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I like to think that on most days, I eat pretty well. As in, balancing proteins and carbs with lots of fresh vegetables. And sticking to moderation. But put me in a room full of cheese and I'm a lost cause. Or worse, put me in a 675,000-square-foot convention center full of cheese, and I won't even know I'm well past the point of fullness.
In July I attended the Summer Fancy Food Show, a trade show for anyone working in the food and beverage industry to discover new, interesting products. It's a great show and I always end up learning a lot about both local products and international products that have yet to find distributors in the U.S. The show is also a sampler's paradise. Everywhere you turn a producer is offering an enticing food to sample, and many of these foods happened to be cheeses. (Or maybe I'm just magnetically drawn to cheese booths. Who knows?)
This is all to say that by the end of two days at the trade show, I was in dire need of food that was very light and healthy. Fortunately, I was working on a campaign with Wildwood to try out their products for a post. Now, I'd actually been using various Wildwood fresh and baked tofu for over a year, since discovering them at my local co-op, so I was really excited to try out the tofu in a simple summer salad.
The product I used for the salad was the High Protein Super Firm Tofu, and organic, Non-GMO-verified tofu made with sprouted soybeans. It came in a vacuum pack instead of the conventional tubs, which I love because the lower amount of water means lighter grocery loads to carry. (Every little bit helps when the store is a 15-minute walk from home!)
For the leafy greens portion of the salad, I just dressed mesclun greens with cider vinegar and olive oil. As for the tofu, I cut it into 1-inch cubes, seared them with ginger and a good amount of garlic, and added a light sauce made with sesame oil, soy sauce, rice vinegar, and honey. A bit tangy, a bit salty, a bit sweet. It was an ideal healthy meal after two days of gluttony.
A few days later, I also served this salad to friends who were visiting, and I'm happy to report it got rave reviews, even from those who don't normally like tofu. And since the salad is so easy to make in big batches to serve to groups, it just might become a cookout or picnic staple before it gets too cold out.
For a chance to win a $100 Visa Gift Card, tell me in the comments below: What would be your ideal dinner recipe using Wildwood tofu?
Garlic and Sesame Tofu Salad
Serves 4
- 1 pound Wildwood Super Firm Tofu
- 3 tablespoons cider vinegar
- 3 tablespoons extra-virgin olive oil
- 4 ounces spring mix salad or baby romaine
- 3 cloves garlic, minced
- 1 teaspoon minced ginger
- 2 tablespoons soy sauce
- 2 teaspoons sesame oil
- 2 teaspoons rice vinegar
- 2 teaspoons honey or agave nectar
- 1 teaspoon white sesame seeds
- Drain and rinse the tofu and pat dry with a clean kitchen towel. Cut the tofu into 1-inch cubes and press gently between two more clean kitchen towels to remove excess water.
- In a small bowl, whisk together the cider vinegar and olive oil. Using your hands, toss the salad greens in a large bowl with the dressing. Set aside.
- In a small bowl, whisk together the soy sauce, sesame oil, rice vinegar, and honey.
- Heat a large skillet over medium heat. Add the garlic and ginger and gently cook just until aromatic, about 30 seconds. Add the tofu and spread it out into a single even layer on the pan. Allow the tofu to sear undisturbed for about 1 minute. Stirring occasionally, cook for another 3 minutes until all or most of the sides are golden. Add the soy sauce mixture and stir until the tofu is well-coated. Transfer the tofu to the large salad bowl and serve. (Alternatively, divide the tossed salad greens into individual bowls and top off with the tofu.)
Sweepstakes Rules:
No duplicate comments.
You may receive (2) total entries by selecting from the following entry methods:
- Leave a comment in response to the sweepstakes prompt on this post
- Tweet (public message) about this promotion; including exactly the following unique term in your tweet message: "#SweepstakesEntry"; and leave the URL to that tweet in a comment on this post
- Blog about this promotion, including a disclosure that you are receiving a sweepstakes entry in exchange for writing the blog post, and leave the URL to that post in a comment on this post
- For those with no Twitter or blog, read the official rules to learn about an alternate form of entry.
This giveaway is open to US Residents age 18 or older. Winners will be selected via random draw, and will be notified by e-mail. You have 72 hours to get back to me, otherwise a new winner will be selected.
The Official Rules are available here.
This sweepstakes runs from 10/1/2013-10/31/2013.
Be sure to visit the Wildwood brand page on BlogHer.com where you can read other bloggers' reviews and find more chances to win!


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DISH Voice Remote
Use your Voice Remote with the Google Assistant to browse channels, turn on your favorite shows, look up scores, and more.
Amazon Alexa
Thanks to Hands-Free TV™ from Amazon
Alexa, you can find something to watch,
switch between channels, fast-forward,
and more with just your voice.
Google Assistant
Use your Google Assistant to control
your entertainment: Fast-forward, rewind,
pause, play, search, and more with the
power of your voice.
"Alexa, find Big Bang Theory."
"Alexa, go to History Channel."
"Alexa, pause."
"Hey Google, find comedies."
"Hey Google, tune to ESPN."
"Hey Google, rewind 10 seconds."
"Hey Google, show me Tom Hanks movies."
"Hey Google, go to channel 130."
"Hey Google, pause."

subset: commoncrawl


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Bark Linen Cushion
Bark Linen Cushion
50cm x 50cm
100% natural linen cushion with original Bark art print by Emma Hawtrey.
Ships with luxurious and full 100% feather insert included, please allow up to four weeks for your order to be made up and dispatched.
Printed and hand sewn in Australia.
Add To Cart


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SEATTLE--(BUSINESS WIRE)--(NASDAQ:AMZN) – Amazon.com, Inc. today announced an In-App Purchasing (IAP) service, making it easy for Amazon Appstore developers to offer digital content and subscriptions for purchase within apps and games that are available on millions of Kindle Fires and other Android devices.
Amazon Appstore's In-App Purchasing service is simple for developers to integrate and helps monetize their apps and games, while offering customers a seamless and secure 1-Click purchasing experience. Top developers including ZeptoLab, Disney, Glu Mobile Inc., Storm8, Social Gaming Network, Gameloft, G5 Entertainment Inc., and top publishers like Condé Nast, Dow Jones and New York Post, have already integrated Amazon Appstore's In-App Purchasing API and are offering millions of Amazon customers in-app content and subscriptions. To learn more, developers can watch a video about Amazon's In-App Purchasing service at http://www.youtube.com/amazonappstoredev. To find the Quick Start Guide, sample code, tutorials and FAQs, visit the Amazon Appstore Developer Portal at http://developer.amazon.com/appstore.
"Amazon Appstore's In-App Purchasing service enables developers to generate more revenue from their apps," said Aaron Rubenson, Director of Amazon Appstore. "In-App Purchasing is simple to integrate and gives developers access to millions of Amazon customers who are already familiar with Amazon's 1-Click payment system. Many of Amazon Appstore's customers have shopped with Amazon before and they trust Amazon's easy payment process, which leads to higher conversion of developers' in-app content and subscriptions."
G5 Entertainment
"We found that by offering a product with IAP, rather than other monetization types, our conversion rates went up, as did our revenue, on a per-title basis," said Larissa McCleary, Director of Marketing at G5 Entertainment, Inc., creator of Virtual City Playground and Mahjong Artifacts. "Although our experience on Amazon has always been great, we are thrilled now that IAP is available."
Social Gaming Network
"Amazon's In-App Purchasing solution created a great way for us to reduce friction and drive more revenue from our games, as millions of people already have Amazon accounts," said Michael Ritter, Senior Vice President Licensing & Distribution at Social Gaming Network, maker of Warp Rush, Dress Up Fashion, Bird's the Word, and Night of the Living Dead Defense. "Kindle Fire already has a well-integrated store front and marketplace to distribute mobile games. By enabling in-app purchases we are able to be more flexible in pricing. We can release free games, provide updates and enhancements, and continue to monetize."
"With Amazon's impressive track record and tremendous success with the Kindle, we knew the Appstore would be a hit, so we signed up right away. And when we heard that Amazon was launching the SDK with In-App Purchasing, it was a no-brainer for us to integrate," said Perry Tam, CEO and Co-Founder at Storm8, producer of games such as Restaurant Story, Bakery Story, Farm Story, Fashion Story. "Our experience with the Amazon Appstore has been great. We were thrilled when they decided to add In-App Purchasing support to their SDK, and the Amazon team worked closely with us throughout the beta test for this feature. Our games quickly gained traction on the platform; all of the Storm8 apps hit the Appstore's Top 10 list within a week of launching."
New York Post
"By integrating In-App Purchasing, our goal was to offer Amazon's frictionless purchasing experience to our customers. This includes the ability for customers to easily subscribe using 1-Click, take advantage of a 14-day free trial, and to auto-renew," said David Rozzi, Director of Digital Projects at New York Post. "We're excited about the results so far, and we look forward to continuing to provide content to customers on Kindle Fire and other Android devices."
Mobile Deluxe
"Implementing the Amazon Appstore for Android In-App Purchasing solution was a piece of cake. We were able to turn it around and get it into internal testing within a few days' time," said Sean Thompson, Vice President of Production, Mobile Deluxe. "The documentation was top notch and the SDK contained everything we needed to test the implementation."
"The Amazon Appstore SDK made it easy for us to enable Digital Publishing Suite to support in-application purchasing of both single issues and subscriptions of digital magazines on Kindle Fire," said Zeke Koch, Senior Director, Product Management, Digital Publishing at Adobe. "Amazon's well-designed API and rapid support allowed us to help our enterprise publishing customers be first on the Fire."
To see how simple it is to integrate, developers can watch a video about Amazon's In-App Purchasing service at http://www.youtube.com/amazonappstoredev. Several of the In-App Purchasing beta test participants will share best practices via the Amazon Appstore Developer Blog at www.amazonappstoredev.com and on Twitter (@amznappstoredev). Learn more about Amazon Appstore Developer Services and submit apps online through the Amazon Appstore Developer Portal at http://developer.amazon.com/appstore.
About Amazon Appstore for Android
The Amazon Appstore for Android is where customers can find, discover and buy thousands of apps using Amazon's convenient and trusted shopping features, including personalized recommendations, customer reviews and bestseller lists. Customers can access the store directly on Kindle Fire, from any computer, or on an Android phone or tablet. Amazon Appstore has a broad selection of paid and free apps and games, including established bestsellers and new apps from top-tier brands. More apps and games are added daily and the Amazon Appstore offers customers a great paid app for free, every day.
About Amazon.com
Amazon.com, Inc. (NASDAQ:AMZN), a Fortune 500 company based in Seattle, opened on the World Wide Web in July 1995 and today offers Earth's Biggest Selection. Amazon.com, Inc. seeks to be Earth's most customer-centric company, where customers can find and discover anything they might want to buy online, and endeavors to offer its customers the lowest possible prices. Amazon.com and other sellers offer millions of unique new, refurbished and used items in categories such as Books; Movies, Music & Games; Digital Downloads; Electronics & Computers; Home & Garden; Toys, Kids & Baby; Grocery; Apparel, Shoes & Jewelry; Health & Beauty; Sports & Outdoors; and Tools, Auto & Industrial. Amazon Web Services provides Amazon's developer customers with access to in-the-cloud infrastructure services based on Amazon's own back-end technology platform, which developers can use to enable virtually any type of business. The new latest generation Kindle is the lightest, most compact Kindle ever and features the same 6-inch, most advanced electronic ink display that reads like real paper even in bright sunlight. Kindle Touch is a new addition to the Kindle family with an easy-to-use touch screen that makes it easier than ever to turn pages, search, shop, and take notes – still with all the benefits of the most advanced electronic ink display. Kindle Touch 3G is the top of the line e-reader and offers the same new design and features of Kindle Touch, with the unparalleled added convenience of free 3G. Kindle Fire is the Kindle for movies, TV shows, music, books, magazines, apps, games and web browsing with all the content, free storage in the Amazon Cloud, Whispersync, Amazon Silk (Amazon's new revolutionary cloud-accelerated web browser), vibrant color touch screen, and powerful dual-core processor.
Amazon and its affiliates operate websites, including www.amazon.com, www.amazon.co.uk, www.amazon.de, www.amazon.co.jp, www.amazon.fr, www.amazon.ca, www.amazon.cn, www.amazon.it, and www.amazon.es. As used herein, "Amazon.com," "we," "our" and similar terms include Amazon.com, Inc., and its subsidiaries, unless the context indicates otherwise.
Forward-Looking Statements
This announcement contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. Actual results may differ significantly from management's expectations. These forward-looking statements involve risks and uncertainties that include, among others, risks related to competition, management of growth, new products, services and technologies, potential fluctuations in operating results, international expansion, outcomes of legal proceedings and claims, fulfillment center optimization, seasonality, commercial agreements, acquisitions and strategic transactions, foreign exchange rates, system interruption, inventory, government regulation and taxation, payments and fraud. More information about factors that potentially could affect Amazon.com's financial results is included in Amazon.com's filings with the Securities and Exchange Commission, including its most recent Annual Report on Form 10-K and subsequent filings.


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It all started with...
. . . a vision of providing the highest quality legal service with a personal touch. At the heart of this vision lies our profound belief in building solid, working relationships with our clients.
We feel that strong communication and understanding allow our clients to make intelligent, informed legal decisions that lead to successful outcomes. At the Law Offices of Scott D. Wu, we integrate experience, legal expertise, and personal attention in order to bring our clients the very best in value and service.
At the Law Offices of Scott D. Wu, we feel that in order for clients to make fully informed decisions about their legal matters, they must feel completely comfortable with the attorney handling their case. That is why we make it our first priority to explore the specific personal and business goals of each and every client. Throughout the legal process, we strive to keep our clients well informed about the developments in their case and return client phone calls as quickly and promptly as possible.
The Law Offices of Scott D. Wu prides itself on being a conduit through which our clients can achieve their legal goals.


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Playful 'Giulio Cesare' at the Met
"Giulio Cesare" is, arguably, George Frideric Handel's masterpiece. Yes, it has its fair share of the musical conventions of the time, particularly a plethora of da capo arias. But as Baroque operas go, it's strong in vocal elegance, rich in complex characterizations, and overflowing with a fairly wide variety of dramatic situations. Premiered on April 4, the Metropolitan Opera's handsome new production of "Giulio Cesare," conceived by David McVicar, extends the scope of that variety with a playful concoction of color, culture clash, and good, old-fashioned fun.
The opera's formal title, "Giulio Cesare in Egitto," prepares us for the tale of Julius Caesar's campaign in Egypt in 48 B.C. against his rival, the Roman general Pompey. A victorious Caesar meets and is captivated by the young and beautiful Cleopatra, co-ruler of the Egyptian empire with her no-good brother, the Pharaoh Ptolemy XIII.
But McVicar opts to set the action in the twilight of British imperialism, which makes the character Caesar more the archetypal conqueror, less the historical Roman. This option also gives McVicar license to pull from the various cultures submerged under the Empire: Egyptian, of course, but also Indian, Chinese, perhaps even Scottish; in addition, he blurs time: the tall-masted frigates sailing the sea in the background later give way to turn-of-the-century battleships.
In between Caesar and Cleopatra's love at first sight and the celebration of their union at the opera's end, there are heroic and noble acts, betrayals and misgivings, seductions, abductions, imprisonments, misogyny, war, executions, murders and so on. Oppressive and grim as this list may seem in print, McVicar lightens the emotional load on stage by juxtaposing gravity and bloodshed with comedy and dance. After all, folks go to the opera to be entertained, not to be further reminded of the miseries of everyday life. For example, when Caesar is warned of a conspiracy against him, his vigorous and vengeful aria "Al lampo dell'armi," with all its rapid vocals and repetitions, is accompanied by Cleopatra's frantic (and silly) urgings for him to just stop singing and get going.
As Cleopatra, soprano Natalie Dessay shows herself as a master at making a moment light, but then switching to dark as suits the plot. Following Caesar's departure alluded to above, her long, soulful, elegantly sung "Si pietà" gives voice to her deepening love for him. Indeed, the opera traces Cleopatra's transformation from a young, spoiled, flippant young monarch to a mature, loving, self-sacrificing woman. Dessay winningly meets the challenges of this evolution.
Countertenor David Daniels took a little time to warm up opening night, but sang magnificently thereafter. His Caesar (Cesare) is virile and heroic. Countertenor Christoph Dumaux's Ptolomy (Tolomeo) is a more complex creation, sometimes oily and detestable, sometimes fey or petulant. Achillas, his general, is sumptuously sung by basso Guido Loconsolo (his Met debut).
Mezzos Patricia Bardon and Alice Coote sing Cornelia and Sextus (Sesto), Pompey's wife and son, respectively. Cornelia, Ptolomy's prisoner, has, by her beauty, inspired the lust of her captors. She spends much of her time in peril; Bardon aptly demonstrates her defiance. Sextus, also a prisoner, plots revenge for his father's murder and for his mother's plight. Coote brings a wide range of expressions to the role. Their lovely, albeit somber duet at the very end of Act 1 is a model of bel canto singing.
John Moore is Curius; Rachid Ben Abdeslam sings Nirenus. Baroque master Harry Bicket conducts the Metropolitan Opera Orchestra.
Robert Jones' set for "Giulio Cesare" is a large, open, sand-colored floor with staggered walls on either side. It's Alexandria, so the sea rolls gently in the background. This space is quickly transformed via colored fabrics, lighting and props to suit the various scenes, moods and actions of the drama. Good thing too: in Baroque operas, as in Shakespeare's plays, the locations of the story often change several times within each "act." Costume designer Brigitte Reiffenstuel and choreographer Andrew George establish time and ethnicity with cloth, stylized movement and dance; lighting designer Paule Constable creates appropriate atmospheres of illumination.
Especially embracing is the opera's finale: Caesar and Cleopatra are united and elegantly decked out, Cornelia and Sesto are free and cleaned up, all of the intrigue has ceased and even the dead have returned to life to join the ensemble. Champagne is served. It's a celebratory moment indeed.
Handel's "Giulio Cesare" is performed again on the Met stage on April 22, 30, May 3, 7 and 10, with a matinee on April 27. Tickets are available at www.metopera.org or call 212-362-6000. The April 27 matinee will be telecast live in HD at noon to both the Quick Center in Fairfield and the Ridgefield Playhouse in Ridgefield; both locations offer an encore performance at 6 p.m. Tickets at these venues may be purchased on their websites or at the Met's website.
Jerry Sehulster is a freelance writer who lives in Stamford. He can be reached at email@example.com.


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Arsenal v. Aston Villa
- My Father's Moustache 1405 Ben Sawyer Blvd Mt Pleasant, SC, 29464 United States (map)
- Tagged FA Cup
Use this form to contact us. We are always glad to hear from fellow Gooners!
1405 Ben Sawyer Blvd Ste 103
Mt. Pleasant, SC 29464
Welcome to Charsenal!


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Rogue trader Kerviel to serve 3 years in jail
Issued on: Modified:
Jérôme Kerviel, the trader who lost nearly €5 billion while working for French bank Société Générale, will serve three years of a five-year prison sentence, after a court in Paris rejected his appeal. Kerviel alleges his superiors knew that he was making high-risk bets and insists he is the victim of a cover-up. Meanwhile, the bank is working to recoup some of the money, and has put tighter controls in place to stop "rogue traders" racking up such losses again.


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[A Brochure, Titled "Mineral Wells - A Town Built on Water"]
Description: One side of a fold-out brochure produced by the Mineral Wells Chamber of Commerce, probably during the City's centennial year, 1981 is shown here. On the reverse side is a statement: "Mineral Wells, a Texas Main Street City, looks back over a century of history rich with the tales of early day ranching and the discovery of mineral water and its medicinal qualities." Color photographs of the city and its scenic area landmarks are contained in the brochure, along with a listing of some annual local activities.
Date: 1981~
Partner: Boyce Ditto Public Library


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Department of Revenue News Release
August 04, 2010Contract With Gallatin License Office Agent Canceled; Office Closed for Indefinite Period of Time
JEFFERSON CITY - The Missouri Department of Revenue and the Office of Administration have canceled the state contract with Julie A. Vyrostek, the agent of the Gallatin License Office. The office (located at 400 N. Main St., Suite 1) will be closed until a new agent is named. But customers in the City of Gallatin and Daviess County area have nearby offices in which they can conduct driver license, titling and other motor vehicle transactions.
"The agent breached the provisions of the state's contract, and the state exercised its option of canceling the contract with her," said Alana M. Barragán-Scott, director of the Missouri Department of Revenue. "I know this action may inconvenience some customers of the Gallatin office. But it is vital that agents comply with the conditions of the state contract and for customers to have confidence that their transactions are being handled properly."
The Department reviewed the records of the Gallatin office and discovered that over the past several months there had been violations of the contract's provision against "lapping." Lapping is the personal use of state money collected by an office that results in the office covering one day's transactions with receipts from a later day. When lapping occurs, a license office customer may believe that his or her transaction has been completed, when in reality it has not, and several days or weeks may pass before the transaction is officially recorded.
"The state contract that every agent signs specifically prohibits lapping," Barragán-Scott said. "Canceling a contract is not an action the state takes lightly. But it is an action that was necessary in this instance."
Vyrostek and a relative were originally named as co-agents of the office in May of 2005, and Vyrostek had been the sole agent since December of 2009 when she submitted the only bid to run the office. The Office of Administration will issue a Request for Proposal on Thursday to ask for new bidders to operate the office. According to figures from Fiscal Year 2009, the Gallatin office conducted 12,195 transactions and charged $40,396 in agent processing fees.
There are several other area license offices where customers can go to conduct transactions. The offices, their addresses, phone numbers, and operating hours are:
Bethany - 3105 Miller, (660) 425-3117, Monday through Friday, 8 a.m. to 5 p.m.; Last Saturday of the month, 8 a.m. to 1 p.m.; Last two business days of the month, 8 a.m. to 5:30 p.m.
Cameron - 217 N. Chestnut, (816) 632-4830, Monday through Friday, 8 a.m. to 5 p.m.; Saturday, 9 a.m. to noon.
Chillicothe - 730 S. Washington, (660) 646-5418, Monday through Friday, 9 a.m. to 5 p.m.; Last four business days of the month, 8:30 a.m. to 5: 30 p.m.
Kingston - 49 E. Main St., (816) 586-3851, Monday through Friday, 8 a.m. to 4:30 p.m.; Closed for lunch, 1 p.m. to 2 p.m.
Maysville - 104 W. Main St., (816) 449-5252, Monday through Friday, 9 a.m. to 4 p.m.; Saturday, 9 a.m. to 1 p.m.; Closed for lunch (Monday through Friday), Noon to 1 p.m.
Trenton - 617 Main St., (660) 359-4324, Monday through Friday, 8 a.m. to 4:30 p.m.
A list of all local license offices is available at http://dor.mo.gov/offloc/. Citizens with questions about driver license transactions may call (573) 751-4600, and questions about license plate renewal or other motor vehicle-related transactions can be answered by calling (573) 526-3669. Many questions can also be answered by going to the Department's website at www.dor.mo.gov.


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More About Berkshire East Mountain Bike Park!
September and October – A Great Time for Rafting
There's no beauty like whitewater rafting in the fall at Berkshire East Mountain Resort! September and October are awesome months to experience the adventures of whitewater rafting!
Watch More Whitewater Rafting Vides!
Massachusetts Rafting
Massachusetts Rafting! New England's premier whitewater rafting in Western Massachusetts offering a truly breathtaking experience with clear and clean waters! Come brave the rapids at Berksire East for the funnest and most memorable rafting trip in M...
Rafting At Monroe Bridge
What is the Monroe Bridge Trip? The Monroe Bridge section of the Deerfield River is the most exciting river rafting in Massachusetts! A narrow river bed that continually drops over the course of five miles through class III and IV whitewater. Non-stop...
Rafting At Fife Brook - Zoar Gap
What is the Fife Brook Trip? The Fife Brook section of the Deerfield River is the most popular rafting trip in Massachusetts. With several Class I & II rapids and the Class III Zoar Gap Rapids, this section of river is the perfect introduction to whitewater...
Aerial View Rafting The Deerfield River
Check out these breath taking views from the air of the Deerfield River. Video footage taken from a drone. Experience whitewater rafting on the Deerfield river and you'll never forget it! Visit Berkshire East Mountain Resort to raft the Deerfield riv...
Berkshire Whitewater Charlemont, MA
From preparing and loading the raft, starting down the river and enduring the rapids, this video will put you right in the fun and excitement of the whitewater rafting experience at Berkshire East Mountain Resort!
Berkshire Whitewater Experience
There's nothing like the Berkshire Whitewater Experience on the Deerfield River! Come on out and check out the fun and excitement of whitewater rafting at Berkshire East!
Berkshire Whitewater in Super Slow Motion
Feel the rush of the whitewater experience in super slow motion! Watch this video and you'll want to experience rafting for yourself in real time at Berkshire East!
Berkshire Whitewater with Kelly Skinner
Berkshire Whitewater with Kelly Skinner! Your group wants to go white water rafting. We've got just the thing. Bear Swamp generating station pulled over 1.7 million gallons of water at an elevation nearly 800 feet above the Deerfield River. When this...
Best Photos of Berkshire Whitewater
Check out these best whitewater rafting photos of 2015 at Berkshire East. Come on out, get in a raft and jump in the fun and excitement of rafting at Berkshire!
Deerfield River Rafting
Deerfield River Rafting! Laughing is an activity especially on the Deerfield. It's a precious resource on the fact that it really does have something for everybody. You have up to grade 5 rapids in the bridge section. You have 10 miles of class two and...
Great Photography is Part of the Whitewater Experience
Great Photography is Part of the Whitewater Experience. We have a photographer on staff to photograph your Whitewater experience. We like to incorporate the photography as part of the entire river trip in the entire experience. The photographer will be...
Monroe Bridge Whitewater Rafting
Nothing like real life whitewater rafting at Monroe Bridge! This video makes you wish you were in the raft going down the river!
September and October - A Great Time for Rafting
There's no beauty like whitewater rafting in the fall at Berkshire East Mountain Resort! September and October are awesome months to experience the adventures of whitewater rafting!
Whitewater Rafting at Berkshire
Whitewater Rafting at Berkshire! As someone that grew up here outdoor recreation is really a sustainable model for how we can grow this economy and I think that rafting fits perfectly into that. I just think it makes a lot of sense to have one of the...
Whitewater Rafting Monroe Bridge
Getting in the raft at Monroe Bridge, starting the journey down the river, rafting the rapids, and wishing you were there as you watch this video. Where else would you rather be than whitewater rafting at Berkshire East Mountain Resort?
Zoar Gap Adventure
Zoar Gap Adventure! Real stories and testimonials of rafting on the Zoar Gap whitewater adventure from young rafters braving the rapids! Fun, excitement and awesome adventures whitewater rafting at Berkshire East Mountain Resort!
Rafting The West River
West River Rafting Trip! Rafting the West river in Southern Vermont is the one of the best ways you can enjoy all the greatness of autumn. Warm water, spectacular scenery, and some super fun white water make this trip a memorable one! We only get the...
Millers River
The spring thaw brings fun and adventure to the Millers River. You will spend the day paddling an 8 mile section of the river. We stop along the way for a snack and a hot lunch will be served back at the base lodge. Action is abundant on this river trip,...


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APRESENTADO POR: Discover Puerto Rico
OpenRegiste ▻
Explore Puerto Rico
Both Spanish and English are the official languages, the local currency is the U.S. dollar, and no visas or passports are required to enter Puerto Rico from the United States. Mail is sent through the US Postal Service at the same rates as on the mainland.
Puerto Rico is 100 long by 35 miles wide and as a result of its geographical position in the center of the arc of the Antilles. Puerto Rico is essentially a crossroads of Hispanic and Anglo cultures. Despite it's very diverse influx of cultures, Puerto Rico has been a part of the United States since 1898 and Puerto Ricans have been U.S. citizens since 1917.
Since the first humans came ashore thousands of years ago, the island that is now known as Puerto Rico has sheltered Indians, Spaniards, Africans and Anglos. The Spaniards had the earliest and greatest influence to the Island at their arrival in 1493. During their 400-year tenure the Spaniards laid the bedrock of the language and culture. They built cities and towns, fortresses and churches, lighthouses and roadways. They brought slaves from Africa to work in the fields, who, in turn, contributed the spice of their culture, enriching the language, music and diets.
Close to 4 million people live on the "Island of Enchantment," with more than a million in the greater San Juan metropolitan area alone. It is a vibrant, modern, bilingual, multicultural society, one that has been molded by Spanish, African, Indian and U.S. influences. Residents of Puerto Rico have much in common with their fellow Americans in the continental United States, yet they retain a decidedly Hispanic heritage.
The climate is as close to perfect as it can get, averaging 83°F (22.7°C) in the winter and 85°F (29.4°C) in the summer. In other words, it's always summer! The trade winds cool the coastal towns and the temperature decreases as you go up into the higher mountains.
Puerto Rico is in the Atlantic Time Zone, but does not observe Daylight Savings Time. The island uses standard U.S. electric current. European appliances require an adapter.
There are no customs duties on articles bought in Puerto Rico and taken to the U.S. mainland. Major credit cards are accepted at most businesses, and ATMs connected to major US and international networks are easy to find.
Business hours are similar to those on the mainland, 6:00 AM to 6:00 PM weekdays (the siesta has pretty much disappeared). Most stores are open Saturdays, and all of the larger towns have shopping malls that are open evenings and Sundays.


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Screen Rant's Vic Holtreman reviews Machete
Ever since the Quentin Tarantino/Robert Rodriguez double feature Grindhouse was released back in 2007, fans have been clamoring for a full movie version of one of the fake trailers that appeared with two films. That trailer was for a movie called Machete, starring Danny Trejo - an exploitation-style film in the genre of those from the early 1970s. It had guns, bloody violence, betrayal, and naked women - all shot in a grainy, film-scratched style.
Since this was a project that has been brewing in director Rodriguez' mind for a very long time (dating earlier than the 2007 trailer), the fan-based push nudged him to create the feature length version of the trailer. Now depending on your point of view, the timing for the release of this film is either very bad or very good. With the illegal immigration debate raging hot and heavy right now, this film will probably benefit from its controversy and outrageousness.
If you're into this sort of thing, the movie opens rather promisingly. We're introduced to Machete (Danny Trejo) and his partner - they're "Federales" in Mexico, fighting the good fight against the local drug kingpin Torrez (Steven Seagal - yes, THAT Steven Seagal). Just as things seem to be going well for Machete, they take a turn for the worse - as bad as you can get if you're a family man.
Everything about the above scenes screams cheesy, found-footage exploitation flick: The camera angles, color saturation, film scratches, decapitations, blood, naked woman, you name it. At this point I figured we were in for a real retro-treat.
Early scene spoiler alert
However from there we cut to a scene with a number of Mexicans crossing the border illegally that is incredibly outrageous (not in a good way) and brutal. A man and his very pregnant wife are stopped by a group of vigilantes in uniform (led by Don Johnson) and the senator. The senator guns down the pregnant woman in cold blood, then turns to her husband, says "Welcome to America" and shoots him dead.
End spoiler
Depending on your point of view you'll either be outraged at the thinly veiled implications; you may shake your head "knowingly" imagining this is the way things are at the border; or you'll say "Dude, whatever, it's just a freaking movie." Me? I was outraged - but it turns out that this film is so stupidly ridiculous that it really doesn't make sense to get angry at it.
So cut to three years later and Machete is a day laborer in Austin, Texas. He hangs around looking for work near a food truck run by Luz (Michelle Rodriguez). Soon he's picked up by a slick businessman type (a man named Booth, played by Jeff Fahey) who hires him (reluctantly) to assassinate a state senator (Robert DeNiro) who's anti-illegal-immigration stance will be "bad for business."
Machete ends up being the pawn in a plot to actually ensure that the senator is re-elected and he's on the run - but of course he vows to get revenge.
From here the film consists of Machete trying to stay one step ahead of the goons who are coming after him. Along the way he's helped by Luz, and eventually by Sartana (Jessica Alba), an immigration enforcement agent who has a change of heart by the end of the film - and in the end (of course) those terrible, evil oppressors get their due.
Where does Machete deliver? LOTS of bloody violence, mainly the result of limbs and heads being severed by our intrepid anti-hero. And faithful to those old 70s flicks, they don't skimp on the female nudity, including a topless Lindsay Lohan (who essentially plays herself in the film - a wealthy, directionless, drug-addicted internet celebrity) and a quick scene with a nude Jessica Alba (shot creatively, so the naughty bits are out of site). Danny Trejo looks like a guy who you just wouldn't want to mess with in real life, and I liked Jeff Fahey's dead serious performance.
I got a kick out of seeing Steven Seagal, but what an odd casting choice for a Mexican drug lord... he's not moving too fast these days, but we do see him engage in a bit of swordplay with Trejo at the end of the film. In opposition to Fahey, Seagal cheeses it up big time, mainly delivering the word "pandejo" throughout the film.
What didn't work? Well political considerations aside - there was way too much space between the action scenes. If you can believe it, there wasn't enough violence for this sort of movie. This isn't a film carried by story or acting, trust me (not that you're expecting it). It was disappointing when after the opening scenes they switched to standard cinematography instead of continuing the "grindhouse" film effects and shots throughout the entire film. The movie went on too long - after a while, considering the sort of film it is, one begins to lose interest because the in-between stuff is just plain boring. In a movie like this you've got to keep the action/craziness coming fast, furious and continuous. It would have been more effective had they tightened it up and cut it down to below 90 minutes.
So, populated with extreme two-dimensional stereotypes of Right-wingers who are against illegal immigration, will this film be controversial? Sure. Will it make people angry? Probably. But when you've got a film where a man escapes a hospital by gutting an attacker and swinging on his intestines like a rope, or lines like "I sell tacos to workers of the world. It fills their bellies with something besides hate" - how seriously can you take its political message (such as it is)?
In the end, you can probably save yourself an hour and 45 minutes and 7 bucks and just watch the NSFW trailer below, because you're not really getting too much more than that out of the entire film.
You can see the original (very NSFW) trailer here:
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FCC Proposes Net Neutrality Rules, Reaction Rolls In
As expected, Federal Communications Commission Chairman Julius Genachowski on Monday proposed two new Net neutrality rules intended to preserve the openness of the Internet.
Genachowski proposed expanding the FCC's Internet policy principles, a set of four principles released by the agency in 2005 that serve as a framework for broadband Internet access.
The first addition would prevent ISPs from discriminating against particular Internet content or applications, while allowing for reasonable network management. The second addition would ensure that ISPs are transparent about network management.
Not surprisingly, reaction has been rolling in from detractors and supporters alike. Here is a sampling of what people are saying.
Vint Cerf, chief Internet evangelist, Google
To some it may seem like an esoteric issue, but this boils down to protecting the Internet as an engine for innovation, economic growth, social discourse, and the free flow of ideas. Preserving non-discriminatory access also has the virtue of protecting consumer choice, ensuring that an Internet access provider cannot block fair access to any application provider on the Internet. We could not be more pleased to see Chairman Genachowski take up this mantle, and we look forward to working with the Commission as it finalizes its plans. [Read more on the company's blog.]
David L. Cohen, executive vice president, Comcast
We welcome the dialogue suggested by the Chairman in his comments, and we completely agree that any consideration of new "rules of the road" begin with notice and an open, public rulemaking proceeding - this is both fair and appropriate. But before we rush into a new regulatory environment for the Internet, let's remember there can be no doubt that the Internet has enjoyed phenomenal growth even as these debates have gone on. [MORE]
Chris Guttman-McCabe, VP of regulatory affairs, CTIA, The Wireless Association
As we have said before, we are concerned about the unintended consequences Internet regulation would have on consumers considering that competition within the industry has spurred innovation, investment, and growth for the U.S. economy. As a justification for the adoption of rules, the Chairman suggested that one reason for concern "has to do with limited competition among service providers." This is at the core of our concerns. Unlike the other platforms that would be subject to the rules, the wireless industry is extremely competitive, extremely innovative, and extremely personal. How do the rules apply to the single-purpose Amazon Kindle? How does it apply to Google's efforts to cache content to provide a better consumer experience? How about the efforts from Apple and Android, Blackberry and Nokia, Firefly and others to differentiate the products and services they develop for consumers? Should all product and service offerings be the same?
More reaction after the jump.
Democratic FCC Commissioner Michael Copps
Chairman Genachowski's bold announcement today is a significant further investment in safeguarding Internet Freedom. I salute him for it. Broadband users should be able to use any device or application they want, to reach any legal content they wish, using any broadband technology, so long as they don't cause harm to the network. [More]
Democratic FCC Commissioner Mignon Clyburn
I fully support Chairman Genachowski's intention to take affirmative measures to preserve the openness of the Internet. The Chairman's statement today is an important first step in setting forth clear rules of the road that will ensure the Internet's continued vibrancy. As a former small business owner, I am keenly aware of how an open and transparent Internet can serve as an equalizing force for new entrants to the marketplace.
Gigi B. Sohn, president and co-founder, Public Knowledge
"FCC Chairman Julius Genachowski struck exactly the right balance this morning when he announced a plan to require a free and open Internet. Consumers and communications companies will benefit from this policy proposal. Returning the Internet to its open, non-discriminatory character under the law opens up once again the greatest engine for economic growth, democracy and expression that we have ever seen.
Ed Black, president and CEO, Computer & Communications Industry Association
CCIA supports reasonable network management and even higher prices for top bandwidth consumers. Greater broadband capacity build-out and competition should be the ultimate goal, not private control of online activities. Adding nondiscrimination and transparency rules would provide reassurances that whoever controls the pipe will not also control content."
Ken Ferree, president of The Progress & Freedom Foundation
I'm troubled to learn that the FCC is embarking on an exercise that would probably result in rules that are unconstitutional and almost certainly beyond the FCC's statutory jurisdiction. Aside from the legal issues it raises though, I find myself at a loss to understand why the administration wants to start meddling with a sector of the economy that, despite a challenging macro-economic environment, is performing pretty well by any rational standard. What exactly is the problem they are trying to remedy? Should they perhaps wait until they have a "Broadband Plan" in place before they start changing the rules of the road for the market? It's almost as if they are trying to turn a story of success into one of failure. It's just not the sort of practical and pragmatic approach that one would expect from this new, data driven FCC.
Josh Silver, executive director of Free Press
The debate over Net Neutrality at times has felt like a marathon, but today the finish line is in sight. Chairman Genachowski's speech today shows the FCC intends to follow through on President Obama's pledge to protect the free and open Internet.
Matthew M. Polka, president and CEO, American Cable Association
If the FCC moves forward with its rulemaking, ACA urges the Commission to ensure that broadband content providers are similarly prevented from imposing closed Internet business models that are even more problematic today than the concerns raised about the ability of broadband access providers to distort various forms of Internet commerce and competition.
Markham Erickson, executive director, Open Internet Coalition
Our members support these changes because they understand that openness rules will bring new competition into the tech industry, stimulating growth, job creation and consumer choice. We look forward to a process to establish a legal framework around openness principles that will be clear, simple, effective, and cover broadband in all its permutations, including wireless data services.
Matt Wood, associate director, Media Access Project
Some Internet service providers claim that net neutrality represents a change from the past, but in reality these rules simply make permanent the bedrock non-discrimination principles under which the Internet arose and flourished. Carriers tend to talk out of both sides of their mouths on this issue. They argue that net neutrality is unnecessary because there is no unfair discrimination by providers, yet they complain that these rules will dampen investment in broadband by somehow changing carrier practices. They can't have it both ways, but Americans can and will have access to lawful content and applications of their choice if the Commission implements reasonable net neutrality rules.
Wayne Crews, vice president for policy, Competitive Enterprise Institute
"Net Neutrality" is an anti-competitive, pro-bureaucratic construction. The so-called "principle" of regulated non-discrimination is an incoherent abhorrence. It advances the aims of regulators and transitory special interests, not consumers. Worse, the expansion of neutrality rules endangers wireless networks that have yet to be created. Neutrality policies set the healthy functions of infrastructure and content innovation against one another, spurring harmful tensions and distorting what would otherwise be the complementary growth of both sectors.
There are potential risks to Net Neutrality. The most prominent are claims that once Net Neutrality is in effect the broadband providers will have no incentive to invest in their networks and will not be able to fight piracy. We believe that in a competitive market the motivation for investment will continue to exist and that the best way to fight piracy it to offer an easy to use and affordable legal alternative. It seems, however, the risk of inaction on Net Neutrality is greater. [MORE]


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CAMBRIDGE, Mass. – In a battle of the two remaining undefeated women's tennis teams in the New England Women's and Men's Athletic Conference standings, No. 22 MIT and No. 24 Wellesley College duked it out inside the J.B. Carr Tennis Bubble this evening. When all was said and done the Blue rode the strength of three wins each in doubles and singles play to score the 6-3 victory.
Wellesley (6-1, 5-0 NEWMAC) started the match off on a strong note by taking all three doubles matches. MIT (4-2, 4-1 NEWMAC) came close to a victory in a closely contested No. 1 doubles match, but the team of sophomore Lauren Quisenberry (Corpus Christy, Texas) and senior Anastasia Vishnevetsky (Orange, Conn.) fell to the Wellesley duo of Marie Watanabe and SoJung Lee, 8-6.
Two of the singles matches went to three sets, with the two teams splitting them. Watanabe came back from dropping the first set in her match with Quisenberry at No. 1, taking a 4-6, 6-3, 6-3 win. In the No. 3 position Vishnevetsky was also a winner after dropping a first set, picking up a point for the Engineers with her 4-6, 6-3, 6-3 triumph.
Sophomore Julia Hsu (Knoxville, Tenn.) brought home another point for MIT, taking a 7-6 (3), 6-1 win over Diana Granger in the No. 4 position. Freshman Vynnie Kong (Cupertino, Calif.) also took a straight sets win for the Engineers, downing Lee, 6-2, 64 for the final point MIT would score. Freshman Juana Becerra (Bucaramanga, Columbia) was ahead in her No. 6 match, 6-3, 4-3, but was forced to retire to put the point in the Wellesley column.
MIT will continue its NEWMAC schedule in its next action when it hosts Springfield College on Saturday, October 8 at 1:00 p.m.


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Farewell Home Season
Ruf's bases-clearing double in the first inning staked the Phillies to a 3-1 lead but that's all the sound the offense made the rest of the night as the Nationals inched closer to taking the NL East title away from the Phillies who have owned it since 2007.
Riding three home runs, Washington ended the Phillies 11-year string of playing .500 or better at home as they finished 40-41. Last losing season at home was 2000.
The Phillies lost back-to-back series for the first time since the last two series right before the All-Star Game. They battled back into wildcard contention but one more loss or one more St. Louis win ends that faint hope.
J-Roll was the last batter, ending the home season with a pop up at 10:20 p.m. He jogged to first, made a right turn into the Phillies dugout and headed for the clubhouse with the rest of his teammates.
Washington was high-fiving on the field, which is certainly an improvement from the previous year's last games at Citizens Bank Park, postseason losses to the Cardinals in 2011 and Giants in 2010. Worse than last year's loss was the sight of Howard on the field in pain from a torn Achilles. While the Phillies had a ton of injuries this season, the good news is no one got hurt on the final home game.
While the fans were heading home, the Phillies headed for a Delta charter flight for Miami. Three games there and then three in DC ends the season. The Nationals headed for St. Louis for the weekend.
The season's 62nd sellout pushed the season total to 3,565,718, fourth highest in team history. It was Fan Appreciation Night and prizes were given out all night long. Probably the most valuable prize was a gift card for gas from Sunoco.
The big crowd had dwindled, leaving a small number to see the end. The faithful filed out slowly out after the last out. A few lingered and took photos with their iPhones. Ushers and usherettes hugged. The ballgirls hung out in front of the Phillies dugout. Their season was over, too, but they didn't want to leave.
The ground crew worked on the field and covered the mound and home plate with tarps, a post-game ritual. There's no game until next April but there's a wedding on the field Saturday.
Here Comes The Bride is replacing Take Me Out To the Ball Game.
1 Comment
A fitting tribute for this bunch of losers…so much for home field advantage, huh? What's the Vegas line on them going 4-1 in these last away games to get above .500 for the season? A zillion to 1 most likely!


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I was underwhelmed by last night's debate between California gubernatorial candidates Jerry Brown and Meg Whitman.
Not because, as the Sacramento Bee's Dan Walters reported, Brown, the Democrat, "doesn't know when to stop talking." Nor because, as NPR's Ina Jaffe commented, Whitman, the Republican, "always hit her talking points – whether or not she was asked about them."
It was that the debate – which featured a moderator and a panel of three journalists – tried to stuff too many questions and too many issues into a mere one hour. The result is that every question and every issue appeared to have equal importance.
Nothing could be further from the truth.
Sure, California voters are interested in immigration, the death penalty, global warming and campaign attack ads. But they are nowhere near the most important issues facing the Golden State at this time.
Not when California has the nation's third-highest jobless rate. Not when some 3 million residents are out of work – either because they can't find work or because they've become so discouraged they've given up looking for work.
For those 3 million pitiable Californians, the most telling moment of last night's debate was when debate panelist Marianne Russ of Capital Public Radio asked the two candidates what they would do to create jobs.
Whitman, who as former CEO of EBay grew its payroll from 30 employees to more than 15,000, promised "2 million new private sector jobs by 2015" if elected governor by making California "more business friendly."
Her plan is to offer targeted tax cuts to businesses that create jobs, eliminate the state's factory tax, which, she said, "penalizes manufacturers," eliminate the so-called start up tax, which, she said, is "a big stop sign in front of budding entrepreneurs," streamline business-related regulations and create an economic development team to compete with other states for businesses and jobs.
Brown's jobs plan is simply to invest in California's nascent clean energy industry, which prompted CPR's Russ to remark, "You talk about green jobs, but that's just a small portion of the state economy." She asked Brown what he would do to create jobs across every sector of the economy.
Brown replied, "When I talk about green jobs, I'm not just talking about solar collectors in the desert. I mean hiring young men and women in the roofing companies that I've seen in Southern and Northern California. You can put people to work retrofitting the inefficient buildings in California by the hundreds of thousands."
He added, "From the energy policies created when I was governor," between 1975 and 1983, "over a million jobs were created over a 30 year period."
But most of California's 3 million unemployed are not 20-something-year-old roofers. More than 95 percent work in industries other than clean energy. Brown's jobs plan has nothing for them.
Whitman's jobs plan is not perfect, but it holds far more promise for out of work Californians than Brown's.
On that issue – which is far more important to the state electorate than any of the others that received equal time last night, including the death penalty, immigration, global warming and campaign attack ads – Whitman came out ahead.


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The first sign that I'd been unknowingly affected by cooking shows occurred on a Sunday morning when I realized I was talking to myself. I'd been making toast. "First, we cut our bread," I whispered. "Do you know why?" I stopped what I was doing and looked up. "Let me tell you why." It was eight-thirty. It was also Hour 25 of a seventy-two-hour commitment I'd made to watch continuous food television (sleeping only when the shows began repeating at midnight).
I'd begun the venture on a lark, curious about what I'd discover. This, for instance, is what I had learned about the hazelnut: "They grow on hazel trees. . . . They're super-duper rich." That was from the Food Network's "Everyday Italian," with Giada De Laurentiis. (The following week, on a show hosted by Sandra Lee, I heard, "Do you know when the first cheesecake was ever documented as being eaten or served? It was in 776, or 776 B.C., by the Greeks at the Olympics. Isn't that pretty cool? Say that at a dinner party and everyone's going to think you're brilliant and well read.") I don't want to sound harsh—this wasn't the History Channel—but, on the evidence, there was a surprisingly strong affinity between preparing food and talking baby talk.
At around Hour 36, a more illuminating sign occurred. It was during a rerun of Bobby Flay's "Throwdown." Flay is a veteran food-television personality. "Throwdown" is his seventh show, and it involves Flay's challenging old hands at their game: making Jamaican jerk chicken with a jerk-chicken diva, say, or taking on Cindy the Chili Queen, whose Cin Chili clearly rocks. Flay is then usually humiliated, and the old hand—Butch the pit master, say, with his secret spice rub—gets pumped beyond reason, the little-guy view of the world is vindicated, and everyone feels good. I set out to prepare some supper, and as I removed a loaf of bread from a paper bag I was struck by an unexpected sound: the dry, crisp noise of the bag being disturbed. I'd never noticed this before. It was loud and crinkly: so utterly brown paper. I shrugged (was it a lack of humidity?) and proceeded to dress a salad, in a bowl next to a candle. I cut up a lemon and squeezed a slice. The fruit, crushed in front of the flickering light, was magically transformed. I squeezed again: juice beaded up and fell in a stream of bright droplets. I squeezed one more time, enjoying what I now regarded as a citrusy translucence, a candle by lemon light. "Veeeeeery pretty!" I said to no one, feeling sixteen and having a late-night-munchies perception moment. I'd been brainwashed, in a fashion, my senses heightened by this long, uninterrupted session of food television. It wasn't an unpleasant state (apart from the consequences for my salad, now inedible).
I had fallen victim to what is called, by its detractors, "food porn." Its creators usually refer to it as "making beauties"—as in "Hey, Al, let's do a beauty of those pecans." Bob Tuschman, the Food Network's head of programming, had described the concept when I visited him in his office, above the Chelsea Market, in Manhattan. The point is to get very close to what you are filming, so close that you can see an ingredient's "pores" ("You should believe the dish is in your living room"), which then triggers some kind of Neanderthal reflex. "If you're flicking from channel to channel and come upon food that has been shot in this way, you will be hardwired as a human being to stop, look, and bring it back to your cave."
Earlier in the week, I'd watched that same Al—Al Liguori—film some of those beauty pecans at one of the Food Network's studios. Al worked the jib—a high-powered camera at the end of a twelve-foot arm. The pecans, surrounded by five spotlights, were resting on a bent piece of Plexiglas, for a hundred-per-cent reflection (pecans both in a bowl and somehow below it, like mountains on a placid lake), while Al inched closer and closer ("getting tight"). He then manipulated a knob so that some nuts were in focus, while the ones behind, backlit, receded into an arty blur.
Al has shot a lot of food. ("More diced onions than anyone on the planet.") He is thirty-six and has been behind a food camera for ten years. I'd watched him before, during a taping of "Emeril Live," starring Emeril Lagasse, the portly Portuguese baker from Fall River, Massachusetts, who was probably more naturally an evangelist than a natural chef and, after years at the Commander's Palace, in New Orleans, had been born again as a Creole kitchen crooner. Lagasse was the first to discover that cooking before a bleachers crowd, primed to respond raucously to theatrical additions of garlic or chili flakes or bacon ("Let's take it up a notch!"), can make for inexplicably compelling television. "The trick," Al had told me, "is to film during the lunch hour and get closeups of the audience—they're crazy with hunger."
After the pecans, Al shot a cup of milk being measured out. This required three takes and was followed by a "sound pass"—same event, but with a microphone close up to get the acoustic ripples. They would be amplified and edited back into the final version. Milk as waterfall.
"You should talk to Hugh," Al said, pointing to a burly man with a handheld camera. "Hugh Walsh is the beauty specialist."
Hugh was filming a carrot. The carrot, the pecans, and the acoustically amped milk were for "Party Line," a new show hosted by Dan Smith and Steve McDonagh, winners of last year's search on "The Next Food Network Star." ("Ten thousand tried! Only two succeeded!") "We are a gay couple," they'd announced on their audition video, "and you should really think about that, because the gays right now, they're hot." They are from Chicago—actors who started a catering business—with a low-wattage repartee (on dirty dishes: "We have people for that. We call him Dan") and an anachronistic, almost blithely oblivious aesthetic: their meals seem like something someone's parents once ate, a campy "Joy of Cooking," or a display at a MOMA exhibit. The set was Grosse Pointe, 1960: brown sofa, brown chairs, a brown chest of drawers with round knobs, a throw rug, a linoleum floor; you could imagine a black-and-white television in the corner and the Kennedy-Nixon debate. Today, Dan and Steve were making a "veggie basket" (perfect with "a smoky ranch dip"). I knew nothing about veggie baskets, but there was instruction: a number (less than six veggies, too "skimpy"; more than twelve, too much), a technique (blanch your beans, then ice them, so the green pops), and a commitment to visual novelty (yellow carrots, purple peppers, rainbow greens). Putting the basket together took all afternoon, and there were many retakes.
During a break, I asked Hugh what he'd been doing with his camera. It had always been moving (if I hadn't been studying it, I wouldn't have noticed): a barely perceptible pan, a slow circle, a gentle back-and-forth.
Hugh was an unlikely beauty specialist: a laconic fifty-one, with what looked like a war reporter's battered face, a man who seemed to know the world and didn't much care for it. "They're frontals," Hugh said, gesturing to the two hosts. "Frontals don't do much. They stand. I'm trying to get movement." He paused. He seemed unaccustomed to speech. "It's not like the old days."
In America, the old days probably began on a February morning in 1962, when Julia Child, having been asked to promote "Mastering the Art of French Cooking" on a book show on WGBH, the Boston public TV station, phoned ahead, asking for a hot plate and permission to involve the show's host, P. Albert Duhamel, a Boston College professor, in a demonstration. The professor couldn't cook, and, on live television, Child was going to teach him how to make an omelette—a brazen flourish for a novice food writer. Russell Morash, at WGBH, remembers the call, because Child was so unusually well spoken and patrician in manner. It was as though he'd picked up the phone and found Eleanor Roosevelt on the other end. Child was a "hoot," according to one of the twenty-seven viewers who contacted the station afterward—enough for it to find funding to prepare a three-episode pilot that would eventually become "The French Chef."
Morash was asked to be Child's director, because he was the only one qualified to do the job: he knew nothing about food, but he could operate the station's mobile unit, a 1958 Trailways bus converted to a control center on wheels. The network didn't have a kitchen—one had been found at the Cambridge Electric Company (a stove, no working sink)—and the show was effectively treated as a live event. Child had to cope with electric shocks ("We could never get that mike grounded"), and, because the cameras were like refrigerators, too heavy and cumbersome to maneuver, ceiling mirrors were used to shoot what she was doing on the stove. ("Julia would stir, we'd cut to the mirror, and suddenly she was stirring in the other direction—we all got confused.") The comic moments (some possibly apocryphal) beloved of fans of the early episodes—Child dropping her knives, flipping a pan full of potatoes that then go flying in the air, letting a chicken slip through her fingers and fall onto the floor ("You're alone in the kitchen, who is going to see?")—were the result of there never being a chance for a retake or a fix. "To edit," Morash told me, "you had to find the spot on the film, cut it out with a razor blade, and tape it back together."
There had been earlier television cooks—James Beard's "I Love to Cook," Dione Lucas's "To the Queen's Taste"—but they were "experts," something Child never seemed to be, mainly because what she knew had been learned so recently and so late in life. Child's culinary education began after she had moved to Paris, at the age of thirty-six, accompanying her husband, Paul Child, a State Department official, and found herself attending the Cordon Bleu. She ended up mastering the national menu, starting a cooking school, and returning to the States with a bulky rough draft that would change the American kitchen. She never lost that new cook's sense of discovery.
For all the obvious production shortcomings, the show was unlike anything else on television. "You have to remember the early sixties," Morash recalled. "Broadcasting was a medium of mayhem. Assassinations, war, riots. You turned on your set, that's what you saw. But if you changed the channel you could watch a soufflé being made." Child, too, was unlike anything else on television: six-feet-two, virtually hunchbacked, seeming too ungainly for a small screen, with a long, manly face, but one that was also remarkable for its intelligent expressiveness. In it you could see her making connections, finding wonder in the properties of egg whites or the behavior of gelatine, a wonder that was at the heart of what now seems like a natural pedagogical imperative. She made people want to cook, often inspiring them with a single detail. To make one of those famous omelettes, for instance (WGBH produces a compilation DVD), Child recommends an extremely hot pan. Nobody knew that. The omelette is then distinguished by a duplex texture—slightly crusty on the outside (because the pan is so hot), custardy in the middle (because you flip it before it's cooked through). "No one made omelettes then," Morash said. "No one used garlic, except the Italians in the North End. Few people went to restaurants—only rich people, and the restaurants were formal and fussy. People cooked, everyone did, because you had to eat, but it was meat and potatoes. Even fish was exotic. It had a Friday stigma."
Cable made the Food Network possible. It was invented in 1993 by Reese Schoenfeld, a co-founder of CNN, who was convinced that its natural audience was women—millions of them. According to Jonathan Lynne, who was the head of development, "Those were fat days—everyone getting great jobs, making dough—which created an affluent television demographic that saw food as culture."
From the outset, the network had hoped to make a different kind of food television, Lynne told me. "What people knew at the time was Julia Child. She was a great woman, but it was your grandmother's cooking." She was, in Lynne's view, symptomatic of a PBS how-to approach, a non-TV TV that was all about the information: it was meant to be good for you. "My objective was to make it more entertaining," Lynne said. This was not a tall order; it was a towering one.
The network had, in Lynne's description, "a lot of product to get out"—in fact, eighteen hours of product to get out every single day—and, apart from Emeril Lagasse, the loud, abrasive Everyman ("Hey! Look at me! Christ, if I can do this, you can, too!"), there weren't many obvious food talents looking for work. Lynne ended up using "Chef du Jour," a daily show, with a new chef every week—electric stove, and no instruction except a hope that something good might happen—as a covert audition, and had some modest success. (Actually, it's remarkable how many of the show's discoveries—Sara Moulton, Bobby Flay, Mario Batali, and Tyler Florence among them—are still on television today.) "Chefs have credibility," Lynne said. "I'd always assumed we'd build the network around them." But there were still many hours to fill, and the impression that Lynne conveys is of a production office in way over its head: frantic, even desperate, audition videos stacked in the corners, people watching two, three, sometimes four televisions at once, hoping to come up with enough programming to fill Schoenfeld's brief, the kitchen equivalent of CNN, broadcasting food twenty-four hours a day. In the event, good television was made, but so, too, was much that was not so good (lessons in fixing gourmet dishes for your dog). The formula, whatever it was, wasn't working. If food was the new cultural interest, the network hadn't figured out how to present it with conviction. By 1997, the network was in only fifteen million households. Within four years, Lynne had quit, Schoenfeld had quit, and almost every other investor had sold out. "There was no direction, and way too many people running it," according to Ken Lowe, then in charge of E. W. Scripps's modest cable-networks division. In 1996, Lowe's predecessor instructed Scripps to sell its interest, an investment of eleven million dollars. Then, less than a year later, Lowe appeared before the board with a proposal: maybe Scripps should buy that Food Network back again—an even larger stake and for a lot more money (a hundred and twenty million dollars).
"Ken, what are you asking us to do?" Lowe told me a board member had said. "We've just sold our piece low and now you want to buy it back high? What's wrong with this picture?" But Lowe got his network back, and brought in Judy Girard to help run it. (Previous experience: Lifetime, a women's cable channel.)
Girard became president in 2001. When I met her, the following year, she was fifty-six, with blond hair, a slight build, an easy manner, and nothing to hide; frank but not theatrical, calm to the point of seeming tranquillized, no flash or fast-talking speech about "a vision thing," which I now suspect was because her job had been so simply defined: make the bottom line work. She wasn't interested in James Beard Awards or good reviews; the only press that mattered was in the financial pages, because her allegiance was unwaveringly to "her community"—the investors. The day we met, Girard had received a viewers' survey. The network was now in seventy-five million households and its audience was among the most affluent people watching television in America. "And nearly half of our viewers are men," Girard said. This was a different audience from the one conceived by Schoenfeld, and rather elusive to picture: I found myself imagining stock traders and dot-com millionaires at home all day, kneading dough, trying out new recipes, wondering what to do with saffron.
How did Girard explain the success?
"Television values. That's all. We introduced television values and started running the business like a normal network."
My seventy-two-hour vigil ended on Monday at midnight, with Rachael Ray's "$40 a Day" (go to a city, eat a lot, spend a little, tip cautiously), the fourth Rachael Ray show I'd watched in ten hours. Rachael Ray is probably the most watched kitchen personality in the history of American television. She is available in other guises, too—in a magazine (Every Day with Rachael Ray), as a guide ("Rachael Ray's Tasty Travels"), and as a morning talk-show host—but her core achievement is "30 Minute Meals," built on the conceit that anyone should be able to cook dinner in the time it takes to watch an episode.
Ray—a likable sales-rep personality, with a me-and-my-mom vocabulary and a smile as instantaneous as a light switch—had been a buyer for Cowan & Lobel, a fancy food store in Albany (previous experience: the candy counter at Macy's), and had come up with thirty-minute evening cooking classes to help move goods during the holiday season. The classes were popular; she wrote a booklet to accompany them, later picked up by a small publisher, and was promoting it on an Albany call-in show when a media consultant, hearing her on his car radio, called Bob Tuschman, who signed her up. Ray was exactly what he had been looking for.
At the time, Tuschman had been in charge of the daytime programs (previous experience: "Good Morning America" and an earlier film credit, "In the Beginning God Created the Swimsuit"), which, like the rest of the network's shows, were being assessed according to Girard's "television values" and found wanting. Some of these values included a commitment to higher production standards, and, as a consequence, the shows made now are full of exacting, intimate, amplified, and exaggerated beauties. (It's not erotic, I can confirm—that's not why it's called food porn. It's just unreal. You will never meet a Playmate of the Month; you will never eat the red, juicy tomato that you see on "Barefoot Contessa.") But the main problem was the "talent." The network had got "too chef-heavy," Girard had told me, when we spoke again by phone. Chefs tend to do one kind of show—the scorned how-to, or "dump-and-stir," as the network executives call it. "You need television talents. You can't run a network with chefs," Girard said, so authoritatively and matter-of-factly that I found myself agreeing with her. (Of course not! Who wants to watch a wizened old chef!)
Giada De Laurentiis, of "Everyday Italian," is not a chef, although she has culinary expertise—she was trained at the Cordon Bleu and worked as a private cook for a wealthy Los Angeles family. She is also the granddaughter of a famous filmmaker, grew up in Beverly Hills, and is lithe and young and pretty, a prettiness that no Food Network executive is going to allow her to hide behind an apron. (She is probably the only kitchen person with a diaphanous dress sense, occasionally looking as though she'd just come from bed or was about to return to it.) She has, in effect, replaced the forty-six-year-old Mario Batali: after a decade on the Food Network, "Molto Mario" is not being renewed. Sara Moulton is a chef, and one of the few people knowledgeable enough to field live phone-in queries, the basis of her show. But she, too, has been judged not to be a television talent and, after nine years, has been replaced—by Rachael Ray. "It's a conscious move," Anthony Bourdain lamented when I spoke to him. "The Food Network is weeding out the Old Guard real-chef cooking shows like missing Molotovs—'Molto Mario,' Sara Moulton."
What quality does Ray have that, say, one of the Molotovs doesn't? It is probably more apparent in the early broadcasts. A series on perfect burgers filmed during Ray's first year (the Food Network has done two hundred and fourteen shows on how to make a hamburger) includes a characteristic menu: a "no-muss-and-no-fuss" salad, like coleslaw (Ray has thirteen slaw recipes), followed by some meat dish—during my extended viewing, these tended to include bacon and blue cheese (Ray has eighteen blue-cheese recipes, among them a blue-cheese spaghetti, with a sauce, probably unique in the history of pasta, made from bacon fat, butter, olive oil, chicken stock, and cream swirled together, smothered with blue cheese, and then sprinkled with bacon bits: an intensely flavored creation, even if a little alarming to look at—a viscous dull yellow). On this occasion, many of the ingredients, typically, had been prepared at the supermarket and included sealed bags of pre-sliced cabbage, to facilitate getting everything done before the thirty-minute deadline. The coleslaw would be dressed with soy sauce ("It's kinda like balsamic vinegar is to red-wine vinegar—it's a little bit thicker"), but not before Ray had turned on a burner to heat an oven-top grill: this was for her "awesome" turkey patties ("Yummy!"). Heating the oven-top grill beforehand was a tip. So, too, was the use of a garbage bowl—kept on the counter to save trips to the trash—for vegetable trimmings. In fact, the garbage-bowl tip was offered three times. In between, you heard about Ray's mom ("She watches news a lot—maybe too much") and her baby brother, who had just turned twenty-seven ("which is just not possible"). There was also her dog, her dad, a theory about cabbage and cancer, some giggles—an effortless patter that, for all its lack of weight, was not without a goofy charm.
Today, the patter is no longer so obviously aimless, although Ray still believes that having a garbage bowl, now referred to as a "G.B.," is a good tip—good enough to repeat it on every show, sometimes twice. "Yummy" is "Yum-o" (a branding "trademark" expression; among Ray's kitchen products is a "Yum-o" T-shirt), "delicious" has become "de-lish," and her ingredients are often personified, addressed in some form of the third-person butch: a red pepper is a "buddy," meatballs are "guys," a sandwich is "Sammy." "What makes Rachael Ray so exciting to people," Tuschman told me, "is that she speaks their language, shops at the same places they shop, and uses the same ingredients." Ray wants to be just like us.
The two essential premises of "30 Minute Meals"—no one knows how to cook and everyone is in a hurry—now inform most instructional cooking shows. If you have time to watch a Saturday morning of the Food Network, you will learn that you have time for nothing else. There's urgency even in the names—"Good Food Fast," "Quick Fix Meals," "Semi-Homemade Cooking," "Easy Entertaining," "Good Deal"—and a reassuring friendliness in the ingredients, which, like Rachael's, so uniformly come out of the fridge sealed in plastic wrap that it is impossible not to suspect an executive order. You don't have to know how to cook, just how to shop; and everyone knows how to shop. The appeal of squash is that it's a limited time investment, Robin Miller says on "Quick Fix Meals," illustrating how to prepare one in under fifteen minutes. Sandra Lee recommends pre-peeled carrots—the ones sold by Dole. (Who has the time to peel carrots?) In the supermarket, you can get your melon already cut up—it's over there by the salad bar. Near the meat section, Dave Lieberman tells us on "Good Deal," you can buy an already cooked rotisserie chicken. (Who knows how to cook one, anyway?)
I found myself taking stock not of what I'd seen during the preceding seventy-two hours but of what I hadn't. I couldn't recall very many potatoes with dirt on them, or beets with ragged greens, or carrots with soil in their creases, or pieces of meat remotely reminiscent of the animals they were butchered from—hardly anything, it seemed, from the planet Earth. There were hamburgers and bacon, but scarcely any other red animal tissue except skirt steak, probably, it occurs to me now, because of its two unique qualities: its texture and its name. It cooks fast (two minutes on each side, according to Rachael Ray—less, according to Robin Miller), and it sounds like something you might pick up at the Gap.
Forty-five years after the publication of "Mastering the Art of French Cooking," food television is finally and definitively not Julia Child. But the result divides viewers, sometimes quite passionately, into those who have always regarded Child as a good thing and those who may never have heard of her (or what most Food Network executives describe as food élitists and the rest of the country). Although the detractors, including Bourdain, are a vocal bunch—there is a Web site called the Rachael Ray Sucks Community—the Food Network executives are unfazed. They have nothing to defend, and you guys, you just don't get it.
Judy Girard left the Food Network in 2003. Her work was done (the channel—worth billions, according to Lowe—was in eighty million households, although their average income had fallen a bit, to a still fairly affluent seventy-five thousand dollars), and she moved to Nashville: Scripps had bought a shopping cable network, and Girard was going to develop it into a Shop at Home venture featuring celebrities from the Food Network and other Scripps stations. Her legacy, she explained when I spoke with her, included Rachael Ray, Giada, Alton Brown, and Sandra Lee, "brands," whom viewers would now go out of their way to watch and follow—in effect, do anything to be closer to. Now Girard would put them on her new network, selling. At a quarterly meeting that Scripps holds for investors, the project was described in more detail. At the end of the year, a house would be given away as a prize, its kitchen filled with the actual utensils that food celebrities use and that their fans will want to buy. It would be promoted every day: Rachael would offer her knives; Emeril, Viking stoves. According to Joe Necastro, the C.F.O. of Scripps, Girard was perfectly placed for this experiment in "marketing synergy." "She knows the talent—she'll do the contracts."
But the synergy venture failed (in July, Scripps sold Shop at Home), and its failure seems telling. For all their swagger and expertise, Girard and her successors may not be that different from anyone else who has tried to run the Food Network, basically a good-hearted organization still fundamentally clueless about itself (TV or non-TV?) and its audience (cooks or kitchen idiots?), more professionally run than ever before, but still throwing a lot of product out there, a motley up-and-down mess, filling up the hours, hoping something is going to work, loyal, above all else, to its community, the shareholders. In thirteen years, and with several changes of ownership and management, its essential premise is unchanged. People have always liked to watch others prepare food—a social activity fundamental to the human race—and the network's programming has depicted little else: the happy narrative of the raw to the cooked, the oldest story line in history. The network's rare intellectual show (Alton Brown's wacky lessons in the science of the kitchen, an admirable, exceptional effort; his program on the skirt steak actually tells you where the meat comes from, because Brown illustrates it on his own body while in a pasture among cows) and its most eccentrically entertaining ("Iron Chef," pitting one kitchen against another as though cooking were an Olympic event) still resemble "30 Minute Meals" more than they resemble anything else on television: you finish with something to eat.
Ours is a different audience from the one that watched Julia Child. In 1962, "microwave oven" and "fast food" hadn't entered the national lexicon. And restaurants were more expensive. Tim Zagat, the publisher of Zagat Guides, points out that for more than two decades the cost of going to restaurants or getting takeout has risen less than the annual rate of inflation—that it's much less expensive today than at any other moment in our history to pay other people to prepare our dinner. Never in our history as a species have we been so ignorant about our food. And it is revealing about our culture that, in the face of such widespread ignorance about a human being's most essential function—the ability to feed itself—there is now a network broadcasting into ninety million American homes, entertaining people with shows about making coleslaw. ♦


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DualHead2Go Analog
DualHead2Go DP Edition
TripleHead2Go Analog
End of life (EOL) notification effective December 2016
Matrox DualHead2Go
See more. Do more. Be more productive.
The Matrox DualHead2Go Analog Edition external multi-display adapter adds up to two monitors to your laptop or desktop computer. It connects to the video output of your system and uses the system's existing GPU to provide high-quality, uncompressed graphics and video across all monitors. Ideal for business and professional users looking to increase their productivity with a dual display setup, this little black box lets you run different applications on each monitor or view one application across two monitors.
- Lets you connect two monitors to the single VGA video output of your system
- Creates a stretched desktop of 2560x1024 (2x1280x1024)1 across two displays
- Uses your system's existing GPU to deliver a solid platform for office, 3D design, and multimedia applications
- Open an application on each display or span one across the two
- Works with LCDs, CRTs and projectors
- Quick and easy to install—there's no need to open the computer case or insert components
- Spans taskbar across monitors for easy access to all your open applications
- Run in clone mode and show the same content on all displays
- Includes Matrox PowerDesk software to easily manage your desktop configuration
- External device that won't void your system warranty
- Expand your desktop further by connecting a second DualHead2Go Analog Edition to your graphics hardware to support four monitors at a time2
For more information about other DualHead2Go models visit our GXM homepage.
1 DualHead2Go model & system dependant. Displays attached to DualHead2Go must run at the same resolution. Please see the system compatibility information to verify the maximum resolution supported by your system.
2 Certain conditions apply. Visit the Multi-GXM support page for further details.
|Matrox part number
|Maximum VGA Resolution 1
(2x 1280x1024)
|Input connector
|1 x VGA input
|Output connectors
|2 x VGA outputs
|USB for power
|3.6" x 3.8" x 1.0"
(9.2cm x 9.5cm x 2.5cm)
|Clone Mode
|Stretched Desktop Support
|PowerDesk Software
|Hardware included
|Multi-unit support (Windows only)
|System Requirements
|Supported Operating Systems
|Microsoft® Windows® 7 (32/64 bit), Windows Vista® (32/64bit), Windows XP (32/64bit), Windows Server® 2003/2008 (32/64bit), Windows 2000, Mac® OS X® Lion (10.7), Mac OS X (10.6, 10.4) and Linux® 2
|Optional Accessories
(Sold Separately)
|Power Supply Kit (Part # GXM-PSKIT-IF)
|2-year warranty
1Displays attached to DualHead2Go must run at the same resolution. Please see the system compatibility information to verify the maximum resolution supported by your system."
2 Contact Matrox for tested versions of leading Linux distributions.
List of Supported Resolutions
|Refresh Rate
|2048 x 768 (2x 1024 x 768)
|60, 75, 85Hz
|2560 x 1024 (2x 1280 x 1024)
Supported resolutions are GPU dependent. Please see the system compatibility information to verify the maximum resolution supported by your system. All displays attached to DualHead2Go must run at the same resolution.
System Compatibility
DualHead2Go Analog Edition is compatible with a wide range of notebooks and desktop computers. Please see the system compatibility information for more details.
Take advantage of Matrox PowerDesk to fully benefit from your DualHead2Go Analog Edition adapter. PowerDesk enhances your PC or Mac computing experience and productivity with a vast array of customizable options. Now you can personalize your desktop to get the most out of your displays and make the most of your time.
Window Management:
Set the behavior of your apps, such as where windows should open up and maximize, or even on which display a PowerPoint slide show will run. You can view a presentation across multiple displays, or only on one depending upon your needs.
Desktop Divider:
Customize your desktop's layout and split it up into different sections. Either spread one application across your entire desktop or devote one display to each. Alternatively go even further and create multiple partitions on a single monitor and open an application in each section.
Mode Management:
Select the optimal multi-display settings for your setup, with regard to resolution and refresh rates.
Swap Displays:
Swap Displays spares you the hassle of reconnecting cables or physically moving around incorrectly hooked-up monitors. Switch your displays' on-screen content as a quick and easy troubleshooting fix.
Conveniently load your saved multi-display setup to accommodate ever-changing workplace needs or your personal preferences.
Keyboard Shortcuts:
Use a keyboard shortcut to quickly locate the mouse cursor or move your active window from one display to another; an easy way to access PowerDesk features.
Unattended Install:
Easily install Matrox PowerDesk across many systems without any user interaction — a must–have tool for any IT administrator for corporation-wide deployments.
Swap Active Window and Maximize:
Efficiently organize your desktop at the press of a button by moving a given window from one display to the next and maximizing it to fit the entire screen.
Move Dock Position:
Further customize your Mac work space by moving the dock onto any of your screens.
Mode Management
Select the optimal multi-display settings for your setup, with regard to resolution and refresh rates.
Business Productivity
|Working with more than one monitor allows you to see more, do more, and be more productive. Use the extra screen space to spread applications across your desktop, much like you would spread printed documents across your desk. For specialized applications, such as financial services or day trading programs, viewing data across multiple monitors provides the ability to see critical information at all times for quick decision making and streamlined workflow.
Digital Signage
|Drive two displays from a single player PC to create digital signage canvases of close to 3 million pixels. Unique in its ability to support two 1280x1024 monitors, the Matrox DualHead2Head2Go supports a variety of widescreen resolutions for the display of high-quality, uncompressed digital content across multiple monitors.
And if two displays aren't enough? Connect two DualHead2Go units to create a cost-effective, quad-screen setup. DualHead2Go units can be used to improve and simplify digital signage applications such as digital menu boards, terminal and concourse information displays, shopping mall kiosks, and ambience-enhancing installations—to name a few.
Media Creation & DCC
|As an artist or digital content creator, you need multiple palettes, menus, bins, controls, and toolbars in your applications. Spread out your projects, work more comfortably, and increase your productivity with a Matrox DualHead2Go-powered multi-monitor setup. The extra screen space will allow you to view more layers of video on the timeline, increase the size of your video scopes and frame viewers, as well as customize your entire workspace to improve your workflow.
CAD Design & GIS
|Take advantage of increased desktop space when using CAD software. Work on your design drafts, architectural models, or plans across multiple monitors. Expand your perspective and arrange application windows so you can complete your work more quickly and efficiently. Add two monitors to your notebook computer for a full surround 3D design experience.
|Benefit from panoramic images and visuals by integrating Matrox DualHead2Go into your ProAV installations. DualHead2Go works collaboratively with additional hardware (LCDs, CRTs, projectors, video wall controllers) to deliver impressive visual experiences in a variety of environments, including:


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Watch Now
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Winning the Reward Challenge ends up being a raw deal for one tribe. A couple of Survivors secretly bond when they selfishly share one of the Reward prizes and anger their tribemates. Two Survivors fall ill, keeping them up all night and leaving them drained right before the Immunity Challenge. Can these two strong players pull through, or will they bring their tribe down? It's a long afternoon for one tribe as chaos and confusion hampers the decision of who to vote off. Will an alliance stick or fall apart?


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Embattled country star Mindy McCready is in mourning following the death of her boyfriend.
Music producer David Wilson passed away on Sunday night of unknown causes, aged 34.
Wilson was the father of the singer's nine-month-old son Zayne; he also helped McCready co-parent her six-year-old son Zander.
A statement from the star reads, "Today, we mourn the loss of my life partner and my children's father, David Wilson. David was my soulmate; he was a caregiver and guiding hand to our sons, Zander and Zayne. He was a precious gift from God to all of us and, yesterday, he returned home and is now with his mother and father.
"David loved and he was loved. Those who knew and loved him will miss him; those who did not know David, missed the opportunity to know a truly loving and gifted man."
Meanwhile, the "Ten Thousand Angels" hitmaker has asked for privacy via her publicist: "While arrangements are being made and Mr. Wilson laid to rest, the family appreciates utmost care and consideration of their privacy."