in the form of an SDP file.
In our case, we created SDP files by simply right-clicking on the desired source stream's name in the Navigator crosspoint grid and opening a window that let us create the file.
Below are a few sample SDP files from WheatNet-IP and Dante showing multicast address, packet timing, sample rate and stream formats.
Overall, commissioning AES67 in most broadcast plants should be a nonevent as broadcasters begin adopting the SMPTE 2110 suite of standards.
Plugfest 2018. We're Not Talking.
SEPTEMBER 2018: In August, we attended the plugfest in Wuppertal, Germany, which made huge strides in IP interoperability and AES67 compatibility. The results were heard at the IP Showcase during the IBC show in Amsterdam -- one more example of what we as an industry can accomplish together.
Pictured: Danny Teunissen - all things Wheat in The Netherlands and beyond - behind the racks at Plugfest, which we are not talking about...
The first rule of Plugfest 2018 is to not talk about Plugfest 2018 so we won't tell you that Wheatstone was there with the AES67 goods. Nor will we mention the huge strides we made in IP interoperability, or how much we enjoyed getting together with other industry manufacturers to talk IP in Wuppertal, Germany, last month.
What we can tell you is that the results sounded and looked phenomenal at the IBC show in Amsterdam.
It was all laid out for you at the IP Showcase, where show goers got instruction, case studies, and demonstrations of what we're talking about – or rather, not talking about. This is the third IP Showcase at IBC and captured the momentum behind the migration to standards-based IP infrastructure for real-time professional media applications.
IP Showcase was hosted by major technical and standards organizations within the broadcast industry: Audio Engineering Society (AES), Alliance for IP Media Solutions (AIMS), Advanced Media Workflow Association (AMWA), European Broadcasting Union (EBU), Society of Motion Picture and Television Engineers® (SMPTE®), and Video Services Forum (VSF).
Our AES67 compatible WheatNet-IP audio network units was there doing their part and demonstrating AES67 compatibility in this overall showcase system based on SMPTE ST 2110 standards. AES67 is a critical part of the move to IP because as the IP audio transport standard specified in SMPTE ST 2110, it can eliminate the practice of HD/SDI audio embedding/de-embedding with video and all the hardware that goes along with HD/SDI workflows. AES67 is an IP audio multicast transport standard that uses the Precision Time Protocol IEEE 1588 as the master clock reference.
A Bad Trip With Diversity Delay
NOVEMBER 2018: Sometimes, we get so caught up in broadcast equipment design and manufacturing that we forget we're listeners too. Here, Scott Johnson describes the frustration of trying to tune into his favorite show on his morning commute into work, only to have the signal thwarted by HD and FM signals out of alignment.
This morning began like any other. I stepped out the front door, got into my car, and set my radio to the local station that airs a particular newscast I like to listen to while I drive to work.
As I left my neighborhood and headed for the highway, I began to notice something strange. I was having trouble following what the newscaster was saying. It was as if parts of it were missing, but my brain was still a bit foggy. Then I heard a phrase actually repeated. Then there was a skip, then another repeated phrase. Some audio was being repeated and other audio was being dropped. The mystery was solved when I looked down at the display: the radio's "HD" indicator was coming on and going out at random intervals.
When a station broadcasts the same programming on analog FM as well as their HD1 feed, it's very easy for the two signals to fall out of alignment due to latency (inherent delay) in the two processing chains. In this case, the analog and HD signals had a time difference between them of nearly two seconds. As my radio blended back and forth between analog and HD, I was hearing two different versions of the audio, one delayed more than the other. The result, with repeated and missing words, was absolutely unlistenable. I changed the station. Your listeners might tune out, too, when faced with the crazy-sounding jitter that bad diversity delay can present them with at the outer fringes of your listening area.
That's why Wheatstone's newest processor, the AirAura X4, includes built-in systems for detecting and correcting errors in diversity delay, locking your analog and HD signals together precisely, and readjusting the delay as necessary to maintain that relationship. Alternatively, if you have a Belar or DaySequerra modulation monitor that supports the feature, you can feed its delay correction factor to several of Wheatstone's on-air audio processors, which will then apply the correction automatically.
You can learn more about Wheatstone's diversity delay correction technology as well as our partnerships with DaySequerra and Belar on the Wheatstone web site, and in these three informative videos:
Vox on Sports
OCTOBER 2018: Speaking of sports…it seems that our VoxPro digital audio recorder/editor has found its way into the sports arena for live sporting events. VoxPro is mainly used by jocks to manage those fast-paced, live call-in morning shows, but hey, sportscasters do some fast and furious live coverage too and they also need to be able to record and edit simultaneously.
The need to record and edit simultaneously during live shows is not uncommon in broadcasting, but it's especially vital to sportscasters who cover live sporting events.
That explains why our VoxPro digital recorder/editor has been finding its way into sports venues of late. Commonly used for recording and editing live call-ins for morning radio shows, VoxPro is now being used by the NBA Portland Trail Blazers and other sportscasters for live coverage.
Unique to VoxPro is its controller with scrub wheel plus software editing tools designed specifically for real-time, fast-paced live production. The form and function of VoxPro is dedicated entirely to live coverage so these sportscasters can easily drag and drop sound bites into a Hotkey and add fades and effects as needed, all while editing or recording a separate track in a side window AND sending a mixdown to air!
We're also beginning to see something else happening in the sports studio. Sound effects and music beds specific to an athlete or a particular play are being prepared in advance and recalled for playback using VoxPro's Hotkeys.
"I wouldn't be surprised if we see many other uses for VoxPro by sportscasters as time goes on, especially now that professional games are as much multimedia spectacles as they are contests between two teams," commented Rick "Doctor Vox" Bidlack, VoxPro systems and design engineer.
Best of Show. Wheat Gets Three.
Every NAB show feels like a finish line. We design, we build, we make changes, we add features, we tweak features. We push ourselves as fast and as hard as we can to bring our individual and collective vision to the industry. We see the first day of the show coming and start counting backward to the cutoff point - the point where we need to pack up what we've been working on and take it to the public. But rather than being the finish line, it's only the next starting line.
We believe we make a difference in the broadcast community. We have ideas - some of which become products, some of which become blueprints for the way forward. We look at the broadcast community every day and evaluate the way it works and the way we work in it, always with a single objective – to improve things. The ways we work; the audio we hear; the ways we interact.
And when we finally get to the show, the excitement of being able to share what we've been working on becomes the driving force. We pull out all the stops and make sure we're presenting it in the best possible way so that you – the broadcast community – can partner with us to implement it all.
While our reward is seeing the difference we make, we'd be lying if we said it didn't feel great to be recognized by the media in the industry. Next to customer acceptance, nothing's better for a manufacturer's self-esteem than receiving a NewBay Best of Show Award. It's the closest this industry gets to an Oscar and it says that a new product has been evaluated by a panel of engineers and industry experts, and selected based on innovation, feature set, cost efficiency and performance in serving the industry.
So, as we counted down the minutes to the close of NAB 2018, we held our breath, hoping to get at least one Best of Show award.
And guess what? We received three:
Our new ScreenBuilder 2.0 virtual environment creation tool took one from TV Technology.
Our new PR&E EMX AoIP console received one from Radio magazine.
And, yep, even our analog console, the Audioarts Lightning standalone successor to the venerable R-55E, took one from Radio World.
Jeff Keith: Innovator of the Year
Even before Jeff Keith joined Wheatstone in 2007, he earned the nickname "Keithkit" because he was always at the workbench inventing things. Jeff has certainly lived up to that name here at Wheatstone. He's responsible for the multipath mitigation technology you've heard so much about and for an ingenious new approach to clipping that you'll be hearing more about in the coming months.
He's earned his place among the most prominent innovators in our industry, and we're proud he's leading our processing team.
Making Sense of the Virtual Studio
Curious about how the modern studio has evolved in an IP world? Virtualization of the studio is WAY more than tossing a control surface on a touch screen. With today's tools, you can virtualize control over almost ANYTHING you want to do with your audio network. This free e-book illustrates what real-world engineers and radio studios are doing. Pretty amazing stuff.
Advancing AOIP for Broadcast
Putting together a new studio? Updating an existing studio? We've put together this e-book with fresh info and some of the articles that we've authored for our website, white papers, and news that dives into some of the cool stuff you can do with a modern AoIP network like Wheatstone's WheatNet-IP.
Got feedback or questions? Click my name below to send us an e-mail. You can also use the links at the top or bottom of the page to follow us on popular social networking sites and the tabs will take you to our most often visited pages.


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I am trying to write a wrapper class for simplicity around sockets so they are easily portable. I know accept() waits untill you connect() from the client, but is there a way to check if there is something to accept() before calling accept()?
An analogy I don't wait with my front door open untill my friend shows up I wait for the doorbell before I open the door and go about my business then go answer the door.
I mean there must be some way to check or maybe timeout accept() right? I would prefer not to use threads as I am not familiar with them fork() seems to not share data across threads - I'm not sure if globals are still accessible by all or not in that case. If there is a way to check before accept()ing that would be a big help.


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This is not an offer for credit and should be used for estimation purposes only based on the information you provided. You should not base your decision on this estimate alone. Title, registration, tax and other fees, and personal circumstances such as employment status and personal credit history, were not considered in the calculations.
Transaxle - Differential with Helical Gears
Gear selection - Body mounted Forward-Neutral-Reverse
Six 8 volt deep cycle
Battery charger - 48 V PowerWise™ QE, 120 VAC, UL & CSA
Overall - without roof (top of steering wheel) – 47 in. (119 cm)
Overall - with roof - 68.5 in. (174 cm) (top of sun canopy)
Without batteries - 606 lb. (275 kg)
Curb - 972 lb. (431 kg)
Service - Rear wheel mechanical self-adjusting drum
Parking - Self-compensating, single point engagement
Level ground - 14.5-19.5 mph (23.3 kph ± 31.4 kph)
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Innovation and Learning
Start with clarity of intent.
Now build it out with an evocative vision. Improvise progress by tinkering: with lots of trial and lots of error. The not knowing is the best bit: the mysteries the surprises, and from time to time the windfalls!
Hello there, I'm Steve Collis!
Click on "contact", won't you, and wave right back at me?


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23 members81 Comments 5 Likes
eliud ndewirwa ephraim has not received any gifts yet
Thank you for the invitation to be your friend. I know absolutely nothing about Tanzania and now I have a reason to get acquainted with you and learn about your country. There are many people from different countries, and groups with many interests that offer great opportunities to learn and teach each other.
Welcome, eliud! Glad you could join us. :D
Please consider joining a group to meet people and talk about anything that's on your mind, Hang With Friends. You might also want to look at Heathen Geeks, Geek and Nerd Haven, History Talk, Atheist Teachers, and possibly Apostate Atheists.
I also recommend Eco-Logical and Climate Concerns, since Tanzania is so vulnerable.
After you've searched for topics of interest in "Groups" above and in the "Forums", don't forget to look at recent activity which hides along the right margin of the page all the way at the bottom.
Hello Eliud Ndewirwa Ephraim
Welcome to this world of rationality, truth and peace, where common sense and science lead to freethinking wisdom --- as you know as a long time non believer and freethinker like us.
We invite you to make good friends by joining the busy group "ORIGINS: Universe, Astronomy, Life, Earth, Humans, Religion, Gods, Atheism, Evolution, Darwin..." with 700 discussion topics and 3500 members.
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Looking for a new lower-body challenge? Try adding the single-leg pulse to your repertoire. This move will sculpt your backside, get your heart rate up and challenge different muscles than a regular lunge, says fitness expert Lacey Stone, who uses it on her Extreme Bootcamp app for iPhone and iPad.
What it does
The back lunge works your hamstrings and glutes. The back-and-forth pulse with the front leg works the balancing muscles in your quads and hamstrings.
What to do
From a standing position, step back with the left leg into a rear lunge with the knee bent and pointing to the floor and your right knee bent but not extending beyond your toe. Your weight should be centered evenly between the front and back leg.
From that position, move the front leg in little side-to-side pulses, keeping the movement light and your shoulders back and abs tight. If you have a hard time balancing, you can hold on to a wall or chair while performing the exercise.
How much
Perform the movement on each leg for 30 to 45 seconds. Repeat up to three times.
L.A. Walks: Footloose in Fryman Canyon
Guitarist Joe Satriani finds the right chord for fitness


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An increased focus on sustainability in combination with current research in biotechnology and biomimicry are influencing our design landscape and new directions are emerging. Continue reading
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Katy Perry Covers Marie Claire, Shows Off Abs [PHOTO]
Katy Perry has notched another mag cover, this time the January 2014 cover of Marie Claire, which is its first-ever Change Your Life issue. Perry would know a little something about that, wouldn't she?
The singer, who pulled herself up by her boot straps after hubby Russell Brand left her, flashes her taut tummy on the cover. She is lovely in lavender.
The safety pin necklace is a cute, edgy touch, as is her black bra top. But what sticks out to us with this mag cover?
Her eyes! The mega curled lashes, the cat-eyed liner and her sultry stare -- like whoa! The stare, along with having with her mouth agape and being topped off by glossy, thick black locks ... it all comes together to form one of the sexiest covers she's ever graced.
Katy Cats and PopCrushers, how you feeling about Katy Perry's latest magazine cover? She certainly is genetically blessed.


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Thursday, November 29, 2012
Away We Go... Travel Easy + Comfy
14 comments:
Safe travels!ReplyDelete
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Safe travels to you and your family!ReplyDelete
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Hi Mimi,ReplyDelete
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Ps. Love the booties too
Safe trip. Still lookin fly!ReplyDelete
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